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E Tiaki | Take Care, artHAUS Auckland, March -11 Apr 2021

27Mar

Artists in Aotearoa | New Zealand are kaitiaki (stewards) for artists
in countries more stricken by COVID-19
Aodhán Floyd | April Shin | Ashleigh Taupaki | Bev Goodwin | Brenda Liddiard
Cathy Carter | Chiara Rubino | Emma Papadopoulos | Jessy Rahman | Jumaadi
Lipika Sen | Lissy and Rudi Robinson-Cole | Lloyd Lawrence | Michelle Mayn
Naomi Roche | Narjis Mirza | Martin Wohlwend | Masud Olufani
Nawruz Paguidopon | Prabhjyot Majithia | Phil Dadson
Pietertje van Splunter Robert Hamilton | Sen McGlinn | Shaeron Caton Rose
Sonja van Kerkhoff | Ursula Christel | Xiaojie Zheng | Yllwbro

Detail – Metamorfosi, 2021, Chiara Rubino (Matera, Italy) and Cathy Carter (Auckland, NZ)
Archival pigment ink photographic print on Hahnemuhle photo rag 306gsm. 140 x 90 cm.
Two more works in the main gallery. More photos on artsdiary.co.nz
Left of doorway: Planetscape by Lloyd Lawrence (NYC, USA) and Sonja van Kerkhoff,
The Shaman and the Healing Tree (with mirror) by Jessy Rahman (NL) and Sonja van Kerkhoff.
Metro Manila, photo-print by Nawruz Paguidopon
Above: A Paradox of Place by Sonja van Kerkhoff. Acrylic on wood, 61 x 84 cm. Wood from the Netherlands with a view of Matariki (The Seven Sisters constellation) as above Aotearoa.
Earthscape I, II, III, by Lloyd Lawrence (NYC, USA) with Sonja van Kerkhoff, 3 laser prints on transparency. Limited Edition of 5. Approx 29 x 20 cm. Lloyd emailed photos of his colleges made out of Art Catalogues, giving Sonja freedom to print them in any manner.
Diary of Dust, 2016, Animated, Produced, and Directed by Dave Brown. 2 min 53 sec animation featuring Jumaadi’s, 2014, 7 metre drawing made during a residency at the Halsey Institute of Contemporary Art, College of Charleston School of the Arts, South Carolina, U.S.A. The Halsey Institute commissioned San Francisco-based filmmaker Dave Brown to make this video animation with original gamelan music, composed and performed by Nathan Koc.

Philoxenia 4, 2021, by Emma Papadopoulos. Acrylic on paper, 24 x 30 cm
Josephine’s Mother by Sonja van Kerkhoff, photo-print, 10 x 10 cm, crushed paper – Naomi Roche.

Nicosia Crossing by Aodhán Floyd (Ireland) and Sen McGlinn (Kawakawa, NZ). Site-specific installation. Prepared wooden window frame, text, paper, tissue. Approx 1 m x 2 m.
Sen printed out a drawing onto multiple layers, and assembled these under a wooden construction. Drawing by Aodhán Floyd of his father standing in the UN buffer zone in Cyprus.
“‘Deposition’ is an indirect portrait of my father, Anton Floyd, a poet and translator. He is standing in his home city, at a barricaded border crossing on the southern side of the ‘Green Line’ that divides the island and runs through the capital.” – Aodhán Floyd, Cork, Ireland
Texts incorporate Emma’s thoughts (her father is a Cypriot), Aodhan’s reflections, Sonja’s 2009 performance across the Nicosia Green Line, and Sen’s reflections.

The Green Line, 2021 by Bev Goodwin. Recycled telephone wire.

Philoxenia, 2021. Arrangements by Emma Papadopoulos (Greece), Naomi Roche and Sonja van Kerkhoff
“Philoxenia of Greek origin literally means ‘friend to a stranger’. Philoxenia pertains to taking care of, looking after, being hospitable. My tavern chairs, my cultural reference to Greek hospitality, are currently empty due to lockdown.”
– Emma Papadopoulos, Athens, Greece.

Detail of the main gallery – works by Aodhán Floyd (Cork, Ireland), April Shin, Brenda Liddiard, Jumaadi (Australia/Indonesia), Emma Papadopoulos (greece), Masud Olufani (USA) and Ursula Christel, Nawruz Paguidopon (The Philippines), Phil Dadson, Pietertje van Splunter (The Netherlands), Shaeron Caton Rose (UK), and Xiaojie Zheng (SF, USA/Wenzhou, China)

selfies from the other side – Aodhán Floyd, Chiara Rubino, Emma Papadopoulos, Jessy Rahman, Jumaadi, Lloyd Lawrence, Martin Wohlwend, Masud Olufani, Nawruz Paguidopon, Pietertje van Splunter, Robert Hamilton, Shaeron Caton Rose and Xiaojie Zheng

Details about each selfie is here: sonjavank.com/takecare/

The Wealth of the Nation, 2021, by Masud Olufani (Atalant, USA)
and Ursula Christel (Warkworth, NZ).
4-minute video, with accompanying text and a wall installation in the main gallery. Repurposed metal birdcage and brass bell, 2 framed digital prints, NZ native timber, cut and burnt copy of Adam Smith’s The Wealth of Nations (first published in 1776), twine, shellac. POA. The installation is a reinterpretation of The Wealth of the Nation (2019) by Masud Olufani; re-framed in New Zealand by Ursula Christel, in consultation with Masud.

Global Pandemic, 2021, by Robert Hamilton and Bev Goodwin 1 minute, 35 second video. Lightbox by Cathy Carter. Aus dem Gleichgewicht (Out of Balance), 2021, by Martin R. Wohlwend (Triesen, Liechtenstein) and Naomi Roche (Hamilton, NZ). Mats and carpets from artists’ homes. Windowsill sculptures: Kete I + Kete II by Ashleigh Taupaki (Auckland, NZ) and Shaeron Caton Rose (North Yorkshire, U.K). Mind That Māori suspended crochet vest by Lissy & Rudi Robinson. They are Minding their own Business, silkscreen on cloth by Sonja van Kerkhoff. Toro Mai Tō Ringa / Reach Out Your Hand, animation + wall sculpture by Nawruz Bernado Paguidopon (Manila, The Philippines) and Lissy & Rudi Robinson-Cole (Auckland, NZ).
The Wealth of the Nation, 2021, by Masud Olufani and Ursula Christel.

Detail: Rigenerazione by Chiara Rubino (Matera, Italy) and Cathy Carter (Auckland). Global Pandemic, 2021, by Robert Hamilton and Bev Goodwin 1 minute, 35 second video. Lightbox by Cathy Carter. Aus dem Gleichgewicht (Out of Balance) by Martin R. Wohlwend and Naomi Roche. Mats and carpets. Windowsill sculptures: Kete I + Kete II by Ashleigh Taupaki and Shaeron Caton Rose.

Transformazione, 2021, by Chiara Rubino (Italy) and Cathy Carter (Auckland). Archival pigment ink photographic print on Hahnemuhle photo rag 306gsm. 140cm x 90cm. Rigenerazione by Chiara Rubino and Cathy Carter. Global Pandemic by Robert Hamilton and Bev Goodwin. Lightbox by Cathy Carter. Aus dem Gleichgewicht (Out of Balance) by Martin R. Wohlwend and Naomi Roche. Windowsill: Kete I + Kete II by Ashleigh Taupaki and Shaeron Caton Rose.

Colour wheel, 2021, by Pietertje van Splunter. Acrylic paint on wood. Te Ara ki Rangihoua: The Way to Rangihoua (2018), by Yllwbro (NZ) and participating artists, five scallop shells. Care of the artists and Mokopopaki. Transformazione by Chiara Rubino and Cathy Carter.

Te Ara ki Rangihoua: The Way to Rangihoua by Yllwbro (NZ) and participating artists.

Lissy writes Nawruz’s name. Te Ara ki Rangihoua: The Way to Rangihoua (2018) by Yllwbro (NZ) and participating artists.
– a scallop shell for each person, hung at their heart-height. With accompanying text elsewhere in the gallery. Lloyd Lawrence, NYC, U.S.A (153 cm), Shaeron Caton Rose, North Yorkshire, U.K (120 cm), Nawruz Paguidopon, Manila, The Philippines (127 cm), Xiaojie Zheng, San Francisco U.S.A. / Wenzhou, China (120 cm),
Robert Hamilton, Ontario, Canada, (150 cm).
Scallop shells, brown string, moko adhesive. Care of the artists and Mokopōpaki.

E-Motion (Kinetic series #1), 2021 by Phil Dadson, a response to Colour wheel, 2021, by Pietertje van Splunter (The Hague, The Netherlands, acrylic on wood -tree ring).
Acrylic on wood, motor/Arduino module, steel stand. The E-motion series is a spin-off from the June Music concept (2019), where ratios of frequency, rhythm and colour are conjured up from imagined lines of sonic shape and form in the material world. Like a breathing mandala, this first of the E–Motion series animates this idea from the 3rd to the 4th dimension.
(With thanks to James Charlton for motor/Arduino assistance).

Auckland show – Islam in dialogue – NorthArt, closes 31 May 2020

22May

Ko rātou, ko tātou | On Other-ness, on us-ness
NorthArt, Northcote, Auckland, Aotearoa | New Zealand

curated by Salama Moata McNamara + Sonja van Kerkhoff

Open now until 31 May 2020
Artists will be at the gallery 12-3pm,
Sat., Sun., and Monday, 12-3, 23-25th May

Left to Right: Wave, custom-made water tank by Jeff Thomson
Vitruvian Angel Man with Spirit Level by Ursula Christel. Courtesy the artist and Mokopōpaki
Pilgrimage to Mecca by Gavin Chilcott.
From the Eros and Psyche series (111) by Joanna Margaret Paul
Two untitled corrugated iron sculptures by Jeff Thomson
(foreground) New Space / Takawaenga (2020) re-purposed wooden table (dia. 118cm), 4 table legs (H: 46cm), vinyl flooring, 3mm acrylic sheets (83 x 83cm), glass chess board (38 x 38cm), ceramic tile (20 x 20cm), composite board (dia. 65cm), jute, LED lights by Ursula Christel.
New Space / Takawaenga is a conceptual assemblage inspired by geometry and the floor plan of the Dome of the Rock. It refers also to a quote by George Dei (2006) – “Inclusion is not bringing people into what already exists; it is making a new space, a better space for everyone.”
Takawaenga is a process. – Ursula Christel, 2020

Left to Right: Wave (detail), custom-made water tank by Jeff Thomson
Vitruvian Angel Man with Spirit Level (2018) by Ursula Christel. Courtesy the artist and Mokopōpaki Acrylic, gesso, printed perspex, metal lugs, pencil, sealant on board (99 x 61cm), plastic spirit level
(6 x 61cm). Gavin Chilcott Pilgrimage to Mecca Framed pastel on paper.
Arabic text above reads: “first house (avvala baytin)” A4 text below this begins with:
“Indeed, the first House [of worship] established for humanity was that at Makkah
– blessed and a guidance for the worlds”. The Qur’an, 3:96

This is one of 5 texts in Arabic arranged around the first gallery.
More about these texts and the works in the next blog.

still: “Haykal Al Noor” (Bodies of Light), site specific video installation by Narjis Mirza
with the soundscape, “Pamor” by Jessika Kenney
in this short video on youtube which also shows these works:
“Light District,” framed canvas, LED lighting, by John Mulholland;
“Halg” (Throat) video from the series Sokout/Silence, by Azadeh Emadi;
“Ka aroha” (Love), gouache and ink on paper,
by Salama McNamara & Emma Paton;
“Auckland Flowers 15/03/2019,” dried flowers, soil, compost, brown paper, by Java Bentley;
“Love is Blind,” embossed braille on paper,
by Tash Nikora;
“Fabric of Humanity” cast glass with impressions of a hijab pattern based on the hijab worn by New Zealand Prime Minister Jacinda Ardern in 2019 by Layla Walter;
“Fifty-one” an installation incorporating an assemblage of painted stacked cards and texts from Rumi by Michelle Mayn.

artists
Adibah Saad, Wellington
Azadeh Emadi, Iran / Auckland / Glasgow, Scotland
Brenda Liddiard, Auckland,
Carolyn Lye, Karetu, The Far North,
Christina Wirihana, Bay of Plenty
Emma Paton, Auckland
Fiona Lee Graham, Auckland
Gavin Chilcott, Wellington
Java Bentley, Auckland
Jeff Thomson, Helensville
Jessika Kenney, Los Angeles, U.S.
Joanna Margaret Paul, Whanganui
John Mulholland, Warkworth
Layla Walter, Auckland
Lipika Sen, Auckland
Michelle Mayn, Auckland,
Narjis Mirza, Sydney, Australia
Phil Dadson, Auckland,
Tash Nikora, Whangārei
Salama Moata McNamara, Auckland
Sen McGlinn, Kawakawa
Sonja van Kerkhoff, Kawakawa | The Hague, The Netherlands
Tash Nikora, Whangārei
Ursula Christel (Mokopōpaki), Warkworth

Some photos of the exhibition are here: artsdiary.co.nz

Some thoughts on the COVID-19 pandemic and the Manners of Speaking – Te Pūkoro o Tāne exhibition video

12Apr

Still from the Manners of Speaking – Te Pūkoro o Tāne, Whangarei show under lockdown, 2020 12 minute video on youtube.

On March 23rd, three days before this exhibition was due to close, I was informed by the gallery that they have closed the gallery due to the COVID-19 pandemic and I was given permission to film and take photographs before the lockdown date of March 25th.

Still from the Manners of Speaking – Te Pūkoro o Tāne, Whangarei show under lockdown, 2020 12 minute video

In New Zealand things moved very fast. On Saturday evening we all heard news of a 4 step plan where we were at step 2, social distancing. Some libraries and swimming pools had closed on the Friday before. Then on Monday 23rd, when I heard of the gallery closure, we had moved to step 3 and then later in the day it was announced that New Zealand would go into lockdown, step 4, at midnight on Wednesday 25th.

Still from the Manners of Speaking – Te Pūkoro o Tāne, Whangarei show under lockdown, 2020 12 minute video

The poetry reading to be hosted by Piet Nieuwland was cancelled but we met in the gallery (and kept our 2 metre distance from each other) and Piet read, solo. However the sound quality was terrible … and no possibility for another shoot.
Then Craig Denham shared his lockdown morning improvisations amongst his friends, and so we have day 4 as the soundtrack for this 12 minute video.

Still from the Manners of Speaking – Te Pūkoro o Tāne, Whangarei show under lockdown, 2020 12 minute video


Forced into lockdown, like Craig, I have found these weeks thought provoking – two exhibitions I co-curated are in lockdown and two other exhibitions planned for 2020 are cancelled, yet this is nothing compared to the threat of losing one’s life or livelihood.

Still from the Manners of Speaking – Te Pūkoro o Tāne, Whangarei show under lockdown, 2020 12 minute video

I must go and publish the video here on youtube and then I will return to another blog later. In the meantime here is a link to a blog I wrote for a Dutch Arts Review website “CONNECTING ART IN A TIME OF CRISIS: New Zealand –The Netherlands.”

Manners of Speaking – Te Pūkoro o Tāne

17Feb

21 Feb – 26 March 2020
Geoff Wilson Gallery, NorthTec Campus, Whangārei, Aotearoa

Ghosts photographic print by Ashleigh Taupaki. 42.0 x 59.4 cm
I te huringa kōmuri, e haramā te whenua i te kēhua
On looking back, the land was covered white with ghosts
Hauraki proverb

When we speak of the world in metaphor, not only is it more engaging, but it is a reminder that whatever we say is a translation of the worlds around us.
Over 50 works in diverse media on themes of proverbs and sayings by artists based in Aotearoa and beyond, curated by Sonja van Kerkhoff with 3rd year NorthTec year students.

Artists

Animal Picnic, Archival Lambda print, 1 out of edition of 3
by Andrea Gardner. 82 x 57 cm
(click for a larger view)

Alicia Courtney, Moerwera, The Far North

Andrea Gardner, Whanganui

Ashleigh Taupaki, Auckland

Brenda Liddiard, Auckland

The Map of Hard Places, Mixed media on board
by Brenda Liddiard. 30 x 70 cm, 2014.

Brit Bunkley, Whanganui

Carolyn Lye,
Karetu, The Far North

Catrina Sutter,
Russell / Kororāreka

Chiara Rubino,
Matera, Italy

Cle Tukuitonga, Otangaroa, The Far North

Chiara Rubino, photographic print, 28 x 21 cm

Buona e’ la neve che a suo tempo viene
Good is the snow that comes in its time

Chiara Rubino photographs her home city, Matera, a UNESCO heritage city in southern Italy.

Elaina Arkeooll,
London, UK

Giacomo Silvano,
Irsina, Italy

Hilda Simetin, Auckland

Jacqueline Wassen, Maastricht,
The Netherlands

Jamie Larnach, Auckland

Jarred Taylor + others, Whangārei

Jeff Thomson, Helensville

Joas Nebe, Germany

Jeff Thomson, 3 piece assemblage

“There’s No Iron So Hard That Rust Won’t Fret It;
and There’s No Cloth So Fine That Moths Won’t Eat It.” Scottish Proverb

Joas Nebe, still, The Shareholder´s Room, video, 3 min 45 sec

Man steigt nicht zweimal in denselben Fluß
You Cannot Step Into the Same River Twice
Heraclitus (c. 535 – c. 475 BC, Greece)

John Hoby, Millwater

John Mulholland, Warkworth

Maartje Zandboer, The Hague,
The Netherlands

Naomi Roche, Waikato

Lipika Sen & Prabhjyot Majithia, Auckland

Peter Scott, Kerikeri

Piet Nieuwland, Whangārei

Robert Brown, Whangaparaoa

Sam Melser, Auckland

Sonja van Kerkhoff, Kawakawa

Tash Nikora, Whangārei

Tracy Singer, Auckland

Ursula Christel (Mokopōpaki), Warkworth

Yllwbro Te Ara ki Rangihoua: The Way to Rangihoua, 2018 Scallop shells, brown string, moko adhesive.
Courtesy the artists and Mokopōpaki, Auckland

Yllwbro (Mokopōpaki), North Island

Geoff Wilson Gallery, NorthTec, Gate 3, 51 Raumanga Valley Road, Whangarei

Opening 4-7p.m., 21 Feb 2020

open: 12 – 4 p.m. Wednesdays – Fridays,
and by appointment.

facebook event page for this exhibition

Geoff Wilson Gallery facebook page

northtec.ac.nz/geoff wilson gallery

The Poetic Condition @ NorthArt – Gallery 3

28Nov

Left to Right: “HearSay,” soundpiece, 2018, recording of a generated audio work, by Jonathan Reus.
Two paintings by Roger Morris. “Trope,” 2018, oil on canvas, 190 x 75 cm by Raewyn Turner and ceramic works by Jess Paraone. Two small works by Sonja van Kerkhoff. “Pandora’s Box” 5 piece suspended double side painting by Alexis Hunter.

Left to Right: “HearSay,” soundpiece, 2018, recording of a generated audio work, by Jonathan Reus.
“Enduring Freedom” and “‘Axis’ ONE” Oils on board by Roger Morris.

“HearSay,” was created by an algorithm which recombined recordings of news broadcasts from CNN, MSNBC and the BBC of an underground slave trade emerging in Libya as reported by CNN in October 2017. The story of the slave trade in Libya was reported through rumors and collections of stories by migrants stranded in local detention camps. This work highlights the problem of news organisations presenting images of truth when these are based on fragmented and subjective testimony.
This is one of several algorithmically generated sound works by Jonathan Reus, which explore the aesthetic elements of news broadcasts, by contrasting the authoritative voices of news reporters to witnesses, foley sounds, and background music used to enhance drama in the macro and micro sonic. A first sketch of this work was created during the Transmarcations work session in Brussels, 2017 organized by http://constantvzw.org

“Trope,” 2018, oil on canvas, 190 x 75 cm, by Raewyn Turner. Ceramic works by Jess Paraone.

“Binary investigations,” 2 piece glazed ceramic, “Binary investigations,” glazed ceramic, “Liminal,” ceramic, “Binary with foundation,” partially glazed ceramic by Jess Paraone (Ngāti Kawau, Kaitangata).

 
The rows of zeros and ones stamped into the slab-like “Binary series” works by Jess Paraone (Ngāti Kawau, Kaitangata) play off against expressionistic abstract colours and glazes. These numbers can be read simultaneously as abstract element and as symbol for the human or mark of the human made machine. The central piece, from the “Liminal” series is a rolled slab of black dyed raku clay and porcelain clay – materials with very different properties. The contrasting materiality (rough vs smooth, brittle vs elastic) and colours invite multiple readings on the theme of oppositions, compatibility, and diversity.

“Liminal,” slip cast porcelain slab + raku clay coloured with black stain, fired to 1260 degrees celcius, “Binary with foundation,” glazed porcelain and brick by Jess Paraone. Click for a larger view.

Ceramics by Jess Paraone



 
Gallery 1 | Gallery 2

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