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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).

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

The Poetic Condition @ NorthArt – Gallery 2

15Nov

“See Nothing,” monoprint on paper by Roger Morris, “Bird of Prey” video by Sanne Maes, “Outer mantel 3” + “Outer mantel 4” (and each side of the open wall) by Yair Callender, “Trope” (in the third gallery beyond) by Raewyn Turner and ceramic sculpture by Jess Paraone, “Tomorrow will never be the same” interactive projection by Jian Yiwei and Sonja van Kerkhoff,
2 video loops by Pieterje van Splunter.

“Vaat” (Washing Up) 2014, stop motion animation, 7 minutes, 11 seconds, and “Cleaning the Air,” 2014, video, 43 seconds by Pieterje van Splunter, The Hague.
“Cleaning the Air” is a film of a sculpture by Pietertje which rotated diverse household items.

“Tomorrow will never be the same” interactive work by Jian Yiwei and Sonja van Kerkhoff, 2 video loops by Pieterje van Splunter.

“Outer Mantel 4” by Yair Callender, “Tomorrow will never be the same” interactive work by Jian Yiwei and Sonja van Kerkhoff

“Tomorrow will never be the same” interactive work by Jian Yiwei and Sonja van Kerkhoff[/caption] When you click on the Mondrian painting the pixel the mouse touches switches colours with another colour in the painting and then creates ‘children’ who land at random, where the same colour swap happens and more ‘children’ are created that swap colours. The affect is that the painting continuously mutates as if it is being eaten by colours. The order (straight lines) created by Mondrian is decomposed by randomness initiated by you.

Detail of “Trope” (in the third gallery beyond) by Raewyn Turner and ceramic sculpture by Jess Paraone, “Outer Mantel 4” by Yair Callender, “Tomorrow will never be the same” interactive work by Jian Yiwei and Sonja van Kerkhoff

“Outer mantel 3 + 4” (on each side of the open wall), Layers of latex, LED lighting + recycled NZ pine, by Yair Callender. The wooden support was built to instructions given by Yair which included reusing old wood. Detail in the back gallery of drawings by Marianne Muggeridge.

Detail of “Outer mantel 3” by Yair Callender



 
Yair Callender, born in Groningen (1987) to a Dutch mother and a father who came from Suriname (South America) to the Netherlands to study in the early 1970s, is a graduate of the Hague Royal College of Arts (2014).

He works in concrete, plaster, clay and wood and his main focus is on making public sculpture.

Often his sculpture has some performative social element that involves the local community.

His major themes are cultural expressions and art in society in relation to playing with the idea of beauty in the ugly. The two larger pieces, layers of resin which are back-lit, were made for this exhibition.

These four pieces are playful interpretations of diverse religious symbols (Catholic gargoyles, Asian temples, the Kabbalah tree, etc) found on the exterior of buildings. He has made skins which are lit from within as a metaphor for our human condition – the beautiful seen through the rough and raw. Who could say art is ever ugly?
 

 

“Bird of Prey” video by Sanne Maes, latex light boxes by Yair Callender
Back gallery: “Your Honour” + “Eva was hier” (Eve was here) by Sonja van Kerkhoff, “Pandora’s Box” suspended panels by Alexis Hunter.

Detail: “Bird of Prey” video by Sanne Maes, latex light boxes by Yair Callender. Two videos by Pieterje van Splunter

“Bird of Prey” video, HD, loop 0’25” photocopy on transparent paper. 21″ LCD tv inside custom-made frame, 61 x 40, Edition of 3. “Outer mantel 3” latex, LED lighting + recycled NZ pine, by Yair Callender.


 
“Bird of Prey” by Sanne Maes is from the morphological studies which concentrate on aspects of the outward appearance of humans and animals. In these works distant species are blended and so create transformations of identity.

 

 

 

Detail: “Bird of Prey” video by Sanne Maes.

The woman slowly turns her head away and then when she looks ahead her eyes match that of the hawk.

Videos by Channa Boon (The Hague), by Jonathan Reus + Sissel Marie Tonn (The Hague), and by Raewyn Turner and Brian Harris (Auckland). Four etchings by Virgina Guy (Hikurangi, Northland).
Side wall: Monoprint by Roger Morris (Taranaki), video by Sanne Maes (The Hague) and back lit latex relief by Yair Callender.



 

The latex boxes by Yair Callender on the left light up when approached. Monoprint by Roger Morris. Suspended sheet metal and lamp by Sonja van Kerkhoff. Videos by Channa Boon, by Jonathan Reus + Sissel Marie Tonn, and by Raewyn Turner and Brian Harris. Four etchings by Virgina Guy.

“Plastic Play,” video by Pietertje van Splunter
Middle Gallery: “Outer Mantel 1 + 2” responsive light latex light boxes by Yair Callender. “Road to JerUSAlem,” monoprint on paper by Roger Morris.

Responsive light latex light boxes by Yair Callender. Monoprint on paper by Roger Morris. “Fain would they put out God’s light,” cut out text sheet steel, nylon and lamp by Sonja van Kerkhoff. “Et in Arcadia ego” 29 min video by Channa Boon, “Sensory Cartographies,” 7 min video by Jonathan Reus + Sissel Marie Tonn. “Finding Flight,” photo intaglio with gold leaf by Virginia Guy.

Left: “Et in Arcadia ego,” 2016, 29 minute video by Channa Boon.

Joseph Stalin once expressed his view on art and cinema stating: “Propaganda is the strongest and most important weapon of our party and our battle, and in this battle the visual arts are the infantry while the cinema is the air force.” This was one of the inspirations for the video, “Et in Arcadia ego” by Channa Boon, shot in the former Soviet Union. While historical events are the carrier of the film, a chess game, played by two residents of Odessa, sitting near the city’s Arcadia Beach, is the physical link connecting the different locations: the Aral Sea (Uzbekhistan), Odessa (Ukraine) and Tbilisi (Georgia). This film ends when the chess game is over, but the large-scale power game that is still being played out in the former U.S.S.R. is not over. Stalin’s cotton industries for example, founded by him in Central Asia, are still the reason why large parts of the Aral Sea are gone and the entire region is polluted. In this work, Boon investigates the idea of ‘location’ as a ‘carrier of information’, which any individual or being can tap into, just by being present at a given spot. Conversely, the film aims to show the system of thoughts and ideas that, throughout history, has created both the physical landscape and those who live in it; how it has affected the way they think and act; and how a collective consciousness has been formed in the past and is still being formed in the present.
The phrase ‘Et in Arcadia Ego’ is from a text by Virgil, and is the title of a famous painting (1638) by Nicolas Poussin. The phrase refers to the ideal world that Communism aimed to bring about in this region and the nostalgia that it still invokes.

Above: two etchings by Virginia Guy. “Et in Arcadia ego” 29 min video by Channa Boon. “Sensory Cartographies,” 7 min video by Jonathan Reus + Sissel Marie Tonn. “Fallible,” 3 min video by Raewyn Turner and Brian Harris.

“Sensory Cartographies” was filmed in the oldest primal forest in Europe in the upper altitudes of the island of Madeira to create a new entry into the herbarium of the Jardim Botanico in Funchal. The herbarium holds an archive of plant species and taxidermized animals dating back to the 16th century and serves as a blueprint of the history of colonization and acclimatization of plant species from the new world. Sissel Marie Tonn and Jonathan Reus created physiological data gathering devices and sensory-extension instruments to challenge the body’s conditioned ways of moving through the environment. These devices served to reshape a sensory worldview to create an alternative sensed cartography of this place. More: jonathanreus.com/portfolio

Above: “Finding Flight,” photo intaglio with gold leaf. Edition 1/1, 23 x 28 cm
“Finding Flight,” photo Intaglio with gold leaf. Edition 1/1, 33 x 33 cm by Virginia Guy.
“Sensory Cartographies,” 7 min video by Jonathan Reus + Sissel Marie Tonn.
“Fallible,” 3 min video by Raewyn Turner and Brian Harris. Unscented flowers rotate above a vase which holds a sensor and the data from the sensor is turned into piano notes.
More: raewynturner.com/projects

Raewyn Turner & Brian Harris combine art, engineering, science research and their skills developed over years of practice in theatre, the film industry, robotics, interactive software, video, olfactory, art installations and performances. They engage simple elements with engineering to create experiential art, utilising everyday objects reinterpreted with robotics, electronics and microprocessors.

Wall on right: “See Nothing,” monoprint on paper, 2017 by Roger Morris,
“Bird of Prey” video in custom frame by Sanne Maes.
Back wall: 4 etchings on paper by Virginia Guy.

“Finding Flight,” photo intaglio Edition 1/1, 75 suspended prints, 84 x 118 cm by Virginia Guy.

“Finding Flight,” photo intaglio on rag paper. Edition 1/10, 23 x 28 cm. “See Nothing,” monoprint on paper. 2017, by Roger Morris [R E M O].

“Outer Mantle 3,” latex, LED lighting + recycled NZ pine, 2018, by Yair Callender. “Tomorrow will never be the same,” interactive projection by Jian Yiwei + Sonja van Kerkhoff. Two videos by Pietertje van Splunter. “A Meditation,” 7 min video loop by Sonja van Kerkhoff. “Several Seas,” laser print on transparency by Sonja van Kerkhoff. “The Experience of Change,” interactive projection by Jian Yiwei + Sonja van Kerkhoff.

“Once our World had Edges” 2017, 3 min, 22 sec., HD video using only NASA International Space Station footage. Music: ‘a distant backdrop’ by sink \ sink, on the album ‘a lone cloudburst’ by Gareth Schott.
“Several Seas,” laser print, edition of 50, by Sonja van Kerkhoff.

 
Gallery 1 | Gallery 3

Met dank aan Stroom Den Haag / with thanks to STROOM The Hague for finanicial assistance as well as to NorthArt.

The Poetic Condition @ NorthArt – Gallery 1

8Nov

18 Artists from Aotearoa | New Zealand and the Hague, The Netherlands:
Jess Paraone (Northland) | Brit Bunkley (Whanganui) | Virginia Guy (Northland) Alexis Hunter (London), Marianne Muggeridge (Taranaki) | Roger Morris (Taranaki) | Raewyn Turner + Brian Harris (Auckland)
Thom Vink | Jonathan Reus | Pietertje van Splunter | Sanne Maes | Channa Boon | Anne Wellmer | Martje Zandboer Sissel Marie Tonn |
Yair Callender | Sonja van Kerkhoff

Aesthetic explorations of the individual in society
by
artists from The Hague and Aotearoa | New Zealand.
Photographs: Sen McGlinn.

“Hazzard Sheep” by Brit Bunkley (Whanganui),
Still from “Een Rode Citroen” (A red lemon), 9 minute 53 second animation.
Soundtrack Anne Wellmer. Drawings: Geerten Ten Bosch. Animation Harriët van Reek

Still from “Een Rode Citroen” (A red lemon) by Anne Wellmer.
Foreground: “Rejoice” and right, “Hamlet”
3D plastic prints by Brit Bunkley.
Ceramic vessels by Jess Paraone (Northland)

“A Red Lemon” video by Anne Wellmer, “Vessel 1” + “Vessel 2” ceramic with mixed media by Jess Paraone (Northland), Photo intaglio, Emboss, Chine colle, 1/1, by Virginia Guy (Northland)

Still: Vox Sanguinis (Voice of the blood), 2015 1′ 52”
Video and soundtrack by Anne Wellmer. Camera: Florian Cramer. Voice: Cora Schmeiser. Music: “O rubor sanguinis” by Hildegard of Bingen. Trumpet: Heimo Wallner. Silent performer and stage design: Geerten Ten Bosch.
“Vessel 1” + “Vessel 2” ceramic with mixed media by Jess Paraone
“Rejoice!” PLA plastic and paint by Brit Bunkley”

“Vessel 1” + “Vessel 2” ceramic, engraved sequences of zeros and ones, and nuts and bolts,
by Jess Paraone (Ngāti Kawau, Kaitangata)

Transfusionen (Transfusions), 2015, video with sound, 2′ 43”
Soundtrack: Anne Wellmer. Hands: Geerten Ten Bosch, Voice: Cora Schmeiser. Music fragment from BLAST (2015) by Lukas Simonis. Text fragment from ‘Della Religione Christiana’ by Marsilio Ficino (1433-1499), first published in Italian in 1568. This German translation was published in ‘Das Blut: Symbolik und Magie’ (2004) by Piero Camporesi. The text tells of how witches used the blood of children to make medicine and the various uses (transfusions or transmutations) of this medicine, including the making of wine.
Two Photographic intaglio and embossed prints by Virginia Guy, Ceramic vessels by Jess Paraone, Nine prints by Sonja van Kerkhoff (The Hague / Northland)
Two sculptures by Brit Bunkley

Detail: “Rejoice” 3D plastic print by Brit Bunkley.
“Turangawaewae – Aotearoa – Home,” Photo Intaglio, Emboss, Chine colle, multi-piece etching
by Virginia Guy.
“Child’s Play” photographic prints on dubond by Sonja van Kerkhoff
“Hamlet” 3D plastic print by Brit Bunkley.
“Apple Tree” oil on linen by Marianne Muggeridge (Taranaki).

“Turangawaewae – Aotearoa – Home,” Photo Intaglio, Emboss, Chine colle, multi-piece etching by Virginia Guy. “Child’s Play” photographic prints on dubond by Sonja van Kerkhoff

“Apple Tree” oil on linen by Marianne Muggeridge
“Hamlet” 3D plastic print by Brit Bunkley.
“Plastic Play” 3 min stop motion animation by Pietertje van Splunter (The Hague)
“What kind of Idea” print on aluminium by Sonja van Kerkhoff

“Hamlet” 3D plastic print by Brit Bunkley. Detail: print by Virginia Guy.

“Plastic Play” by Pietertje van Splunter, “What kind of Idea” by Sonja van Kerkhoff, “Social Realism” by Brit Bunkley, “The Speed of Dark” by Thom Vink

Two sculptures by Brit Bunkley, stop motion animation by Pietertje van Splunter, Architectural models on shelf by Thom Vink, Floor sculpture by Sanne Maes, Two wall works by Sonja van Kerkhoff

One corner of the front gallery

“Social Realism” by Brit Bunkley
“The Speed of Dark” by Thom Vink

“The Speed of Dark”, 3 cardboard models + shelf by Thom Vink (The Hague)



“Metamorphosis IV” Dutch concrete and Taranaki branch, 40 x 100 x 60 cm,
by Sanne Maes (The Hague)
One of a number self-portrait explorations on the inner and outer in relation to the natural world.

“Metamorphosis IV” by Sanne Maes

“Metamorphosis IV” by Sanne Maes

“A Tangled Tale,” batiked cloth strips bearing texts in Dutch, English and Maori, “Child’s Play” photographic prints by Sonja van Kerkhoff
“Take My Shoes” by Raewyn Turner and Brian Harris, shoebox, electronics and video
“Ungeziefer 2” ASB plastic and paint, by Brit Bunkley
“Dark Perfume with Integrated Circuit” by Raewyn Turner and Brian Harris
“MAP” by Roger Morris [ r e m o ] (Taranaki)
Small paintings by Pietertje van Splunter (The Hague)

“Take My Shoes” by Raewyn Turner and Brian Harris, shoebox, electronics and video. The voice of a retired police officier plays when someone looks into the box.

Detail of “Take My Shoes” by Raewyn Turner and Brian Harris showing a video, reflections of this in mirrors and figurines.

“Ungeziefer 2” ASB plastic and paint, by Brit Bunkley. “Ungeziefer 2” ASB plastic and paint, by Brit Bunkley. Ungeziefer (vermin, pest or unclean) refers to the main character in Kafka’s novel, The Metamorphosis (Die Verwandlung), in which a salesman awakes to find that he has metamorphosed into a monstrous vermin (“ungeheures Ungeziefer”).
“Dark Perfume with Integrated Circuit” by Raewyn Turner and Brian Harris. Perfume with electronics and sensor, Omani Frankincense, costus, cocoa, civet, tea, cepes, heliotrope, pink champaca, black pepper, vetiver, pure alcohol
When the work is approached to sample the sweet perfume sealed in the flask, the electronic circuitry emits a second earthy organic odour.

“Dark Perfume with Integrated Circuit” by Raewyn Turner and Brian Harris

“MAP,” Etching ink on original ‘PHILIPS’ world map by Roger Morris [ r e m o ] (Taranaki)
A map hung in many New Zealand primary schools in the 50-70s printed by the British company, George Philip & Sons, showing the British Empire (in pink), other colonial powers & British shipping lines as they were in the late 1940s.

Acrylic on hardboard votive like paintings by Pietertje van Splunter.
Left to Right: Speldenpop (Pincushion doll), Een Boom (One Tree), Masker (mask), Bandenman (Tyre man), Kater (male cat), Twee Spanen (Two spruce), Blikken Man (Tin man), Langhoefd (Long head)

Far wall: Photographic emulsion on shells from Zeeland by Martje Zandboer (The Hague), Te Maharatanga | The Recollection, diptyph on dubond + “Tulips from Istanbul” (suspended cast resin orange tinted forms) by Sonja van Kerkhoff
Foreground, “Metamorphosis IV” by Sanne Maes.

Photographic emulsion on shells from Zeeland by Martje Zandboer (The Hague)

Photographic emulsion on shells from Zeeland by Martje Zandboer (The Hague)

Photographic emulsion on an oyster shell from Zeeland
by Martje Zandboer.

Te Maharatanga | The Recollection, oils on dubond, diptych by Sonja van Kerkhoff.
Each piece is 30 x 30 cm. Edition of 38.
The fairytale takes a feminine point of view where the garden is a gateway for transcending social conditioning. Translation: Te Toroa Pohatu (Ngāti Apa).

Gallery 2 | Gallery 3

Met dank aan Stroom Den Haag / with thanks to STROOM The Hague for finanicial assistance as well as to NorthArt.

Cameraless photography by Martje Zandboer + colonial tea-baggage

13Nov

Left to Right: works by Sanne Maes (video + drawing) + Thom Vink (photographs + model on shelf), Martje Zandboer (emulsion on teabags), Brit Bunkley (PLA plastic and Fiberglas reinforced resin and artificial flowers)

Left to Right: Detail of Thom Vink’s model on shelf, Martje Zandboer (emulsion on teabags), “The Happiest Place on Earth” by Brit Bunkley (PLA plastic and fiberglas reinforced resin and artificial flowers).

Martje Zandboer’s series 2008 “Warm Memories,” are photographic impressions from negatives that belonged to her grandmother who was born and raised in Indonesia while it was a Dutch Colony (the Dutch East Indies).

This Dutch colony was formed by the 17th century Dutch East India trading Company, which came under the administration of the Dutch government in 1800. This colony was one of the most valuable European colonies and contributed to Dutch global prominence in spice and cash crop trade in the 19th to early 20th century. The colonial social order was based on rigid racial and social structures with a Dutch elite living separate from but linked to their native subjects.

Warm Memories by Martje Zandboer


These images depict her grandmother and her husband in Indonesia from the 1920s until 1949 when she then moved to the Netherlands as did many Dutch and Indonesians when Indonesian sovereignty was finally accepted after a struggle for independence after the end of World War Two. Like many she was held in a POW camp by the Japanese.

Warm Memories, 2008, photographic emulsion on teabags held by magnets, by Martje Zandboer, The Hague , The Netherlands


The stains and irregularities lend a nostalgic warmth to a story mixed with suffering and change. Martje grew up hearing these bittersweet stories of her grandmother’s time in prison, followed by being forced to leave the land she was raised in.

Each teabag is suspended in space, held by a magnet. A reminder of the affects of the chances and changes of culture and times we are born into.

Martje Zandboer, a graduate of the Hague Royal Academy of Fine Arts (2005), with a Master’s in photography from Falmouth University, Cornwall, U.K. (2008), lives in The Hague, The Netherlands. Since 2006 she has taught art courses for adults and children for the city public art museum (Gemeente Museum) and the Mesdag Museum in the Hague as well as sandstone and ice sculpting for other Hague museums. Recent exhibitions are “Drawing a family around Me” at Galerie It Frysk Skildershûs in Leeuwarden (2010), The Netherlands; Eigenwijs weimar in Atelier Paul v/d Donk (2012), The Hague, and the International competition for young photographers Sotiri 2011 with her series “Intimate Propaganda: Family photographs” in Galleria ‘Guri Madhi’, Albania. Her art practice varies from the pedagogical to painting and drawing, to experimental photographic work.

Watch this space for blogs on the works by 13 New Zealand and Hague Based artists in The Poetic Condition show until 10 Dec 2017 at the BackWal Gallery, 99 Atkinson Ave, Otaki.  12 Nov blog | Exhibition info