In the exhibition Jupiter, artist Sorawit Songsataya draws us towards the horizon, an in-between space that binds, yet remains neither land or sky. Operating in this liminal zone, and animated by the unseen forces of wind, the humble form of the kite brings together an oscillating range of references, connecting local traditions with a grander social fabric; the handmade with the digitised; land with clouds.
Our sense of adventure and free thinking, wrote German weaver Anni Albers, is hampered by an over-reliance on authority. To awaken an independent spirit of speculation, Albers proposed an unmediated encounter with that which has been unshaped and unformed: materials.
For Christchurch-based artist Emma Fitts, Albers’ view offers a useful approach to making and works already made. Prioritising tactility, In the Rough: Parts 1, 2 & 3 references the practices and biographies of modernist women Anni Albers (weaver), Romaine Brooks (painter), and Eileen Gray (interior designer), as well as Fitts’ own past exhibitions. In the Rough: Parts 1, 2 & 3 is in fact Fitts’ the final of a three-series exhibition that draw upon the same body of work.
The images in the Homely II were taken in the United Kingdom and New Zealand between 2001-2017. It is the sequel to Gavin Hipkins’ celebrated series The Homely (1997-2001), which created conversations and conflicts between pictures from New Zealand and Australia. This new series is presented in an identical format, as an 80-photo frieze, entirely shot with an amateur film camera...
Sensitive, authentic and funny, Marie Shannon’s photography and video works present contemporary art as an intimate and immediate occupation. Rooms found only in the home is developed out of holdings of Marie Shannon’s works in the Dunedin Public Art Gallery collection and the artist’s personal archive. The exhibition explores the intersecting spheres of her practice; considering her different conceptual interests and dual focus on photography and video.
A community focused exhibition of photography presented for Auckland Festival of Photography by Waitākere College senior students. These images cover three different aspects of West Auckland identity ‘Kainga – my backyard’, ‘He Tangata – He Hāporo – People and Communities’ and ‘Tōkū Whenua – Our Landscape’. Each photograph has been inspired by a poem, story or statement that encapsulates a thread of this kaupapa to why ‘West is Best’.
Cultural knowledge, within Māori and Moana communities, is often passed on through familial lines, both orally or embodied in particular practices and ceremonies. As with any knowledges, these practices are always in flux, responsive to shifting conditions. Colonisation, capitalism and migration have had a particular impact on how practices are continued. Some fall out of use; others adapt to new materials; still others continue on, fuelled by social functions and significance.