After four previous iterations, HANDSHAKE 5 gathers artists from each past HANDSHAKE project for a showcase that is independent of mentors; no longer emerging, these are now established artists. With materials spanning wood, metal, found object, video projection and virtual reality, HANDSHAKE 5: in site presents the culmination of almost ten years of learning through the HANDSHAKE programme, which has provided a platform for individual growth and a broader experience of cultural and artistic exchange.
This exhibition brings together works from two international artists; Jane Chang Mi (Honolulu; Los Angeles) and Torika Bolatagici (Melbourne). Together, their works reflect an intergenerational approach that priorities future political, personal and sociological wellbeing. How we understand the past in the present moment is vitally informed by concerns for future generations.
This year's event has been judged by renowned Australian potter and educator, Merran Esson. Esson has been working internationally for more than 40 years but this will be her first visit to Aotearoa. Her own work is distinctive for the textures and large forms that express the contrast between the extremes of country and city. She uses clay and glazes to reference water tanks, silos and corrugated iron, which remind us of the influence of history and place, and recall her rural childhood.
This exhibition celebrates the creative talents and innovative designs that have been produced by local students from Design and Visual Communication, Product Design and Fashion Design at Green Bay High School. Students were challenged to think about real world problems in design and manufacturing. Creating design solutions in conjunction with genuine clients, local community and industries, students see how decisions are made around aesthetics, function and materials to influence final outcomes.
Drawing upon the work of significant New Zealand artists, Campaign considers the prevalence of anti-nuclear sentiment in New Zealand’s art history. It revisits an era when artists across a range of disciplines were documenting, exposing and protesting the dangers of nuclear testing in the Pacific and the arrival of nuclear-capable warships into New Zealand waters.
Rowan Panther creates fine lace textiles using muka fibres that examine the divide between art and craft. Working consciously in an Aotearoa context, Panther considers the complexities of colonisation, as well as her own Irish/English/European/Samoan heritage, by bringing contemporary Pacific interpretations to traditional European lace-making practices.
This exhibition is a biennial presentation of art produced by students from Titirangi Primary School. It is the culmination of a term of learning that focuses on the important understanding that the diversity within our community inspires creativity, which we can appreciate through art. Students have explored printmaking, painting, construction and clay modelling to create wonders that have been influenced both by their local community and by ideas from across the world.
Moana Currents: Dressing Aotearoa Now is an exhibition presented by the New Zealand Fashion Museum in partnership with Te Uru Waitakere Contemporary Gallery, showing how various threads drawn from across the Moana (Pacific Ocean) are being woven together to produce a new identity in which we can comfortably cloak ourselves in Aotearoa today.
From 16-hour work days to the dim light of a laptop on all night or the strict hands of the clock itself, three artists consider the traps of ‘twenty-four-seven’ time. Recurrent across the works is the spectre of fantasy and dreams. Arguably belonging to the realm of sleep, the last bastion against productivity, dreams, fantasies and other drifts hold an uneasy position in these works. Will they be subsumed into systems of production and consumption, or can they offer a way out of the always here, always now?
In recent years Jane Dodd’s jewellery practice has pivoted around the portrayal of animals. With a subtext of human impact and interaction she has explored issues of extinction and infestation, cruelty and conflict. In the new works that form The Family she asserts the place of the human species within the animal world; in the taxonomic Order of Primates. Character and narrative are given to humans, pre-human hominids and other fellow simians alike.
Literally a ‘one painting’ exhibition, ‘A way through’ offers three thematic entry points into McCahon’s work: addressing its material history as a commissioned artwork destined for a university collection; locating it within McCahon’s artistic output; and as a lens on the fraught socio-political times in which it was painted. These themes are drawn out in the accompanying archival material especially gathered for the occasion.
As part of the exhibition names held in our mouths, West Auckland’s Pacifica Mamas will be taking over the Learning Centre Gallery, renaming it Moanaroa: Home of the Pacifica Mamas. Embracing a warm and informal approach, the Mama’s occupation of the gallery rejects a division between art and life. Collections of works, laughter and materials to tutu with all share the same space.
The exhibition names held in our mouths considers the structures and pathways six artists and collectives employ to revive or sustain their art, with a particular focus on dormant or at-risk practices, including work from Sosefina Andy, Nikau Hindin, Louisa Humphry, Wikuki Kingi, Pacifica Mamas, Kaetaeta Watson and The Veiqia Project
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.
Drop the Ball is a collaborative live performance and exhibition project by local artist, Mark Harvey. This project brings artist Mark Harvey into collaboration with Woodlands Park Primary School's Year 5/6 students, who have invented sculptural forms to be used in a performance.
Blood Water Earth is an immersive video installation and ceramic display arising out of an international Indigenous collaboration between Kahnyen’kehàka artist Santee Smith (Artistic Director of Kaha:wi Dance Theatre) and Ngai Tahu video/dance artist Louise Potiki Bryant.
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 on an amateur film camera.
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.
Zoe Brand is a Canberra-based artist who uses text to explore the performative nature of jewellery as a device for communication. Using readymade and archetypal jewellery forms, Brand explores language that can both describe her objects and the people wearing them, while initiating conceptual dialogue between the object and its audience.
Fitts’ work pays particular attention to how different taxonomies render new readings of the same conditions, highlighting or even erasing certain details. It’s fitting that Te Uru’s own architecture is subsumed into the exhibition, with design interventions intended to draw attention to particularities.