Using sheets of pressed aluminium, NO REASONABLE OFFER REFUSED is an exhibition that draws from the language of commercial or retail situations. Hung in an ‘idea-cloud’ arrangement, these pendants act as signposts, highlighting and narrating the ironic ways in which we negotiate commerce, and the ethereal values exchanged within these environments.
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 Ng?i Tahu video/dance artist Louise Potiki Bryant.
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...