Open Call | Performance Art Week Aotearoa

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Art Today with Lois Perry

Art Today courses are year long but students tend to continue year after year as they gain confidence. There is no set programme for these classes but rather the course material and topics considered develop from current events in the art world. These may be exhibitions or events in New Zealand, New York, London, Sydney or elsewhere.

There is discussion on exhibitions to visit locally and interesting art places to visit overseas. We also make class trips to galleries in Auckland from time to time, and students have the opportunity to visit art events in other places with Art Today groups.

There are no examination requirements and students are encouraged to learn at their own pace.

For further information or to enrol in a class, please contact Te Tuhi
(09) 577 0138

Click here for Terms & Conditions.

John Vea | "you kids should only experience this for a moment - don't be here for life like me"

John Vea | "you kids should only experience this for a moment - don't be here for life like me"

Opening Sunday March 11

Te Tuhi, Auckland

“Every summer break for University, I often register myself into a temping agency for work to keep up with the cost of living. This habit started at an early age, as kids living in Herne Bay in the late 80s we were exposed to factory work from an early age. During our school holidays, my parents couldn’t afford baby sitters or holiday programmes, so we tagged along with our parents, uncles and aunties to their work places. The temping agency I enrolled into generally contracts work for factory industrial jobs, very minimal mundane repetitive activities in eight hour plus shifts for five to six days a week. This summer break, I worked at a potato chip plant, my role was to cut potatoes and lookout for foreign objects.”

As part of an ongoing enquiry into the conditions of labour, this latest exhibition by John Vea hones in on the people that work in Auckland’s factories. Focusing on how long days spent performing monotonous tasks affects the workers, he recreates the atmosphere of the potato chip plant as an installation for the gallery space. The work allows the audience to immerse themselves in a similar experience to that lived daily by the workers.

As far removed from the reality of factories as the art world can be, the artist bridges both spaces with this new piece, named after a statement heard on his first day at the factory from the mouth of a Samoan worker. Her advice to the younger generation becomes a cautionary tale encompassing both hope and despair in one sentence.

Accepting applications for Jutta Cuny-Franz Memorial Award 2019

Accepting applications for Jutta Cuny-Franz Memorial Award 2019

Accepting applications for Jutta Cuny-Franz Memorial Award, due Sunday October 14

Jutta Cuny-Franz Foundation

Museum Kunstpalast
Ehrenhof 4-5
40479 Düsseldorf
T +49 211 56642360

Jutta Cuny-Franz Memorial Award 2019

The award is granted to artists worldwide who make significant use of glass in their work. Participating artists should not be older than 40 years of age in 2019, and their submitted work (sculpture, objects) should date from the previous two years. Each participant may submit three works in the form of images. The awards will be presented in the spring of 2019.

The Jutta Cuny-Franz Memorial Award is endowed with 10,000 EUR. Additionally, two Talent Prizes are awarded, each with an endowment of 1,500 EUR. The awards and a number of Honorary Diplomas are granted every two years. A choice of entries for this competition will be published in the journal Neues Glas/New Glass.

Winners are selected by a jury, and there is no possibility of legal recourse. Current members of the jury of the Jutta Cuny-Franz Foundation are: Christoph Brockhaus, former director, Lehmbruck Museum; Mischa Kuball, artist and professor, Academy of Media Arts, Cologne; Dedo von Kerssenbrock-Krosigk, head, Glasmuseum Hentrich; Helmut Ricke, former head, Glasmuseum Hentrich; Elisabeth Scheuba, attorney at law.

Further information and online application here.

Application deadline: Sunday October 14, 2018.

Questions and feedback:

The Jutta Cuny-Franz Memorial Award was founded by Ruth-Maria Franz (1910–2008) to keep the memory of her daughter and artist Jutta Cuny (1940–1983). Jutta Cuny was a distinguished protagonist of European glass sculpture from the mid-1970s to her early death. Shaped by sand-blasting from solid glass blocks, her sculptures opened new paths into glass art. Ruth-Maria Franz established the Jutta Cuny-Franz Foundation in Vienna in 1984. By her request, the seat of the foundation was transferred in 1994 to the city of Dusseldorf. The foundation’s tasks are being managed at the Glasmuseum Hentrich, Museum Kunstpalast.

Museum Kunstpalast, Ehrenhof 4–5, 40479 Dusseldorf, Germany

Shannon Novak | The Expanded Gallery

Shannon Novak | The Expanded Gallery

Dunedin Public Art Gallery, Dunedin

In The Expanded Gallery, Shannon Novak explores the potential to extend his work beyond the physical boundaries of the gallery. Expanding from the gallery walls into a range of physical and digital realms, this is a project that explores the potential of an art work to create different layers and experiences across multiple sites.

Novak is a visual artist and a musician, and his work reflects his own experiences of synaesthesia – a perceptual disposition in which one sensory response triggers another (for example a visual experience triggering an associated colour or sound).  This new installation explores his interest in the ‘expanded’ experience; creating a series of layers that come together as the viewer engages with the different elements of the project in the gallery and beyond.

The Expanded Gallery begins as a physical wall-based composition; a series of abstract forms composed as Novak’s response to the gallery space.  The dynamic relationship between these shapes and colours are amplified by the introduction of light, with the composition seeping across the windows and reflecting back onto its original forms. Next, the installation places a layer of digital information over specific elements of Novak’s work.  Using a personal smartphone or tablet, viewers are invited to participate in an augmented reality experience –animated art works elegantly unfolding in digital space.

Beyond the walls of the Dunedin Public Art Gallery, this composition takes on a viral quality; it’s elements multiplying and extending across different networks that relate to the gallery in some way. Abstract compositions appear over public walls on Moray Place and the Dunedin City Council Civic Centre, each enhanced with virtual elements that may be revealed using a mobile device. More traditional painted works find their way into other sites; schools, businesses and other organisations that form part of the ‘expanded’ Dunedin Public Art Gallery network. Over the course of the installation, new elements will emerge in physical and digital forms, each operating as a trace of the original wall work, connecting it back to the source.  With each encounter or discovery, Novak makes visible the possibilities of an art work to expand across time, space and experience.

Andrew Denton and Janine Randerson | Strange Climes

Andrew Denton and Janine Randerson | Strange Climes

Opening event Monday April 9, from 6pm

TSB Bank Wallace Arts Collection, Auckland

AV and Little Gallery

Strange Climes includes three video artworks and two prints that respond with sensory cues that our world is undergoing rapid change. Digital and analogue media in the work of Andrew Denton and Janine Randerson probe the aberrant landscapes created by the warming climate to produce affective resonances. As fragile terrestrial and cryospheric landscapes rapidly become unrecognisable, these works operate to keep our climate emergency in the public eye.

Dr Janine Randerson is an artist, writer and academic at AUT University. She has collaborated with environmental scientists on media artworks in Denmark, Australia, and New Zealand. Her first book ‘Weather as Medium: Toward a Meteorological Art’ will be published by MIT Press in 2018.
Dr Andrew Denton is an academic at AUT, and a film and video artist who works with digital, analogue, and interactive time-based media, with a focus on the topic of ecological crisis. His moving image and photographic practice applies methods aligned with essayist cinema and video installation, as well as historical avant-garde film.

Image: Janine Randerson, film still from Slope (2018), HD video. Courtesy of the artist.

Call for Entries |  Aesthetica Art Prize

Call for Entries | Aesthetica Art Prize

Submissions due Friday August 31 2018

The Aesthetica Art Prize is now open for entries. It is a fantastic opportunity for artists, both established and emerging to further their careers in the art world and showcase their work to a wider audience.

The internationally renowned award nurtures and supports talented practitioners from around the world, aiming to unite and provide a diverse platform for artists.

Furthering the career of many artists, the Prize is an opportunity for artists to gain further exposure through publication in the Future Now: 100 Contemporary Artists annual and have the chance to exhibit their work at the Aesthetica Art Prize Exhibition, hosted in the historic city of York, UK.

There are two categories for entry; the Emerging Prize which is open to current students and artists who have graduated within the last two years, and the Main Prize, open to all including those eligible for the Emerging Prize.

Artists can submit work to one of four categories; Photographic & Digital Art; Three-Dimensional Design & Sculpture; Painting, Drawing & Mixed Media and Video; and Installation & Performance.

Prizes include; £5,000 for the Main Prize, £1,000 for the Emerging Prize, group exhibition hosted by Aesthetica, Editorial coverage, Publication in the Future Now annual, art supplies and books supplied by Prize sponsors.



Jan Nigro | Out of the Bedroom and into the Lounge

Jan Nigro | Out of the Bedroom and into the Lounge

Opens Saturday April 14

Waikato Museum, Hamilton

As the anniversary of Jan Nigro’s death five years ago nears, this significant retrospective exhibition has been distilled from her life’s work held by the Jan Nigro Trust. The works illustrate a strong female contribution to the trajectory of contemporary New Zealand art history and reclaims Jan Nigro as an important New Zealand artist. Nigro resolutely celebrated the human figure regardless of trends in contemporary art practice. It also firmly places the artist as commentator, a role she perhaps unwittingly played as her content reflected current events or thinking during a period of immense social change in New Zealand. Most importantly it celebrates us, our bodies, united by an unclad identity and shaped by her uninhibited colourful context. During her life, Jan battled to have her close focus on the ‘nude’ accepted by viewers and peers. We are honouring Jan’s commitment to “get them out of the bedroom and into the lounge” as she wished.

Education programmes are available for this exhibition.

This exhibition is brought to you by Fine Art Society New Zealand and Jan Nigro Trust in collaboration with Waikato Museum Te Whare Taonga o Waikato.

Image: Nude and Rose, Jan Nigro, courtesy of Jan Nigro Trust and Fine Art Society New Zealand

Matthew Galloway | The Freedom of the Migrant

Matthew Galloway | The Freedom of the Migrant

Opening Saturday April 21

Dunedin Public Art Gallery 

Matthew Galloway has an art practice that uses the tools and methodologies of design as a way to investigate social and political issues. Through new sculptural works and printed ephemera The Freedom of the Migrant takes its starting point from an article published in the New Zealand Herald on 26.03.16 detailing a hypothetical scenario presented by Sir John Key after returning from a meeting of the International Democratic Union (of which Key was then Chairperson). In his new body of work, Galloway explores the complex narratives set up by this statement by Key that positions the terrorist, the refugee, the investor and the politician in relation to one another.

Artist talk: Saturday April 21, 11.00am

Wellington Media Collective representatives Chris McBride and Philip Kelly, and artist Matthew Galloway will celebrate the first public day of their respective exhibitions with an artist-led talk in the galleries. NOT NEUTRAL: Selected works from The Wellington Media Collective Archive 1978-1998, and Matthew Galloway: The Freedom of the Migrant .

Image courtesy of Dunedin Public Art Gallery

Shannon Te Ao | my life as a tunnel

Shannon Te Ao | my life as a tunnel

Opening Saturday April 21

The Dowse Art Museum, Wellington

The exhibition my life as a tunnel is the third iteration of a moving image project that follows on from Untitled (malady) (2016) and With the sun aglow, I have my pensive moods (2017); the title itself an analogy for his process of mining, revisiting, transposing. The video installation configured for The Dowse embraces local references and distinct historical narratives.

Sleeping Arrangements

Sleeping Arrangements

Opening Saturday April 21

The Dowse Art Museum, Wellington

Sleeping Arrangements pivots around a moment of crisis—the beginning of the second decade of the AIDS epidemic in the early 1990s. This exhibition uses the epidemic to provide a shared context within which meditations on intimacy, tactility, memory and desire are offered.

Featuring works by Malcolm Harrison (1941–2007), Grant Lingard (1961–1995), Zac Langdon-Pole (b. 1988), and Micheal McCabe (b. 1994), Sleeping Arrangements proposes a queer time and space in which bodies, objects and languages are invited to encounter, play with and complicate each other.

A selection of quilts by Malcolm Harrison provides a point of departure for the exhibition. These works are rendered in a visual language at once generous and playfully coy, and demonstrate the artist’s skill as a storyteller. The quilts locate Harrison within a community of friends and lovers, and prompt a critical re-examination of the ways the artist navigated his identity, politics and sexuality through a complex and often contradictory aesthetic and sensory vocabulary.

Alongside Harrison are three artists whose work troubles the relationship between language, desire and identity. They transform intimate objects into sites of contestation and open up space for reconsidering ornamentation, surface effects and the body’s relation to textiles and architectural space.

Sleeping Arrangements brings to bear new perspectives on a crisis that remains unresolved and unfinished. The show suggests a non-linear model of queer history based on intergenerational intimacy, erotic encounters and tactile pleasures.

Sleeping Arrangements is curated by Simon Gennard, the 2017–2018 Blumhardt/Creative New Zealand Curatorial Intern.


Bootcamp Professional Development Workshops 2018

Bootcamp Professional Development Workshops 2018

The Artists Alliance Bootcamp Programme is back!

What is Bootcamp?

In 2018, Artists Alliance will once again present a suite of short, sharp workshops designed to give your career a boost! This popular programme boasts a stellar line up of industry professionals, and with each session being kept to a maximum of 15 participants you will have a unique opportunity to engage directly with each speaker.

The programme consists of eight complementary workshops, which will run over four Saturdays from April – July 2018 at Studio One Toi Tu, 1 Ponsonby Road, Newton, Auckland. Our 2018 series is a full suite of new workshop topics. Once again, we are offering a ‘pick and mix’ approach – it is not compulsory to purchase the entire suite.

The full suite of workshops (four days, eight workshops) is $340.
Individual days (consisting of one morning and one afternoon workshop) are priced at $85 per day.

Workshop location:
Studio One, 1 Ponsonby Road, Auckland

To book your spot, please fill in the form here: Our workshop coordinator will get in touch to confirm your place on the workshop/s you have requested as soon as possible and will provide payment details. Please note: Bootcamp workshops are limited to 15 people per workshop day, please note filling in this form does not confirm your place – however we will fill the 15 available places in the order we receive the bookings.

The Schedule:

DAY ONE, Saturday April 28, 2018

10:30am – 12:30pm | Goal Setting with Veronica Herber

We will kick of Bootcamp 2018 with a goal setting workshop to get your practice into focus. The morning will be structured around questions to identify each participant’s values, then take these results to create a step by step practical process to help each person plan their next 6 to 12 months with a 5 year goal in mind. The session will be fast moving, lively and fun with concrete outcomes to take away.

Before becoming a full time contemporary art student and artist Veronica Herber was a successful business owner and business coach in Christchurch. Now fully immersed in her art practice, she still enjoys sharing practical goal setting knowledge with creatives.

1pm – 3pm | Making it Happen with Emil McAvoy

An artist’s perspective of time management, balancing life and work, navigating the art world. Emil McAvoy is an artist, art writer and Lecturer in Photo Media & Fine Arts at Whitecliffe College of Arts & Design. His art work examines the cultural roles of the artist: as medium, activist, citizen and public intellectual. He works across a range of media and publishes widely as an essayist and critic.

DAY TWO, Saturday May 26, 2018

10:30am – 12:30pm | NET-WORK: Creating an art portfolio website with Shelley Simpson

NET-WORK is designed specifically for artists. Artists’ websites need to fill specific requirements. The 2 hour NET-WORK bootcamp session will help you to identify those requirements and will demystify the process of setting up your own site. By the end of the session you will have a clear pathway to creating a website that works for you and your audience.

The workshop will cover; Identifying your audience and what they need, project planning – identifying users and user goals, domain names and hosting, choosing the right website format for you, content – what to include and how to prepare it, using social media.

Shelley Simpson is both a website designer/developer and an artist. She taught digital media for many years at Media Design School and AUT. She has a Certificate in Tertiary Teaching from AUT and an MFA from Elam. She works with small creative businesses on their online presence, and teaches workshops on web design and creation. Her art website is, and her business site is

1pm – 3pm | Clearing a path; tactics for writing in and about art practises, with Elle Loui August

Art writing workshop with Elle Loui August.

Elle Loui August is a writer and curator currently based in Tamaki Makaurau. Elle has previously held professional roles at The Physics Room in Christchurch, University of Auckland, and Elam School of Fine Arts where she completed her MFA in curatorial practice through the postgraduate research programme. She has written for a number of institutions and publications including Art New Zealand, Artspace NZ, Pantograph Punch and split/fountain, and presently divides her time between independent writing and curatorial projects and her role as Assistant Curator at Objectspace.

DAY THREE, Saturday June 23, 2018

10:30am – 12:30pm | Editioning: Best Practice, with John Pusateri

Artist John Pusateri will guide us through his experience working as a printmaker, with a focus on the dos and don’ts of producing editions. Bring along your questions!

1pm – 3pm | Commissions: Best Practice, with Deborah White

What happens if your family lawyer asks you to make an artwork for the board room to fit a specific space? You are flattered to be asked and agree on a price and make and install the work. Transaction completed – or is it?

What then happens when an image of the artwork appears on the company’s annual report cover and on the companies Christmas card mailed out to clients?

What are your rights in the commissioning process?

In this workshop we discuss what can go wrong and how best to avoid awkward situations. Bring along your stories and questions.

DAY FOUR, Saturday July 28, 2018

10:30am – 12:30pm | Pricing Your Work & Other Money Matters with Tim Melville and Artists Alliance

Tim Melville (Te Arawa, Te Atiawa) speaks regularly to tertiary students about strategies for creating post-university relationships in the commercial art world, including around pricing, and will be more than happy to answer questions.

Tim Melville Gallery represents Matt Arbuckle, Elliot Collins, Johl Dwyer, Russ Flatt, Alberto Garcia-Alvarez, Star Gossage, Jonathan Jones, Mabel Juli, Nonggirrnga Marawili, Joe Sheehan, Phyllis Thomas and Roberta Thornley.

1pm – 3pm | Artist Collectives

Artists Deborah Rundle and Jerome Ngan-Kee will conduct an informal discussion around their involvement in various artist collectives, the challenges, the highlights and advice for those wanting to start or join a collective. This is an opportunity to bring your questions.


To book your spot, please fill in the form here: Our workshop coordinator will get in touch to confirm your place on the workshop/s you have requested as soon as possible and will provide payment details. Please note: Bootcamp workshops are limited to 15 people per workshop day, please note filling in this form does not confirm your place – however we will fill the 15 available places in the order we receive the bookings.

Dieneke Jansen | 90 DAYS +

Dieneke Jansen | 90 DAYS +

Opens Sunday May 13

Te Tuhi, Auckland

On the 22nd of October 2016 Ioela Rauti (Niki) was issued a third 90 day eviction notice from her home of 22 years. As a member of the Tamaki Housing Group, she has been fighting the destruction and gentrification of her Glen Innes community and home since 2011. An occupation of Niki’s home began with two conjoint marches arriving at her home on the 17th January 2017. This action, highlighted through media coverage and Niki’s four subsequent court appearances, alerted people to the injustice and improprieties that took place between the government, the Tāmaki Regeneration Company and developers.

90 DAYS + invites viewers to consider the kaupapa of the activists: connectivity, hospitality, care and respect. Of particular concern is the relationship between the resident wahine elders and strident rangatahi (youth) through the practice ofako-ako (a two-way teaching and learning process). At the core of this collective determination for social justice is the reluctant face of the struggle: Niki Rauti. Niki subsequently asked Dieneke Jansen – an adjunct member of the Tamaki Housing Group – to witness this resistance.

Activating a space between aesthetics and activism, 90 DAYS + creates an immersive experience in the gallery, questioning how lens-based art practices might provide possibilities for observation and for listening, enabling visibility for that which sits outside fields of vision. At the core of this project is a desire to enable and expand the space for politics, to explore gestures that traverse the didactic and the poetic[1].

[1] Thompson, Nato. Seeing Power: Art and Activism in the 21st century. Brooklyn, NY: Melville House 2015.

Group Show | The Arrow

Group Show | The Arrow

Opens Saturday May 26

Milford Gallery, Queenstown

This exhibition directly acknowledges one of Central Otago’s legendary rivers – the Arrow River. There are also sub-texts – visual dialogues about water, history, politics, inter-personal relationships, the landscape and art. Collectively then The Arrow (as an exhibition) attests that art is a fundamental social document.

The coordinates 37 47S 175 17E name and locate the narrative of Brett Graham’s multi-layered carved target: Sydney Square, Hamilton. There Australian mercenary soldiers fighting on behalf of the New Zealand colonial government during the ‘Maori Wars’ were housed. That land was then confiscated and given to them as service reward. Rukuhia III is a plural symbol: it functions as an underwater scanner, searching for the house of the god of the sea and the original site of carving. It also traverses the politics and personal privacy issues being raised by the unobtrusive surveillance so commonplace everywhere today.

Recently shown at the Honolulu Biennale, Yuki Kihara’s video Maui Descending a Staircase II (After Duchamp) is a mesmeric masterpiece, that merges the history of art and motion photography with issues of identity and racial hierarchy. Nose Width with Vernier Calliper directly confronts nineteenth century racial stereotypes and the Auckland Blues controversy about Samoan rugby players. In Leapingand Siva (Dance) Kihara’s characteristic repetitive fragmentation is beguiling with multiple levels of narrative content revealed.

Susanne Kerr’s The Believers is a parable, where belief is shown as communal and theatrical, united by ribbons of hope which others – seemingly excluded – gaze upon and question. What are they seeing? Kerr’s quite remarkable compositional and drawing skills are again evidenced in the sexually charged The Exchange.  In The Temptation she questions religious tenets, whereas Jeffrey Harris co-opts religious symbols and supplicant’s mannerisms as fundamental cues in dialogues that are internal and individual. Together but alone …

Lisa Reihana’s mythic Diva and Pelt – Camarillo encompass gender politics as does Caroline Earley in ceramic vignettes imbued with personality, tenderness and wry humour. Paul Dibble’s outstanding geometric Figure of Ease is a seamless combination of figuration and form.

Recipient of the 2018 Wallace Award, Andy Leleisi’uao has established an utterly distinct visual language which links the past and the present in tales which demonstrate no actual beginning, middle or end but in the process diverse cultures and civilisations are suggested, comics, rock drawings and board games evoked, heaven and hell depicted, human endeavour and foibles explored, with objects morphing from one thing into another. Chris Heaphy’s characteristic silhouette and overlay technique places diverse cultural signifiers and symbols of the past together too with everything shown facing one way. Looking to the past or at the future? In this way, Heaphy establishes significant memory cues that directly elicit the viewer’s participation.

How can ‘apparent’ emptiness be full? Emily Wolfeconclusively demonstrates that the seemingly mundane (a path, a street, a shop front window, a dangling wire) is redolent with information and beauty. If we look, then we can begin to see …Likewise, Simon Morris insists that we must look and experience, before we can get to ‘see’. His works are monochromatic delineated structures, where the elusive subtleties of colour and surface are counter-pointed as the entire visual subject.

Simon Edwards’ atmospheric landscapes of the Southern Alps appear to alter substance and structure as we look. If Simon Edwards’ landscapes are achieving iconic status, then Simon Clark’s No Place Like Home series examines the iconography and symbolism of national identity. Michael Hight’s Paterson Inlet is a surreal story, at once located in Stewart Island but where the questions posed are asked of us all – how are you looking after our landscape?

Neil Dawson (sculptor) and Darryn George (painter) have many surprising elements in common. In Ariki George, like Dawson in Murmuration 25, repeats patterns and forms, alters scale, actively using positive and negative space as a key compositional device. In Reflections – Stairs Dawson links the architecture of a building with a circular stair below which we come to realise (in the reflection) that as the world warms the water is rising. In Crest of the Wave George places the viewer, seemingly, as if in the sky looking down upon the sea which is separating. In that way, the narrative opens out encompassing the story of Exodus and the crossing of the Red Sea.

Sentinel by Ben Pearce continues his development of a unique style, combining apparently precariously stacked abstract forms into an explicit figurative language. There are remarkable sensations and suggestions created, and tensions built: what is it guarding, when will it move? Katherine Smyth’s fruit pots and jars are simply outstanding and very beautiful. Paul Maseyk’s large ceramic pots are exuberant combinations of form and painted surface, again revealing him to be an imposing, multi-talented, singular figure in the resurgent world of New Zealand ceramics.

Image: Brett Graham, 37 47 s 175 17 e (2015) tawhai (silver beech) and laquer, size: 1270 x 1270 x 260 mm

Owen Mapp | Dragons & Taniwha – Fifty Years an Artist Carver

Owen Mapp | Dragons & Taniwha – Fifty Years an Artist Carver

Opens Sunday May 27

Pātaka Art + Museum, Wellington

There was no one before Owen Mapp’. It seems indisputable to attribute the revival of bone carving as an independent practice substantially to him… In Owen’s practice a sense of history is palpable, he’s consciously making works inspired from history for history.
Philip Clarke

Owen Mapp has been carving bone in Aotearoa New Zealand for 50 years. Before he started to carve in the late 1960s, bone was considered to be a secondary, less desirable medium for carving artists. Through Owen’s unwavering dedication to developing and refining the art of bone carving and sharing his technical skills with emerging carvers, he has played a vital part in its revival and the desirability of finely-carved bone today.

Pātaka’s major retrospective exhibition OWEN MAPP: Dragons & Taniwha – Fifty Years an Artist Carver celebrates Owen’s ground-breaking achievements as the country’s first professional contemporary artist carver of bone and the important influence he has had on the many carvers who have followed him.

Owen Mapp began his career in earnest in 1970 and quickly established himself as one of the most prominent bone carvers alongside Donn Salt and Norman Clark. While drawing on both his own European heritage and Asian influences, Owen also embraced traditional Māori carving to create works of great beauty and diverse cultural significance. While he is not Māori himself, Mapp is highly regarded by many Māori artists for his exceptional ability to sculpt bone and semi-precious stone.

Works by Mapp have become the benchmark for excellence in modern bone carving and are highly sought after by museum curators and private collectors in New Zealand and internationally. Mapp continues to create new works and expand and share his knowledge through international workshops and teaching opportunities. There are very few artists in this country today who match his skill and technical expertise in the field of bone carving and small object sculpture.  He is quite literally New Zealand’s’ most eminent living artist in that field.


Call for Entries | National Youth Art Award 2018

Call for Entries | National Youth Art Award 2018

Submissions due Friday July 27

The Midland MRI National Youth Art Award is open for entries again and cannot wait to see this year’s submissions! Open to all New Zealand visual artists aged 15 to 27

The amazing Anna Mile’s has come on board to judge this year’s event and we are thrilled to be working with her. Owner and operator of the contemporary dealer gallery (the Anna Mile’s gallery in Auckland), she is extremely knowledgeable and passionate about contemporary art in Aotearoa.

Again, we have seven awards to present: The Midland MRI Grand Prize of $2,000, the Breakthrough Artist award ($1,000), Emerging Young Artist award ($500), the Print award ($500), the Abstract award ($500), the Photography award ($500), and the People’s Choice award ($250).

This is an excellent opportunity to participate in a national art award whether this is the first time you have had the opportunity to exhibit or you have done it before. An exhibition of the finalists will be shown at ArtsPost in Hamilton from September 7 – October 8. We look forward to seeing your exhibitions as they roll in, entries close Friday July 27.

If you have any questions regarding the award, feel free to email

Good luck!

To download and print an entry form for this year’s 2018 NYAA please click the link below:


Call for Entries | Walker & Hall Waiheke Art Award 2018

Call for Entries | Walker & Hall Waiheke Art Award 2018

Entries open Friday June 29 – Entries close Monday August 13

The Waiheke Art Award 2018 is proudly sponsored by Walker & Hall in association with Casita Miro Vineyard, The Skin Institute Waiheke, and the Waiheke Community Art Gallery. This is a National Award for two dimensional works in any medium and has a Prize of $5000 as the Premier award. This years selector and judge is Noel Ivanoff, HOD Fine Art, Whitecliffe School of Art & Design.


Exhibition opens at 6pm and the Gala Award Ceremony commences at 7pm. $45 pp. Finalists & partners complimentary


Friday June 29: Entries Open

Monday August 13: Closing date for entries

Monday September 10: Artists advised of selection results

Monday October 15: Selected works to have been received at the gallery. Gallery hours 10 – 4pm 7 days

Friday October 19: Exhibition opens at 6pm. Award Ceremony commences at 7pm.$45 pp. Finalists & partners complimentary.

Sunday November 11: Exhibition closes at 4pm. Unsold works available for collection.


How to enter: Entries open June 29 2018. From the link on our website you will be able to link to the submission page. To complete an entry you need to follow the sequence, submit up to three images (jpegs not larger than 2MB) and a current CV. If this is your first time visiting their website you will need to ‘create an account’. You will also be able to pay the entry fee online.Your images go into an image gallery which is accessed by the selector. If you do not have access to a computer please contact Waiheke Art Gallery to submit.

Entry Criteria: The exhibition is open to any New Zealand resident upon payment of the entry fee (non-refundable) $45. Entry is limited to one work per artist. Every work must be original, the sole work of the artist, and not completed in a class of instruction. Work must not have been exhibited previously and must be completed within the last year. Work must be for sale and no larger than 1200mm in height or length. WCAG reserves the right to decline or accept a submission. Appropriate packaging, insurance, freight and postal costs to the gallery and return are the artists responsibility. The Judges decision is final and no correspondence will be entered into. WCAG reserves the right to reproduce exhibited entries for publicity purposes.

Presentation of Work: If your work is selected it will need to arrive at the gallery no later than Monday 15 October 2018. This is an award for two-dimensional work in any medium. Work must be presented ready for exhibition hanging and no larger than 1200mm in length or height. poorly presented work may be disqualified. Please attach to the work: The name and address of the artist, the retail price of the work (including GST) the title, size and medium. Work must be adequately packaged for return of work with pre-paid courier tickets or similar arrangements.

Visit their website to enter and for more details

Matthew McIntyre Wilson (Taranaki, Ngā Māhanga and Titahi) | Whetū Whitu

Matthew McIntyre Wilson (Taranaki, Ngā Māhanga and Titahi) | Whetū Whitu

Opens Friday June 1

Courtney Place Park Lightboxes, Wellington 

Tērā Matariki ka rewa i te pae
Nau mai, haramai te hua o te tau hou…

Whetū Whitu is a series of  brooches that reflect the stories of Puanga and Matariki.  The brooches are part of McIntyre Wilson’s ongoing Price of Change Series which  feature re-purposed imagery cut from New Zealand, Cook Island and British coins. Brooches are normally pinned to the wearer, but for this exhibition they adorn light boxes as large-scale prints.


Attached image: Matthew McIntyre Wilson The Price of Change

Susan Te Kahurangi King| Paperdwellers

Susan Te Kahurangi King| Paperdwellers

Opening event Friday June 1, from 6pm

Artspace, Auckland

Emerging from a selection of work by Susan Te Kahurangi King from 1967 to 1980, Paperdwellers proposes the convergence of exhibition and personal practice. Prompted by King’s work, Paperdwellers advocates for drawing as a self-forming and world-building technology.

Within King’s work, the relationship between figure and ground is often porous; inside and outside perform dual roles. Boundaries between bodies, scapes, and objects are depicted in an act of eternal collapse: fingers into what they hold; limbs into negative spaces, blooming into open topographies. Informed by this relationship, Paperdwellers evolves from an understanding that there is no distinction between self and ecology. This logic operates across multiple scales within the exhibition.

As an open proposition, Paperdwellers has the capacity to account for its viewers, their images, and their words. Viewers are invited into this space as collaborators, with a programme of public workshops, and spaces for these outcomes to become permanent fixtures. Integrated working spaces allow the viewer to become a student of King’s artwork: a mutually informing exchange, via drawing or writing.

Just as King’s works from this period toy with impulses of human nature and movement, the exhibition’s structural interventions challenge the function of the gallery space. The outside world is drawn into the institutional space, animating it with semblances of the private. This utilitarian environment, by exhibition designer Anto Yeldezian, proposes a democratic relationship between viewer and work.

Taking cue from King’s imagery, Paperdwellers experiments with malleable and plastic natures, reimagining ourselves as writable, drawable, and erasable. It offers a domain for the act of making and thinking as modes that shape both the world and the self.

Born in 1951, Te Aroha, Susan Te Kahurangi King currently lives in Hamilton, New Zealand.

Texts by Kuini Campbell-Behar, Anna Rankin, and Shiraz Sadikeen

Exhibition design by Anto Yeldezian
Curated by Bridget Riggir-Cuddy

Public Programme

Saturday June 16 Writing workshop with Anna Rankin
Saturday June 30 Drawing workshop with Shiraz Sadikeen
Saturday July 14 Drawing with Susan

Group Show | Dark Horizons

Group Show | Dark Horizons

Opening event Saturday June 2, from 4pm

Te Uru, Auckland

Dark Horizons is a suite of three interconnected solo exhibitions exploring this state of global anxiety through the lens of Muslim migrant communities in Australia. The artists in the exhibition are Malaysian and Anglo-Australian brothers Abdul Abdullah and Abdul-Rahman Abdullah, and leading Lebanese-Australian moving image artist Khaled Sabsabi.

Each artist presents an individual contemplation on issues relating to migration and multiculturalism in Western colonial nations such as Aotearoa New Zealand. These concerns are explored through a range of media including film, sculpture, photography, embroidery and painting. Through a process of personal introspection, the artists shed light on our own complicity in contributing to the economic, environmental and political conditions afflicting our international neighbours.

Abdul-Rahman Abdullah (1977) works primarily in sculpture and installation and draws on his cultural heritage as the basis for his art practice. He has an extensive exhibition history nationally and internationally with numerous projects at major Australian public art institutions, including most recently Casula Powerhouse Arts Centre, Sydney, 2017.

Abdul Abdullah (1986) is an accomplished multi-disciplinary artists working across mediums including painting, photography, video, installation and performance. He has an impressive exhibition history with major projects throughout Australia and internationally, including recent works in Primavera at 25 at the Museum of Contemporary Art, 2016 and the 8th Asia Pacific Triennial at Queensland Art Gallery | Gallery of Modern Art, 2015.

Khaled Sabsabi (1965) was began his creative life as a hip hop artist in the mid-1980s, before completing a Master of Arts from the University of New South Wales in 1998. He regularly exhibits nationally and international, including projects at major world biennales, including the 3rd Kochi Biennale, India, 2016; the 1st Yinchuan Biennale, China, 2016; the 5th Marrakech Biennale, Morocco, 2014; the Sharjah Biennial 11, United Arab Emirates, 2013; the 18th Biennale of Sydney, Australia, 2012;  the 9th Shanghai Biennale, China, 2012 and the 21st Biennale of Sydney, 2018.

The exhibition opening will be preceded by artist talks at 3pm, including all three artists who are visiting from Australia.

This exhibition is staged in partnership with Pataka Art + Museum, who presented Dark Horizons in Porirura in 2017.


Jonathan Jones | Untitled (D21.281 GALARI BARGAN)

Jonathan Jones | Untitled (D21.281 GALARI BARGAN)

Opens Saturday June 2

Dunedin Public Art Gallery, Dunedin

In the 1920s the Australian Museum, Sydney exchanged a collection of Aboriginal and Papuan New Guinean material including a Galari (Wiradjuri) bargan (boomerang) with the Otago Museum, receiving two Māori amo (bargeboard supports) in return.  The amo, originally from the Hawkes Bay region, also connect to the unique concrete wharenui and church at Ōtākou marae on the Otago peninsula.

The ripples of colonial exchange continue to impact communities; Colonisation creating new global networks and relationships between indigenous peoples.  In early 2018 Sydney-based artist Jonathan Jones (b.1978), a member of the Wiradjuri and Kamilaroi nations of south-east Australia, visited Ōtepoti to undertake research toward a new work and discovered this connection between his Wiradjuri people and those of this rohe. Untitled (D21.281 Galari bargan) is a physical manifestation of ancestral forms and new relationships.

Vincent Ward | Palimpsest/Landscape

Vincent Ward | Palimpsest/Landscape

Opens Saturday June 2

The Suter, Nelson

A palimpsest is a reinvention.  The scarcity of parchment, a writing surface made from animal skin, led to its reuse during the Middle Ages through the careful scrapping away of layers of ink to make way for new text. The reused document was a palimpsest – a text with the ghost of its previous use lurking behind the new script. Vincent Ward’s Palimpsest/Landscapes takes this notion of reinvention and applies it to the body, environment, language and art.

These elemental films position the body and earth as connected. A necessary if sometimes difficult coexistence, the understanding of the body and landscape as linked, is ancient. Many creation myths, including that of Papatūānuku and Ranginui, explain the creation of the earth through the separation of parental bodies. Ward reimagines the human body as deserts, mountains, caverns and river beds with breath and water giving them both life. Through Ward’s filmic isolation these primordial bodies create an environment within the gallery in which the forces that shape humans and the land are understood as universal. This atmosphere is reinforced by the immersive soundscape that throbs and pulses.

Accompanying the three Palimpsest/Landscapes films are Haiku and New Words Under The Old. Language is central to these mesmerising works as text become three dimensional. Ink consumes water and marks the body, just as we scar and layer the land with human history and memory.

Palimpsest/Landscapes grew from Ward’s interest in painting, film, landscapes and history: “With ink, paint and pigments, bathe the human form directly, then breath on it with the elements, of wind, dust, rain and fog. It continued a range of experiments that I had been making where paint meets film, but rather than motion painting on film, it could be painting / filming on a new landscape, our bodies, male and female, ephemeral as the elemental world we live in, and as harsh and varied as the hill country I experienced as a child”.

Sarah McClintock
Suter Curator


Call for Entries | Wallace Arts Trust Awards

Call for Entries | Wallace Arts Trust Awards

Entries due Monday July 23, no later than 5pm

Key Dates:
Entries open: June 1 2018
Entries close: 5pm Monday July 23 2018 (NZ time) no late applications will be accepted
Round 1 judging finishes:  August 5
Finalists notified: August 6
Finalists’ delivery of artworks: August 21-23 .  Final Deadline 5pm, August 23
Round 2 judging finishes: August 26

Award Winners announced and opening of exhibition of finalists and travelling show:  September 3 2018.

The Pah Homestead:
Wallace Art Awards  September 3 –  November 4
Salon de Refusés 4 September – 28 October

Wallace Gallery Morrinsville:
November 29 –  January 28 2019

Wellington venue TBC:
February/March 2019

All Finalists in the Wallace Art Awards must undertake to make their work available for Trust exhibitions until mid-May 2019

he Wallace Arts Trust Paramount Award
A six-month residency at the International Studio and Curatorial Program in New York City, USA. The ISCP is the premier residency-based contemporary art centre in the United States for emerging to mid-career artists and curators from around the world. This residency includes a studio, 24-hour access to ISCP’s facilities, support from on-site staff, the opportunity to attend lectures given by members of the New York arts community, field trips including out-of-town expenses, and a minimum of two open-studio exhibitions/receptions. The Paramount Award Winner also receives a bronze trophy by Terry Stringer.

The Kaipara Wallace Arts Trust Award
A three-month residency at Altes Spital in Solothurn, Switzerland. This residency includes a large studio apartment, access to specialist studios, workshops and exhibitions.

The Wallace Arts Trust Vermont Award
A three-month residency at the Vermont Studio Center in Vermont, USA. This includes a studio, living expenses, counsel from a distinguished roster of six visiting artists and the fellowship of professional peers from around the world. The Vermont Studio Center was founded by artists in 1984 and is the largest international artists’ and writers’ residency program in the United States.

Apply for the Wallace Arts Trust Paramount Award, Kaipara Wallace Arts Trust Award and the Wallace Arts Trust Vermont Award here. Applications close 5pm, Monday 23 July 2018.

The Process:
Entries are invited from practitioners of painting, sculpture, audio-visual, print, photography, drawings and documented interdisciplinary arts. All eligible entries to the Wallace Art Awards will be considered by each Judge at Round 1 of the judging process.

The Judges’ decisions at Round 1 will determine those entries which become finalists for the awards.

Finalists will then be notified and asked to deliver their artworks to the Pah Homestead for Round 2 of the awards judging. Nominated finalists need to confirm their intention to deliver artworks within 72 hours of notifications being sent, a non-response will result in the opportunity to participate in the awards being withdrawn.

Finalists and winners will be selected based on the sole criterion of excellence of the work; the gender, ethnicity, age and geographic location of the artist are irrelevant. The Judges’ decisions are final, and no correspondence will be entered into in that regard.

Application Requirements:

Apply online for all Wallace Art Awards here.

Fulbright-Wallace Arts Trust Award here. (note different criteria and processes)
BSR Wallace New Zealand Residence Award here. (note different criteria and processes)

The application materials consist of:
1. Copy of proof of New Zealand Citizenship (passport preferred) or New Zealand Permanent Residence

2. One or two digital photographs of the submitted artwork of a suitable quality
(a.) .jpg files are the preferred format. File size up to 4mb
(b.) File resolution should be around 300 dpi
(c.) If your artwork is selected as a finalist an image of the work may be printed in the Art Awards catalogue. Please note that the catalogue is printed in an A5 format so please consider this when sizing your images
(d.) If your artwork is a video work you must provide a still in .jpg format

3. Supporting written statement about the artwork Maximum 500 words
– Describe the body of work that you are currently working on and your motivations for taking this direction
– Explain how you would benefit from the experience of an overseas residency in general and, if appropriate, the ISCP, Altes Spital or Vermont residencies in particular
– Explain techniques and/or concepts used towards making the entered artwork
– Contextualise the entered artwork within broader artistic or cultural movements or traditions

Applicants are advised that judgments are made on the basis of the submitted image(s) or uploaded video file rather than the strength of the supporting written material.

4. Applicants may also choose to supply a small artistic portfolio of a further two or three works contextualising the artwork entered for the awards. The contextual portfolio artworks should have been made in the same period as the entered artwork to foreground a development or an articulation in the artist’s practice. This is not a requirement of entry.

5. For video artworks, in addition to digital still, a full video must be supplied via a password-protected URL link (e.g. Youtube, Vimeo etc.) or via a file delivery service (e.g. WeTransfer, DropBox etc.)

Keep a copy of the Wallace Art Awards Terms and Conditions and BSR Terms and Conditions for your own records.

Image: The Wallace Arts Trust Paramount Winner 2017, Harmonic People (detail), 2017, Andy Leleisi’uao, acrylic on canvas, 1500 x 2400 mm

Call for Entries | Impressions National Art Awards 2018

Call for Entries | Impressions National Art Awards 2018

Entries due Friday August 31 2018

Impressions are proud to sponsor this national art award open to all New Zealand residents

The 2017 Awards were organised and managed by the newly-formed Tasman Art Focus Group. This year’s organising panel was led by nationally recognised Ruby Coast artist printmaker, Graeme Stradling and supported by fellow artist Glenys Forbes. Lewis Della Bosca of Impressions also provided input into the group.

The 2018 Impressions National Art Awards entry forms are now available to download below

Download the Impressions National Art Award Criteria as a PDF HERE

Image: Impressions Supreme Award: “Violet II” by Sally Barron

Richard Stratton | Living History

Richard Stratton | Living History

Opens Saturday June 9

The Suter, Nelson

Brutalist architecture, Russian constructivism, broken ceramics scavenged from the river Thames and the everyday realities of suburban life have all influenced this new body of work by ceramic artist Richard Stratton.

Over his twenty-year career, Stratton has become known for creating intricate domestic ware, juxtaposing historical ceramic techniques with decorations that reference pop culture. In Living History Stratton extends these ideas, as the result of his 2015 residency at Guldagergaard, an international ceramic research centre in Denmark. The residency inspired him to move away from figurative representation into enigmatic, abstracted forms.

Stratton’s work is unusual in that instead of stemming from Asian ceramic traditions—as many other studio potters’ practices do—it develops out of European industrial production. For Living History, he created over 200 variants of redware and black basalt stoneware clay by eighteenth century potters William Greatbatch and Josiah Wedgwood. In reproducing clays from the European industrial revolution, Stratton acknowledges that objects such as bricks, chimneys and even toilets are just as important to our heritage as our nationally treasured Crown Lynn. He reflects:

Internationally, ceramics has played a key role to unlocking human history, helping us to date our growth via fragments of clay. New Zealand’s industrial ceramic history was based upon techniques reflected in sherds (pieces) I found while mudlarking on the Thames. These sherds are examples of processes our ceramic predecessors were influenced by and became the backbone of early New Zealand pottery.

 The works in Living History were built gradually and painstakingly by hand, each taking about one month to complete. Consequently, Stratton’s works absorb his concerns and responsibilities as an artist and stay-at-home father. One of his most abstracted works, Girl from the Mailbox, is based on a clothing model from a Farmers catalogue: part of a commercial world that affects Stratton’s practice just as much as the historical techniques he researches. These realities drew Stratton to modernist movements such as constructivism and brutalism on his residency, which are both reactions to the industrial age. Each calls for artists and architects to understand the limitations and possibilities of the materials they work with, so that their final output is stripped down to its most essential elements.

Connecting these components, Stratton draws links between past and present and the hidden influences that permeate contemporary New Zealand society.

Living History is developed and toured by The Dowse Art Museum with the support of Creative New Zealand.

Call for Applications | Wild Creations

Call for Applications | Wild Creations

Applications due Friday August 24

Creative New Zealand has teamed up with DOC again to help artists get inspiration from nature! Wild Creations offers artists the opportunity to experience DOC environments and / or programmes as inspiration for new work.

Wild Creations offers a minimum of two artists the chance to experience Department of Conservation environments and/or programmes as inspiration for new art work.

For full information and application visit their website

Project timing

  • You must be available to undertake your nominated Wild Creations experience between December 2018 and June 2019.

Benefits and track record

  • Your project or activities must directly benefit New Zealand (NZ) arts, artists or practitioners.
  • You must have a track record of arts experience and success. This means you must have:
    • recognition from peers or experts
    • specialised training or practical experience
    • successfully completed an arts project, outside of a course of study, that received a degree of critical or sales success

Who can apply

  • You must be an individual artist who is a NZ citizen or permanent resident – organisations are not eligible to apply for this fund.
  • Overseas-based NZ artists can apply, but your application must show direct benefits to NZ arts and you must have it endorsed by:
    • a NZ artist(s) resident in NZ and/or;
    • a well-established NZ-based arts organisation(s).

For full information and application visit their website


Marie Shannon | Short Stories

Marie Shannon | Short Stories

Opening event Sunday June 17, from 4pm

Trish Clark, Auckland

Trish Clark Gallery is pleased to present a solo exhibition by Marie Shannon to coincide with both the 2018 Auckland Festival of Photography and her survey exhibition Rooms found only in the home currently at Adam Art Gallery, Wellington. Shannon’s survey exhibition was developed and presented by Dunedin Public Art Gallery in 2017 and tours to Auckland in 2019. Developed from DPAG’s holdings of the artist’s work and her personal archive, the exhibition brought together the history and current concerns of this important artist.

Short Stories will elucidate her importance within contemporary New Zealand art history, marking a departure for Shannon in bringing together a body of moving image works developed over the past eight years, including three new short videos.

Shannon represented New Zealand in 1996 at the Asia Pacific Triennale held at Queensland Art Gallery, and also exhibited that year in Sydney at the Australian Centre for Photography. Two years later Shannon showed at the Govett Brewster Gallery, New Plymouth, and the Australian Centre for Contemporary Art, Melbourne. In 2000 her work was included in the exhibition Fissures, shown at ACProjects, New York, curated by Connie Butler as part of the series, Five Shows, Five Curators.

Auckland-based artist Marie Shannon has been creating delicately intimate, witty and thoughtful works for over thirty years. While the domestic has remained her primary concern, her work has also addressed the artwork of others as a way to investigate the creative process. Since the death of her partner, artist Julian Dashper, in 2009, Shannon has been cataloguing his works and archive in their shared Auckland studio. From this lengthy process she has gathered the material for her text-based video works and related photographs. Her desire to use text in a visual, as well as a narrative context, stems from an interest in the conventions of text titles and credits in movies.

Working with photography as her principal medium, Shannon’s practice also incorporates drawing and video. Her use of a large-format camera and her own hand-printing results in sharp, finely detailed silver gelatin prints, variously toned with sepia, selenium and gold. Shannon is interested in the narrative or poetic resonance of the single object, “using photography to display, or show something and to ask the viewer to pay particular attention to it.”

Call for Proposals | Studio One Toi Tū

Call for Proposals | Studio One Toi Tū

Proposals due Sunday July 22

Studio One Toi Tū, Auckland

Call for Exhibition Proposals for the 2019 calendar year are now open. Applications close on Sunday the 22nd of July. Get started now and get planning for your next show at Studio One Toi Tū.

Follow the link for more information and to apply.

Studio One Toi Tū offers more ways for Aucklanders to meet and share ideas, skills and practices with each other and visitors. Whether you’re a beginner or experienced, a maker, a resident or a visitor, creativity can become part of your life in Auckland.

Studio one Toi Tū is always keen to hear from makers and innovators with ideas for events, activities and exhibitions or those with studio or space enquiries and proposals.

Call for Proposals | NZSoS 2018 Indoor Gallery

Call for Proposals | NZSoS 2018 Indoor Gallery

Proposals due Friday August 31, no later than 5pm

NZ Sculpture OnShore are now inviting submissions for the Indoor Gallery at NZ Sculpture OnShore 2018 is now open. In 2016, the gallery raised tens of thousands of dollars for Women’s refuges and artists around the country.  If you’re an artist working in small sculpture or quality objet d’art, and would like your work to be seen by an arts-focused audience of 20,000 while supporting a good cause, then they would like to hear from you.

All artists interested in proposing an artwork(s) for the Indoor Gallery space in the Officers’ Mess at Fort Takapuna in Auckland are invited to submit a proposal(s) for consideration. It is not a themed exhibition. All concepts will be considered.

Proposals will be received until 5pm on Friday August 31 2018. – however they urge you to register early to secure your space. There is no entry fee.

NZ Sculpture OnShore looks forward to hearing from you.

– Ross Liew and Anna Hanson, Curators, NZ Sculpture OnShore 2018.

NZ Sculpture OnShore is a national biennial event presented at the spectacular Fort Takapuna Historic Reserve on Auckland’s North Shore. The Indoor Gallery is an opportunity for artists to place sculptures and works related to their sculptural practice within an indoor environment focused on sales. For several years the indoor gallery has included both artists who have been selected for the outdoor exhibition and any other artist who submits work of a suitable quality.

The focus in the Indoor Gallery is to provide a very diverse offering of high quality art works of all sizes for interested art collectors and members of the public. NZ Sculpture OnShore aim to include many smaller art works that are priced more modestly; and several artists have provided us with multiples and editions.

NZ Sculpture OnShore welcome submissions of more than one work.

All of the works will be for sale. NZ Sculpture Onshore Ltd will take a commission of 33⅓%, the proceeds of which will directly benefit NZ Women’s Refuges. They are proud to say that, since its inception, more than $1.7 million dollars has been donated for women and families in need across New Zealand.

For more information, please visit their website, or contact us at

All proposals should be submitted via our online form here:

2018 Exhibition |  November 3 – 18 | Fort Takapuna, Devonport, Auckland |

Enquiries |

image: Russell Beck, ‘Autumn Diagonal’, 2014. Photo: Goina Thedinga,

Call for Proposals | Paragon Matter

Call for Proposals | Paragon Matter

Proposals due Wednesday August 1

Paragon Matter is excited to announce a new outdoor sculpture exhibition open to all practising artists.

The exhibition site is located in the historical milling town of Owhango, bordering the Ohinetonga Reserve, next to the Tongiriro World Heritage National Park.  Owhango Summer Sculpture Show will showcase artwork by leading New Zealand sculptors at the inaugural exhibition in January 2019.

Established by artists Jonathan Organ and Jessica Pearless, the inaugural exhibition offers professional artists the opportunity to present works in the unique enviroment of Owhango, close to New Zealand’s most stunning scenery.

All works exhibited will be for sale. Assistance with installation will be provided.

How to apply

Expressions of interest are invited until  August 1 2018.

Please include:
– An artwork concept, sketches, digital renderings
– Artist curriculum vitae
– Portfolio of past work

To request a site map and images contact: 

Jonathan Organ + Jessica Pearless
Paragon Matter

Rosie Parsonson | Eye Candy

Rosie Parsonson | Eye Candy

Opening event Friday June 22, from 5.30pm

Megan Dickinson Gallery, Whangarei

MD Gallery proudly presents Rosie Parsonson’s much anticipated solo exhibition – Eye Candy.  We warmly invite you to attend the grand opening event on Friday 22nd June 5.30-7pm.  Rosie’s breathtaking body of work features large and small scale paintings along with a limited edition series of embellished prints.  A fabulous collection of vitrified stoneware vessels by “Rosie & Rich” will be available to purchase on the night too.

For the duration of her exhibition, you will have the opportunity to see Rosie in action every Saturday from 11am-1pm at the gallery.  Weather permitting she will be completing her gorgeous mural (which is already looking fantastic!) on the outside wall of the gallery, or indoors working on a painting or two.

We are also very excited to announce that our friends at McLeod’s Brewery, Waipu are kindly sponsoring this event with their delicious hand crafted beer.

If you cannot make it to the opening event do not despair. The works will be available for preview from June 20 and the exhibition runs until July 21, so plenty of time to view these unique works.

Thomas Pound | The Instance No Categories

Thomas Pound | The Instance

Opening event Wednesday June 20, from 5pm

Old Government House, Auckland

Visual Poetry
Thomas Pound has a unique, curious eye refined by years of film-making, theatre design, museum exhibits and found-object sculpture. For his latest visual harvest, once again, he collects from the streets. A hundred Instagram squares richly informed by what the Count de Lautréamont called ‘the chance meeting of an umbrella and a sewing machine,’ not to mention roses, road cones, rotundas, and rare birds. This is vital visual poetry for all creative readers.
Roger Horrocks, Emeritus Professor at the University of Auckland.
“The works encourage a type of seeing that can produce a disconcerting response: have I been here before? I remember a playground like that when I was younger…Reframing both his and our reality is indeed the territory of his work.” Sam Melser, curator.
On Instagram : thomasnewmanpound

Frances Atkins | Matariki No Categories

Frances Atkins | Matariki

Opening event Sunday June 24, from 4pm

Northart, Auckland

Window galleries

We celebrate the new beginnings that Matariki brings with an exhibition in the window space by Frances Atkins (Ngati Kahungunu, Ngati Porou), who participated in the gallery’s first Matariki show 12 years ago. That was the start of a close relationship between Northart and the Northcote-based painter, whose creative practice in recent years has traced the changing face of Maori. Viewable by day and at night under lights, works from Frances’ 2016 ‘Tekau’ exhibition will hang alongside new pieces produced especially for this show.

Image: Frances Atkins 2018 ‘Potiki’

Kaporangi Kiriata | CineMarae

Kaporangi Kiriata | CineMarae

Opening Tuesday June 26

TSB Wallace Arts Centre, Auckland

Te ao mai ngā whatu Māori – The World Through Māori Eyes
AV Gallery

CineMarae brings together, for the first time, a collection of artworks inspired by the kaupapa of the long-running Wairoa Māori Film Festival. The collection includes works by Natasha Keating, Tracey Tawhiao, George Nuku, Tame Iti, Charlotte Graham, Ratu Tibble, Miigizi, Assinajaq, Kereama Taepa, Johnson Witehira and Matthew Randall.

For fourteen years, the Wairoa Māori Film Festival has brought together film makers and artists on the East Coast of New Zealand to support Māori film making and Māori art. Alongside the annual presentation of films, many Māori artists have supported the kaupapa of the festival through commissioned and inspired art works. CINEMARAE is the first time these works have been brought together in one exhibition. This collection commemorates an exhibition held at Taumata Gallery, Newton, in 2005 that first launched the Wairoa Māori Film Festival kaupapa in Auckland. It was held under the patronage of Dame Georgina Kirby.

Moving image art works were presented as part of the film festival. Painted and printed art works have become the worldwide imaging (posters, programme and online) for the festival. Commissioned works were also gifted as trophies to award winners each year, and many works have been gifted to guests of the festival in the spirit of manaakitanga.

Curated by Leo Koziol

Image: Tracey Tawhiao, Poster for Wairoa Māori Film Festival (2014)

The Physics Room Artists Alliance Intern

The Physics Room Artists Alliance Intern

Applications due Friday July 20

The Physics Room Artists Alliance Intern

The Artists Alliance Internship Programme 2018 is now calling for applications from recent visual arts/art history graduates for a fixed term, paid internship with The Physics Room. The aim of the programme is to provide a valuable opportunity for graduates to obtain significant work experience in the arts industry. The programme has been made possible with generous funding from Rata Foundation.


Access Co-ordinator Internship Position Description


The Physics Room is an internationally recognised contemporary art space dedicated to developing contemporary art and critical discourse in Aotearoa New Zealand.

At the beginning of 2018, The Physics Room shifted its operational model and its physical site. At the core of these organisational changes was a desire to increase access to the practitioners and work The Physics Room supports and raise our level of visibility within the wider Ōtautahi community.

In establishing these organisational changes, we acknowledge access as a cornerstone of our organisation and, accordingly, the responsibilities of the internship will be integrated across a few key areas of our current activities. The Access Co-ordinator Intern will work closely with the Director and the Assistant Curator and utilise The Physics Room’s Audience Development Strategy to play a key role in the successful development and delivery of inclusive and expansive public programme events with the goal of building new and developing existing audiences.

The organisational changes we’ve implemented in 2018 reflect our belief that the exhibitions, events, and publications we present should be widely accessible. A key feature of the new location is our expanded foot traffic/audience and the Access Co-ordinator Internship will work in this area to develop our audience interfaces that introduce new visitors to the gallery, as well as continuing to ensure the expectations of our existing audience are met and exceeded.

Key Relationships:

  • The Physics Room Director, Assistant Curator, Office Manager, Publication and Writing Co-ordinator, Gallery Volunteers
  • Artists Alliance
  • Contemporary artists and arts professionals
  • Select stakeholders, collaborators, and partners
  • Audience members

Key Responsibilities:

Audience Development & Public Programming

  • Utilise The Physics Room’s existing Audience Development strategy to target audiences and develop pertinent public programmes
  • Support, develop, and manage a range of public programme activities that extend our exhibitions (and run parallel to them)
  • Provide introductory material and present talks or workshops when required
  • Support audience hosting and exhibition interpretation within the gallery space through development of recommended reading lists, printed materials, and other didactic and interpretive materials

Project Management

  • Co-ordinate and assist with events and performances ensuring timelines are developed and followed, contracts when needed are used


  • Support other staff with projects when required
  • Staff the gallery space as required


  • Support Director and Assistant Curator with editing of texts and publicity writing
  • Ensure that publicity and promotional materials are used to reach new audiences and develop existing audiences
  • Ensure content for events listings is written on time
  • Engage in targeted social media activities in reference to The Physics Room’s Digital Strategy

Desired Skills & Competencies:

  • Shows an awareness of, and commitment to, the principles of Te Tiriti o Waitangi
  • A relevant New Zealand visual arts/art history qualification
  • Interest in and knowledge of contemporary art
  • Ability to write in a clear and accessible manner
  • Familiarity with social media platforms like Instagram, Facebook, and Twitter
  • Interest in public programming and audience development
  • Ability to research and develop programming proposals
  • Excellent communication skills

This position is 28 hrs/week 18-week fixed term contract and will sometimes include after hours and weekend work.

The preferred start date is August 20, 2018.  End date December 21, 2018.

To apply please submit a current CV and a cover letter outlining your interest in the role and experience by sending to with the job title in the email subject line.

The deadline for applications is July 20, 2018

Interviews will be scheduled to take place at The Physics Room, Christchurch on July 25, 2018

Jo Ogier and Margaret Elliot | Above and Below

Jo Ogier and Margaret Elliot | Above and Below

Opening event Wednesday June 27, from 5.30pm

Solander Gallery, Wellington 

Jo Ogier: Above and Below

Works by Christchurch based artist Jo Ogier are often concerned with issues of conservation, ecology and the role each of us can have in nurturing, protecting and preserving our fragile world. Her work seeks to celebrate the beauty and fragility of the natural world around us with the aim to help us better appreciate, protect and preserve it for future generations.

“In these works I have focused on some or the smaller New Zealand birds in their terrestrial habitats. Using the wonderful fluid qualities of watercolour to capture the fragile and ephemeral moments, like the flit and flutter of a bird within an environment that is always in flux.”

Margaret Elliot: Above and Below

“The thrill in Landscape is a spatial thrill” David Hockney

For over thirty years I have lived on the South coast of Wellington. The drama of the coastal environment continues to fascinate with dramatic weather changes and the force of the sea eroding both land and man made structures alike.

Jacques Cousteau was always compulsory viewing on our black and white TV set. I wanted to become a marine biologist until I discovered that counting limpets in a square metre quadrant is boring and I ended up going to the dark side, art!. I realised that although I was interested in the how and why, I was much more interested in the visual delights of the marine environment.

The two major interests that have driven my painting practice have been the need to convey a sense of the drama of space and scale and a fascination with natural processes and the patterns and forms resulting from these. The painting as it develops over time and the layers build up is a summation of many aspects of my experience of the natural world and my feelings for it and a dialogue with the medium of paint to create a language to express and convey this to the viewer

Image: Margaret Elliot, Beneath the Skin of the Sea, oil on board, 400 x 400mm, 2018

The CoCA Artists Alliance Intern

The CoCA Artists Alliance Intern

Applications due Friday July 20

The CoCA Artists Alliance Intern

The Artists Alliance Internship Programme 2018 is now calling for applications from recent visual arts/art history graduates for a fixed term, paid internship with CoCA. The aim of the programme is to provide a valuable opportunity for graduates to obtain significant work experience in the arts industry. The programme has been made possible with generous funding from Rata Foundation.

CoCA is a place of doing – a place where things happen and people connect. Through thoughtfully curated programmes and exhibitions, we foster the creation and celebration of inspiring and provocative contemporary art from exciting local and international artists.


Public Programmes/Education/Curatorial Intern 2018

The purpose of this role is:

> to develop, provide direction, co-ordination and evaluation of CoCA’s education and public programmes.

> to ensure the forward-thinking activities complement and supplement CoCA’s exhibition programme and engage diverse audiences of all ages.

> to provide curatorial support to the programming manager.
This role is responsible for visitor engagement both onsite at CoCA and externally.

Key Responsibilities:

Public Programmes

>Develop and deliver public programmes that are relevant to both the exhibitions and the community, in consultation with the curator, programme manager and director.

>Put a new spin on the standard artists talk format.

>Identifying new audiences and developing programmes to reach the, e.g. Mums and Bubs.

>Providing the Marketing and Communications team with public programming content for CoCa’s website, publications and other marketing needs.

>Work closely with the Marketing and Communications Committee to promote Coca programmes to target audiences.

>Deliver talks, lectures, host visitors, at public programme events, present school group tours, present exhibition tours.

>Ensure familiarity with the exhibitions to extrapolate interesting elements to share with public and visitors.

>Be present at al public programme events, act as host and representative of CoCA.

>Liaise with Gallery Operations Manager for all public programme events.


>Research and write relevant exhibition resource materials related to exhibitions which appeal to upper-high school and tertiary students.

>Distribute relevant exhibition resource materials to educators for them to distribute.

>In consultation with the programme manager, develop educational exhibitions to complement CoCA’s exhibition calendar.

>Assist the Marketing and Communications Committee to maintain the educational contacts on the CoCA website.


>Assist the programme manager with research for exhibitions, including artists, works, etc.

>Assist with the preparation and organisation of exhibitions

>Assist with the installation and maintenance of exhibitions, including working on the gallery front desk.

>Assist staff with general office administration as required.


>Act as the public face of the gallery during opening hours, including time at the reception area.

>Be responsible for minding the gallery at weekends.


Key Relationships

Internal: Fellow gallery employees; Gallery volunteers; Contractors; Café staff; Artists Alliance.

External: Exhibiting artists and the wider community of artists; Curators, critics, gallerists; Visitors to the gallery; Media; Patrons; Funders.

Skills and competencies

Technical: Writing skills; Experience in step by step planning of an event, run sheets, set up etc.; A critical perspective on contemporary art; Project and time management skills; Basic gallery maintenance and installation.

Behavioural: Responsible; Ability to work independently when required; Communication and customer service skills; Ability to think on the spot and problem solve; General can-do attitude, will come up with ideas and move chairs e.g.; Ability to work outside normal hours including weekends and evenings.


Desirable: Writing public programmes for a public gallery; Delivering public programmes for a public gallery ad off-site; Working with artists; Working with members of the public in a customer-facing role; Experience in the non-profit cultural sector; Experience in education or communications; art handling.

This position is 24 hrs/week 18-week fixed term contract.
The preferred start date is August 20, 2018.  End date December 21, 2018.

How to apply

To apply please submit a current CV and a cover letter outlining your interest in the role and experience by sending to with the job title in the email subject line.

The deadline for applications is July 20, 2018

Interviews will be scheduled to take place at CoCA, Christchurch on July 25, 2018

Why Art Matters | Health and Wellbeing

Why Art Matters | Health and Wellbeing

Tuesday August 15, at 6.30pm

TSB Wallace Arts Centre, Auckland

In collaboration with Māpura Studios, this evening will explore what effect art making and art viewing can have on your wellbeing. When we engage in creative play or carefully observe an artwork, are we also creating an opportunity for a transformative experience?

About the Speakers:
Andrew Young – Andrew has been a leader in the healthcare sector for almost 20 years and firmly believes in the healing power of art in hospitals. As the former CEO of the Starship Foundation and the current CEO of the Well Foundation, the official charity of the Waitemata DHB, Andrew’s role embraces high-level fundraising to enhance the whole patient experience.

Jimmy James Kouratoras – Jimmy has always worked with his hands. Descended from a long line of artisans, his Cretan and Māori heritage are woven together by surf, skateboards and graffiti. Since 2012 Jimmy, an entirely self-taught artist, has focused exclusively on developing his own craft.

Diana McPherson – Diana comes from a business background and has worked as CFO for a multinational organisation. Diana is Director of Māpura Studios, a growing charitable creative space working with people with diverse needs. Diana’s main goals for Māpura Studios are focused on the health and wellbeing of their artists.

Professor Suzanne Purdy – Professor Suzanne Purdy is Head of the School of Psychology at the University of Auckland and Principal Investigator in the University of Auckland Centre for Brain Research (CBR) and the Brain Research New Zealand Centre of Research Excellence. Her academic background is in psychology, speech science and audiology and she has research interests in communication disorders, auditory processing, hearing and neurological conditions.

Our chair for the evening is John Glass

Run of events:
5.30pm: Galleries open + refreshments available from Homestead Eatery
6.30–8pm: Presentations, conversations and questions
8.30pm: Doors close

Tickets by Eventbrite
Adult: $25
Concession: $20

Image: Sung Tevita Hyundo, Untitled (2014), oil on canvas, on loan at North Shore Hospital from the Wallace Arts Trust Collection

Daniel Rose | North of the Lake

Daniel Rose | North of the Lake

Opening event Thursday June 28, from 6pm

play_station, Wellington

Join us for the opening of North of the Lake, an ongoing exploration of the relationship between self, camera and city; which combine to project subjectivity outwards in the form of the photographic image. Photography is utilised to generate a new imaginary, perhaps based on a receding reality, but it acknowledges that one cannot escape what Daido Moriyama calls the “original landscape”; a mental image of the first landscape someone becomes familiar with as a child. The qualities of which are both sought in new surroundings and cast from the camera onto foreign territories.

The resulting images are impressions of experience – a record of awareness. They document personal interactions and are influenced by psychogeographic forces of urban experience in Huangshi and Wuhan. Both cities located north of the Dongting Lake, in Hubei Province, China.

Daniel Rose is a photographer based in Wellington. He graduated with an MFA from Massey University in 2016.

Laurel L. Barr | The Panacea Placebo Project

Laurel L. Barr | The Panacea Placebo Project

Opening event Thursday June 28, from 6pm

play_station, Wellington

Laurel L. Barr is a visual artist whose work uses a variety of media and looks at the intricacies of aspects of health, health care and psychology.

This project is exhibited in the Main Space, and explores our stories as patients, the doctor-patient relationship, and the communication surrounding our bodies and


Alongside The Panacea Placebo Project, Daniel Rose’s show North of the Lake will be showing in the Yellow Room

North of the Lake is part of an ongoing exploration of the relationship between self, camera and city; combined to project subjectivity outwards in the form of the photographic image.

Kris Sowersby | There is no such thing as a New Zealand Typeface No Categories

Kris Sowersby | There is no such thing as a New Zealand Typeface

Opening event Friday June 29, from 6pm

Objectspace, Auckland

The British have Gill Sans, the French, Garamond, the Italians, Bodoni, the Swiss, Helvetica. Is there a relationship between a typeface and place? Can a typeface have a regional accent?

With a lack of digital typefaces to choose from, and motivated to create a typeface that local designers could use to communicate with rather than reaching for foreign ones, typeface designer Kris Sowersby began investigating a typeface that would be from New Zealand. It was first released in 2007 and was named National.

Now National is everywhere, especially here at home. It’s on the front cover of the Anthology of New Zealand Literature and in the New Zealand Fashion Design encyclopedia. It’s there every time you pass a Z petrol station or a Westpac billboard. It’s at Te Papa Tongarewa, the Christchurch Art Gallery, and throughout the branding of Victoria University. It’s on everything at Xero. It’s the face of for New Zealand Tourism. It’s even been pulled into politics by the Green and Labour parties. When we want to say “New Zealand”, we seem to reach for National.

Image: Kris Sowersby, 2018

Martin Awa Clarke Langdon and Elliot Collins | Te Reo Pākehā

Martin Awa Clarke Langdon and Elliot Collins | Te Reo Pākehā

Opening Friday June 29

Toi Pōneke, Wellington

Te Reo Māori, like any language is important to the vitality and meaning of culture. The exhibition Te Reo Pākehā asks how we understand these meanings when looking at Te Reo Māori as
non-Māori or as a Māori disconnected from learning the language in the home?

Working across sculpture and painting, artists Martin Awa Clarke Langdon and Elliot Collins converse and reflect on the power of language, place and variation of ‘meanings’ we have access to.

Free Te Reo Māori Lesson
Saturday July 14, from 1-2pm 

Toi Pōneke HUB

In this fun, relaxed, workshop taught by Joan Costello, you will be given the opportunity to learn six accessible, fun and memorable pronunciation tips that will give you confidence to use Te Reo Māori.

Son La Pham | Warm Blood No Categories

Son La Pham | Warm Blood

Opening event Friday June 29, from 6pm

Objectspace, Auckland

Imagining a momentary blur between the opposing axes of corporate identity design and popular music, Warm Blood threads itself into the industrial production of emotion.

Inserting itself between the composite identity mechanisms of commercial art forms – typographic identities, mascots, popstars and their various charms – Warm Blood responds to these visual and auditory exchanges of feeling with a form of branding fan-fiction: one that finds concrete poetry at the karaoke bar, and seeks the beautiful affects in our interactions with these charismatic, partially artificial intelligences.

Image: Son La Pham

Whenua Hou |  New Māori Ceramics No Categories

Whenua Hou | New Māori Ceramics

Opening event Friday June 29, from 6pm

Objectspace, Auckland

Whenua Hou: New Māori Ceramics
Dan Couper, Davina Duke, Stevei Houkamau, Hera Johns, Tracy Keith, Jess Paraone, Hana Rakena and Aaron Scythe.

Whenua Hou: New Māori Ceramics, a joint project between Tauranga Art Gallery and Objectspace, was conceived as a selected survey of recent uku practice. It features new and existing work from artists who come from a variety of disparate geographical locations, making backgrounds, and conceptual positions, but who share (for the most part) an interest in creating works based on kaupapa Māori.

Image: Hera Johns, Kaitiaki

Nga Tohu o Te Kawerau a Maki | the people, their stories and treasures

Nga Tohu o Te Kawerau a Maki | the people, their stories and treasures

Opening Saturday June 30, from 10am

Te Uru Waitakere Contemporary, Auckland

Te Uru Waitakere Contemporary Gallery in Titirangi is pleased to present Nga Tohu o Te Kawerau a Maki – the people, their stories and treasures – an exhibition celebrating the mana whenua of Waitakere and surrounding districts. The exhibition will open at Te Uru in Titirangi on 30 June, following on from the dawn karakia at Arataki Visitor Centre, which launches Matariki Festival 2018.

Nga Tohu o Te Kawerau a Maki marks an ongoing and developing relationship between the gallery and local iwi. Te Uru, a name that refers to the phrase Te Hau a Uru (the wind from the west) was gifted to the gallery by Te Kawerau a Maki. Te Hau a Uru, developed in partnership with Te Kawerau a Maki, was ALSO the first exhibition held in the gallery in November 2014.

Image: Hei Tiki Pounamu from Te Kawerau a Maki Collection

World Press Photo Exhibition 2018 | Auckland, New Zealand

World Press Photo Exhibition 2018 | Auckland, New Zealand

Opening Saturday June 30

Smith and Caughey’s, Auckland

Visit the World Press Photo Exhibition 2018 on its world-wide tour showcasing the stories that matter with photography from the 61st annual World Press Photo contest.

The winners were chosen by an independent jury that reviewed more than 73,000 photographs entered by 4,548 photographers from 125 countries.

Tickets available to purchase on the ground floor kiosk in Smith & Caughey’s (outside the elevators)

Weekdays: $15
Weekends: $20
Students: $10 with valid ID (Recommended 12yrs+)
Groups of 10+ and school bookings:

Visitor information:
Ticket kiosk ground floor, Smith & Caughey’s
253-261 Queen Street
New Zealand

Visiting hours:
Mon – Weds: 9.30am – 6.30pm
Thurs – Fri: 9.30am – 9.00pm
Saturday: 10.00am – 6.00pm
Sunday: 10.30am – 5.30pm

For more info:

About the World Press Photo Foundation

We are a global platform connecting professionals and audiences through trustworthy visual journalism and storytelling, founded in 1955 when a group of Dutch photographers organized a contest (“World Press Photo”) to expose their work to an international audience. Since then the contest has grown into the world’s most prestigious photography competition, and through our successful worldwide exhibition program, we present to millions of people the stories that matter.

The World Press Photo Foundation is a creative, independent, nonprofit organization, based in Amsterdam, the Netherlands. We receive support from the Dutch Postcode Lottery and are sponsored worldwide by Canon.

Alan Ibell | Problemata

Alan Ibell | Problemata

Opening Tuesday July 3, from 5.30pm

Sanderson Contemporary, Auckland

The title Problemata is taken from Aristotle’s ancient philosophical text which poses questions across topics as diverse as ethics, the human body and meteorology.

Fans of Ibell’s spare, questioning canvasses will instantly sense the connection as he continues to explore themes of the unconscious, dreams, psychological space and the fractured reflection or shadow double.

“I am currently interested in the subtle deconstructing of figurative elements within the works to pose a kind of compositional “problem” that extends beyond the narrative. The works remain in the realm of narrative and the representational but aim to exploit the nature of the painting as an object within the architecture of the gallery space.”

The Problemata of the title also refers here to painting itself, and to both the narrative issues within the figurative paintings, such as problems of scale (the same portrait is repeated in various dimensions) and formal questions within the materiality of the work and its relationship to the physical environment.

Elements are repeated throughout the works to draw attention to the two realms. A small portrait detail within a large composition appears, for example, as independent work on another wall in the gallery.

In Problemata #2: Thimblejib, an absurdist, existential vignette references the shell game or “Thimblejig” in which the player must guess under which of the three cups or thimbles the hidden treasure lies. The figure stands among three forms unaware of the snake that hides beneath one. He appears ignorant while the viewer is privy to knowledge of the danger, forcing the viewer to confront their position outside of the painting’s narrative world.

Group Show | Fine Moon, Poor Tuning

Group Show | Fine Moon, Poor Tuning

Opening event Tuesday July 3, from 5.30pm

MEANWHILE, Wellington

fine moon, poor tuning

“When a machine runs efficiently, when a matter of fact is settled, one need focus only on its inputs and outputs and not on its internal complexity. Thus, paradoxically, the more science and technology succeed, the more opaque and obscure they become”.
– Bruno Latour

MEANWHILE is delighted to present fine moon, poor tuning, an exhibition by David Ed Cooper, Claudia Dunes, Rainer Weston and James Wylie.

Fine moon, poor tuning interrogates technology, language, and the material remains of information flow between people and machines. Playing upon the relationship between machines, social control, the contestation of territory and expansion of capital, the works in the exhibition, in varying ways, demonstrate how technologies manufacture our world, and speculate upon how, by re-purposing machines, alternate paths can manifest.

Group Show | Signs & Symbols

Group Show | Signs & Symbols

Orexart, Auckland

Selected work by a host of artists including:
Simon Allison, Stephen Allwood, Kathy Barber, Robert Ellis, Wes Fieldhouse, Gill Gatfield, Max Gimblett, Jeffrey Harris, Paul Jackson, Roger Hickin, Richard Lewer, John Madden, Richard McWhannell, Peter James Smith, Shannon Williamson, Peter Wichman and Glen Wolfgramm.

In 1948 Vladimir Nabokov wrote a short story about an elderly couple taking a present to their incarcerated and frequently suicidal son. The last time he had tried, his method had been, in the doctor’s words, a masterpiece of inventiveness. He didn’t succeed because an envious fellow patient thought he was learning to fly and stopped him just in time. Nabokov ends the paragraph this way: ‘But what he had really wanted to do was tear a hole in his world and escape.’ The title of the story is Signs and Symbols. As it unfolds, the reader learns many details of the unnamed couple’s life: they are Russian Jews who went into exile after the revolution, they depend financially upon the husband’s brother, they lived in Germany, many of their relatives died in the Holocaust. The son suffers from a condition where “the patient imagines that everything happening around him is a veiled reference to his personality and existence”. Everything is a cipher, and of everything he is the theme. By means of the intricate and circuitous structures of the story, Nabokov pulls the reader between the physical, tangible world and the shadowy, shaped, invented world.

The artists in this show employ script, text, numbers, abstractions, skulls, titles, gestures and crosses, to articulate their concerns, and visions, to pull us between the physical world and the shadowy invented one. But it all maybe as Nabokov says about the suicidal son, ‘what he had really wanted to do was tear a hole in his world and escape.’

Image courtesy of Orexart.


Vaimaila Urale | Tino Talk

Vaimaila Urale | Tino Talk

Opening event Tuesday July 3, from 5.30pm

Sanderson Contemporary, Auckland

For millennia, people of Moana Nui a Kiwa have practiced the artform of tatau (tattoo), communicating their heritage, lineage, history, and narratives with their body markings. Tino Talk, a series of photographic portraits by Vaimaila Urale, documents an exploration of Polynesian symbology through the act of marking the body.

Extending her art practice into the process of hand poke tattooing, Urale has inked Polynesian symbols directly into the skin of three young Polynesian males, all of which were specifically chosen for not having pre-existing Polynesian-referenced tattoos. Serval Latu (23), Matavai Taulangau (23), and Poutasi W. B. Urale’s (26) pre-existing tattoos articulated cultural references, such as anime, gaming, music, Greek mythology, and illustration.

Through the process of talanoa (talking) with the subjects, Urale has extrapolated notions underlying the question “If Tino (your body) could talk, what story would Tino tell?”

Photography Credit: Raymond Sagapolutele

Alvin Xiong

Alvin Xiong

Opening event Saturday July 7, from 2.30pm

Malcolm Smith Gallery, Auckland

Alvin Xiong is an accomplished painter, photographer, sculptor and teacher. He is a tutor at UXBRIDGE and has exhibited at the Centre numerous times. We are pleased to have works by Xiong installed to complement this year’s Estuary Art and Ecology Prize.

Alvin Xiong’s sculpture practice has long concentrated on investigating the relationship between light and shadow. Utilising LED components, Xiong explores Yin and Yang (darkness and light) and how these apparently opposite or contrary forces are actually complementary, interconnected, and interdependent in the natural world.


Anneke Bester | Solace of the Soul

Anneke Bester | Solace of the Soul

Opening event Wednesday July 4, from 5.30pm

Form Gallery, Christchurch

Form would like to warmly invite you to attend the opening evening for Anneke Bester’s new solo exhibition “Solace of the Soul”. Anneke has been further exploring the dynamics of human movement, form and expression and has ventured deeper into how this might manifest in our private lives.

Call for Exhibition / Project Proposals – Artweek Auckland 2018 | Artists Alliance

Call for Exhibition / Project Proposals – Artweek Auckland 2018 | Artists Alliance

Proposals due Wednesday August 1, 5pm 

Artists Alliance is very happy to once again offer an artist (or artists) free reign over our office space for an exhibition/ project during Artweek. To do this we’re running an open call for proposals. What better way for us to provide support and opportunities for visual artists in Aotearoa, then handing over our conveniently located venue during the busiest art week of the year!

Important Info:

Proposals due 5pm, Wednesday August 1
Exhibition will be open from October 6 –  14
Artist event: 5.30pm Friday October 12 (could be an artist talk, workshop, performance, it’s up to you!)

Location: Artists Alliance, 1B Ponsonby Road, Auckland

You can download a floor-plan of the office space here (the space will be completely emptied for the artist(s) to use as they wish). Preference will be given to projects that have not been exhibited publicly before and that seem practically feasible within the space, which is situated in a building shared by other businesses and artists. This opportunity is open to multiple artists.

Your proposal must include the following in the form of a single PDF document:

  • A 500 word outline and 2 images (can be sketches) of your proposed exhibition and how it relates to your current work. (Aim to keep your written clear and specific).
  • 4 – 5 Examples of your previous work, (please provide online links to video or audio works).
  • 1 page Artist CV, (A list of any previous shows/ projects you’ve been involved with, education/ professional history, awards you’ve been a part of, or references to writing about your work).

Send your proposal by 5pm, Wednesday August 1, to:


Feel free to contact us with any questions about this opportunity.

Call for Proposals | RM Gallery Exhibition Programme

Call for Proposals | RM Gallery Exhibition Programme

Proposals due midnight Friday July 20, 2018

RM supports and promotes new developments in the contemporary arts. They invite proposals for solo or group exhibitions, as well as events, workshops, performances, talks and screenings. They are also interested in supporting online, off-site and ephemeral projects.

The RM Collective holds calls for proposals each year. They encourage applicants to send their proposals in response to these callouts. However the collective recognises that for various reasons some proposals may require consideration at a specific time and they are also happy to accept these during the year.

Please include in your proposal:

A Written Statement (maximum of 500 words)
A written outline of your proposed work, with a background of the participants, your practice, and an overview of what you intend to present at RM. Ideally this text should be written and presented in a way that you feel best reflects your practice. Some outlines may tend to be specific in terms of the installation and execution of the work, whereas others may tend to focus on the ideas and methods that will help generate the body of work. As practicing artists we understand that most shows will tend to develop and diverge from what has been suggested within the proposal — they see the proposal as a starting point for a conversation with you; an introduction into an exhibition that is still in the working phase.

Visual/Audio Material
Photographs of the work to be shown or documentation of recent work that clearly indicates the type of work that is intended. Performance, film, sound or video should  be sent in the as an appropriate computer file, or a link to a website where the work can be viewed.

The Space
Please consider the layout of the gallery when making your proposal. A floorplan is available on our website. The Archive Room is not usually available for exhibitions.

Artist CV
An artist CV is not required. However applicants are free to include one.

Contact details
Please include a contact phone number and email address.

Email applications as a single PDF document to

Exhibitions usually run for a period of four weeks, however RM is happy to be flexible regarding the length of a show.

Any further information or clarification can be sought from the RM Collective. Please e mail them  at or visit their website.

Chloé Quenum | Le Sceau de Salomon

Chloé Quenum | Le Sceau de Salomon

Opening event Wednesday July 4, from 5.30pm

The Engine Room, Wellington 

You are warmly welcome to the opening of Le Sceau de Salomon, an exhibition of new works by French artist Chloé Quenum, developed during her residency with Te Whare Hēra.

Le Sceau de Salomon is an installation with videos and different media collected during Quenum’s 6 month residency in Aotearoa New Zealand. The French exhibition title “Le Sceau de Salomon” has two meanings: it is both the name of a forest flower, and a legend related to King Solomon.

The exhibition brings together content from Aotearoa New Zealand, Benin, and Paris in a dreamy landscape. The artist builds connections between different times and places as she explains “everything is always linked to something else.”

Chloe Quenum describes her residency in Aotearoa New Zealand as a time of “being upside down”. Here in Aotearoa New Zealand, on the other side of the world from Quenum’s home in Paris, things have changed for the artist including the way she sees things and understands them to be. During her residency with Te Whare Hēra, Chloé has travelled into and out of Aotearoa New Zealand, and her works reflect a certain type of dream-state experienced when travelling through different time zones: reality and imagination run into and out of each other seamlessly.

Le Sceau de Salomon opens July 4 at The Engine Room, Massey University, and is open to the public July 16 –  August 3. For more information please visit The Engine Room website:

Cultural crossings are at the heart of Chloé’s research which utilises testimonials and collections of objects and iconographic elements. “My practice is not formally systematic and can include several media, techniques and materials – but it is always about telling stories.”

For more information on the work of Chloé Quenum, please visit the Galerie Joseph Tang website: Chloé’s residency is supported by the French Embassy in New Zealand.

Ella Sutherland | Margins & Satellites

Ella Sutherland | Margins & Satellites

Opening event Wednesday July 4, from 5.30pm

Enjoy Public Art Gallery, Auckland

Margins & Satellites continues artist and designer Ella Sutherland’s ongoing enquiry into the relationship between printed matter, typography and social histories, focussing on what Sutherland describes as “a queering of mechanical reproduction.”

Drawing from research undertaken during her residency at Enjoy Public Art Gallery in January 2018, Sutherland has developed a new body of work that responds to serial publications produced in the 1970s–1990s held in the Lesbian and Gay Archive New Zealand (LAGANZ).

Collating the typographic and design features of this material, Sutherland has produced a series of silkscreen posters that explore the visual language of these publications. These works are accompanied by contextual markers and printed multiples produced in collaboration with practitioners based in Te Whanganui-a-Tara Wellington. Presented as glue-bound pads, visitors are invited choose from these multiples and assemble their own publication to take away, further disseminating the collated material into personal libraries or other collections.
Unpacking the wider design context of queer archival material, Margins & Satellites reflects on the way we understand the printed form as a mode of contemporary practice today, as well as reflecting on the continuous development of languages that are deployed and contested within LBGTQIA+ communities. Through close consideration of the graphic and typographic treatment of ephemera from the LAGANZ collection, Sutherland’s research asks what specific language has developed within this space and how this printed matter has influenced design, text and language in similar spaces today.

Seeking to both locate visual narratives and identities that may be within the collection and to celebrate the accomplishments of serial publications, Margins & Satellites explores how design histories are embodied in material both past and present.

The opening week of Margins & Satellites coincides with No Common Ground Symposium, a one-day symposium addressing histories of feminist art, mana wahine and queer practice, co-organised by Adam AG Te Pātaka Toi, The Dowse Art Museum and Enjoy Public Art Gallery, hosted at Victoria University of Wellington. Sutherland will discuss her research towards this body of work within a session of the symposium that explores alternative publishing and queer histories.

Margins & Satellites includes print-based work from Wellington-based practitioners Sean Burn, Laura Duffy, Simon Gennard, Robbie Handcock, Ana Iti, Rachel O’Neill and Aliyah Winter. The artist would like to thank LAGANZ and Linda Evans, and everyone else who has contributed their assistance in this project.

Image: Ella Sutherland, After Dyke News, 2018

About the artist

Ella Sutherland is a Sydney-based New Zealand artist and graphic designer whose work is concerned with the analysis of text and visual language, and in particular, the ways in which typographic systems may be collected and represented in the documentary form. Ella currently teaches into the Visual Communication Programme at University of Technology Sydney (UTS). She studied graphic design at Ilam School of Fine Arts in Christchurch and while completing a Masters degree, co-founded Dog Park Art Project Space (Christchurch, 2012–2014). Ella is a current board member of The Physics Room, Christchurch.

Sutherland has been selected to participate in the 12th Gwangju Biennale – 광주비엔날레 titled Imagined Borders, November 2018. Recent exhibitions include John Fries Award, UNSW Gallery, Sydney, 2017; Redlands Art Award, NAS Gallery, Sydney, 2017; Slow Seeing and Attention to Make, The Dowse Art Museum, Wellington, 2016; Beauty is in the Street, Objectspace, Auckland, 2016; Boring month start to finish, the whole month, North Projects, Christchurch, 2015; Speaking places: How to Work (with Matthew Galloway), Ramp Gallery, Hamilton, 2015. Recent publication projects include Look out Fred!, publication design for Enjoy Public Art Gallery, 2017; with a body always but but still drying, publication design for Biennale of Sydney and Artspace, Sydney; Pale Like a Fish, editing and publication design for North Projects, Christchurch, New Zealand, 2016; Speaking places: Hamilton 2015 (with Matthew Galloway), artist publication for Ramp Gallery, Hamilton, New Zealand, 2016.

Josephine Cachemaille | FEELS

Josephine Cachemaille | FEELS

Te Uru Waitakere Contemporary Gallery, Auckland

Heaped, hanging, climbing and draping, FEELS is an installation by artist Josephine Cachemaille. Working with a range of precious, crafted and familiar objects, FEELScomposes hybrid sculpture/paintings into a lively, suggestive and humorous assemblage.

Here, Cachemaille’s aluminium structures take on anthropomorphic forms which, dressed in materials and appendages, proposes them as ‘bodies’ with needs, desires and the capacity to act. Describing her installations as ‘collaborations,’ she charges them with active, human functions, asking us what these objects might say, think or feel?

By manoeuvring her objects into new and purposeful relationships, Cachemaille intends to disperse our focus of the visual towards an awareness of the body, the senses and the surrounding environment. In this way, she explores the potential of art-making as a kind of relational ontology, prioritising the relationships between things, and challenging dominant ways of knowing objects in their passive physical sense.

Sarah Callesen and Shelley Simpson | The Entities

Sarah Callesen and Shelley Simpson | The Entities

Opening event Wednesday July 4, from 6pm

RM, Auckland

Our experience of the world around us is often mediated by technology, which has contributed to the idea that humans are separate from nature. In The Entities, artists Sarah Callesen and Shelley Simpson use visual and audio recordings to construct a ‘natural’ world, exploring relationships between human and non-human, natural and artificial, culture and nature. All recording is subjective, mediated by both humans and technologies used in the process. The Entities considers the role of each player within the communication system, where each offers its own affect.

Shelley Simpson has created photographs of forest floor worlds in the temperate bush of Rakiura, Stewart Island – an intense, remote environment mostly devoid of human activity. The images are presented as a two-channel video work scaled up to an immersive size. Subtle animation augments the imagery, bringing attention to the sense of process, of visibility, of observer and of mediation.

In response to the macro imagery, Sarah Callesen presents an accompanying four-channel audio work that considers change in sound at a qualitative scale, rather than in loudness. The artist also explores the use of artificial sounds in natural history film, combining designed planet atmospheres and other constructed sounds sourced from stock libraries with manipulated field recordings taken by both artists.

Public Programme
Saturday July 14, 3pm.
A selection of films from Jean Painlevé’s Science is Fiction, followed by a discussion with the artists.

RM Gallery and Project Space
Samoa House Lane
Open Thu & Fri 1pm – 6pm, Sat 12pm – 4pm

Tahi Moore | Incomprehensible public fictions: Writer fights politician in car park

Tahi Moore | Incomprehensible public fictions: Writer fights politician in car park

Opening event Wednesday July 4, from 6pm

Hopkinson Mossman, Auckland

I keep imagining that my feelings have some kind of power in the world. But it’s my own powerlessness that I end up confronting. You see an absence. The image has been stripped of all its power and there’s nothing left there to speak about what it is to be human. But it still looks like the world we live in. It’s just a vanitas, like any other cartoon of Hamlet holding up a skull. Hamlet can be read as satire all the way through. The Norwegians have already invaded. King Claudius even invites them, imagining they’ll just carry on past to another country. Hamlet is inspired by their absurd lie about going to fight over some wasteland. Horatio might be the only one who can still act like a human. All he can do is bear witness and stand in for us. He watches these people reduced to clowns. Fortinbras thinks he’s invaded but there’s no one there. This is a wasteland as well. The vanitas must have already been a cliche in Shakespeare’s time. ‘And stink so…’ (Throws the clown’s skull back into the grave.)

Aesthetic objects can only operate as fiction. Why? Because all gestures are necessarily generative. That’s a condition of the way this thing functions. Why pay attention? Because the act of being human is generative. Would you prefer the open question or paint by numbers?

Hopkinson Mossman is pleased to present Incomprehensible public fictions: Writer fights politician in car park, a solo exhibition of new work by Tahi Moore.

Tahi Moore’s work can be considered as an ongoing existential enquiry into the production and destruction of meaning. His primary material is language, and his highly idiosyncratic textual pathways make reference to philosophers, scientists, artists, and filmmakers, as well as moments in popular culture that articulate (purposefully or accidentally) his core concerns; stories of failures, fakes, cases of mistaken identity, eccentric intertextuality, instances where meaning is misunderstood, misconstrued, or mistranslated.

Moore’s new exhibition comprises videos and a series of new text paintings. There are two subtitle video works – She remembers presents existential observations which explore the limits of knowledge and the conditions of memory; while Hemingways Hamlet appears to be a series of excerpts and stage notes from a perverse Shakespearean play, starring Hemingway. As we often find in Moore’s video works, both have a Beckett-esque flow where strange thoughts appear to loop in endless circles.

The text pieces dispersed throughout the gallery – drawn or painted directly onto store-bought canvasses, or hand written on note paper – act as fragments of scripts or dialogue, but the desire to find a cohesive narrative is always unfulfilled. Perhaps more so than ever before, Incomprehensible public fictions: Writer fights politician in car park reflects on the relentless failure of communication, how the act of giving form to content (particularly in contemporary art) is always necessarily a process of emptying out. According to Moore, “In a painting, all content becomes form. It can’t be any kind of documentary. A piece of information will become a gesture. That’s just an effect of this process.”

Tahi Moore was born in 1972 in Auckland, where he is now based. Recent solo exhibitions include: Kim Wilde’s Heart of Darkness, Grundy Art Gallery, Blackpool (2017); Tahi Moore / John Skoog, Hopkinson Mossman, Auckland (2014); PSYCHE REBUILD, Gertrude Contemporary, Melbourne (2014); Non, pas la forteresse!, La Salle de bains, Bourdeau (2014); and Auto Noir, Artspace, Auckland (2014).

image: Hemingway’s Hamlet, 2017, video loop, duration 2:07 min

quotes: Tahi Moore, excerpts from exhibition essay, 2018

NB: The gallery in Auckland will be closed for installation this week: Jun27–30 . To visit during this time, please contact


Wendelien Bakker |Prospecting

Wendelien Bakker |Prospecting

Opening event Wednesday July 4, from 5.30pm

The Physics Room, Christchurch

Saturday July 7, 2pm: Exhibition talk with Wendelien Bakker and Jamie Hanton

Bakker explores the success, failure, endurance, and obsession of searching for gold. ‘Prospecting’ foregrounds documentation of a three-week research trip to Central Otago in March 2018.

For more information see:

Image: Untitled, Wendelien Bakker, 2018.

John Walsh|

John Walsh|

Opening event Thursday July 5, from 5.30pm

Page Blackie Gallery, Wellington

Image: John Walsh, The Gardeners, 2018

Katie Blundell | Urban Jungle

Katie Blundell | Urban Jungle

Opening event Thursday July 5, from 5-8pm

Railway Street Studios, Auckland

Explore art together with ‘Idioms Into Action’ our free interactive gallery game.

School Holiday fun for kids and adults alike. Calling for all lovers of thinking, puzzles, meanings, words and images. Come along and engage with Art.

An idiom is a phrase or expression, a combination of words that say one thing and mean another. Artist Katie Blundell’s exhibition, ‘Urban Jungle’ uses idioms referencing animals. For example: “Ahead of the pack” which is accompanied by a cheetah. Playing ‘Idioms Into Action’ you will match Idioms with their underlying meaning, then find the corresponding painting and the Artist will be on hand to help guide you and talk Art.

With her deep interest in the human condition combined with a generous dose of humour, her paintings have a lot to declare. The urban dictionary describes the term ‘Urban Jungle’ as streets, alleys, railway systems and inner-city neighbourhoods, a metropolis characterized by densely packed residential buildings, businesses and a decaying industrial sector.  Blundell takes this as a cue to poke a finger at herself and society, of what we may have lost by building monstrosities, and becoming alienated from each other. She wants us to consider what it means to retain our connections. Blundell has used animals as models, this has enabled her to distance herself from the human issues reflected upon in the idiom as well as bringing in a lighter side.

Influenced by Abstract Expressionism the work contains gestural expression and abstraction. “I start with an idea, then work spontaneously in response to each Artwork through the creative process, never knowing what the Artwork will look like until it is finished”, explains Blundell. She has used a range of medium from drawings, prints, to paintings large and small with techniques to suit. The result is a collection of questions and thoughts. It’s her insights and perspectives, in the here and now, and how she articulates them using contemporary idioms and mediums, that is most exciting about her current work.

Blundell has a Masters of Fine Art from Elam and 20 years of Art making experience to draw from. Years as a Senior Teacher of Art at Diocesan School, provided a platform for her natural tendency towards experimentation; pushing boundaries of her knowledge, skill and equipment – resulting in new and revolutionary ideas.

Railway Street Gallery owner Fiona Cable describes Blundell as “a force of nature who dispenses her treatment of witty humour and double meanings by drawing on deeply personal experiences that viewers can relate to but not always verbalise or admit. She warns visitors to expect to be surprised and delighted when you attend Katie’s upcoming exhibition.”


Katie Blundell Artist with ‘Paint the town grey’ (Chimpanzee) 2018
Medium: Colour and Sumi Ink drawing on 300gm Fabriano paper
Size: 950mm H x 750mm W (Including frame)

Carmel Van Der Hoeven | Point of View

Carmel Van Der Hoeven | Point of View

Opening event Friday July 6, from 5.30pm

Freit Contemporary, Hamilton

Carmel is showing painting and Ceramic works in her first solo exhibition. Her works explore points of view in various ways. They are energetic and colourful.
Richard Adams and Jane Mitchell | Duo Exhibition

Richard Adams and Jane Mitchell | Duo Exhibition

Opening event Friday July 6, from 4pm

Gallery Thirty Three, Wanaka 

Gallery 33’s duo exhibition features Richard Adams’ and Jane Mitchell’s evocative, contemporary landscapes. Moody and captivating paintings take you on a New Zealand road trip. Both artists draw on their youth and coming of age life experiences to capture very personal and mystic moments in time within our vast and ever changing countryside.

Image: Jane Mitchell, The Day of The Fire, 2018

Rose James | Through a cloud of smoke and dust

Rose James | Through a cloud of smoke and dust

Opening event Friday July 6, from 5.30pm

Centre of Contemporary Art, Christchurch

Dunedin-based sound artist Rose James has created a sonic work from site recordings she made during the year-long demolition of the earthquake-damaged Central Police building in Ōtautahi Christchurch, 2014-2015. Made possible with support from Ngāi Tahu Property, CeresNZ, and CoCA.

The earth looks upon us | Ko Papatūānuku te matua o te tangata

The earth looks upon us | Ko Papatūānuku te matua o te tangata

Opening event Friday July 6, from 6pm

Adam Art Gallery, Wellington

Ngahuia Harrison
Ana Iti
Nova Paul
Raukura Turei

Adam Art Gallery Te Pātaka Toi is pleased to present The earth looks upon us / Ko Papatūānuku te matua o te tangata, our latest exhibition featuring new and existing work by four Māori women artists—Ngahuia Harrison, Ana Iti, Nova Paul, and Raukura Turei—who explore their relation to and cultural connection with whenua/earth/place. Curated by Christina Barton, the exhibition has been scheduled as the Adam Art Gallery’s contribution to the Suffrage 125 celebrations. We acknowledge that, 125 years ago, Māori women fought and won the right to not only vote for members of the New Zealand House of Representatives, but also to vote and stand as members of the Maori Parliament, Te Kotahitanga.

Opening 6pm, Friday 6 July


Ngahuia Harrison (Ngātiwai, Ngāpuhi) is a lens-based artist based in Auckland. She completed her MFA at Elam School of Fine Arts in 2012 and currently is completing a practice-led PhD at the University of Auckland examining how Ngātiwai philosophies can be applied to creative practice. She has undertaken solo projects at Enjoy Public Art Gallery, Wellington (2017); St Paul ST, Auckland (2017), and Blue Oyster Art Project Space, Dunedin (2016).

Ana Iti (Te Rawara) is based in Wellington where she is completing her Master of Fine Arts at Massey University. Since receiving her BFA in Sculpture at Ilam School of Fine Arts at the University of Canterbury in 2012, she has developed a body of work that explores sites and histories using found materials, texts and video to – as she puts it – ‘open space for more subjective experiences and feelings’. She has undertaken residencies in Adelaide and Dunedin and has exhibited her works nationally in artist-run and project spaces, including Window, University of Auckland (2018); Scape Public Art, Christchurch (2017); The Engine Room, Wellington (2017); The Physics Room, Christchurch (2016); North Projects, Christchurch (2016); and Blue Oyster Art Project Space, Dunedin (2016).

Nova Paul (Te Uriroroi/Te Parawhau, Ngā Puhi) is an artist film-maker who lives in Tāmaki Makaurau Auckland and teaches in the School of Art and Design at AUT. Her film-making practice draws from early cinema, experimental film histories and fourth wave film discourse to consider the poetics and politics of place. Her work has been screened at film festivals and in exhibitions in Aotearoa, Australia, Canada, France, Germany, the Netherlands, UK, and USA. Paul also writes about lens-based media. She co-edited PLACE: Local Knowledge and New Media Practice (2008) and a book based on her film, This is Not Dying, titled Form Next to Form Next to Form was published in 2013.

Raukura Turei (Ngāi Tai ki Tāmaki and Ngā Rauru Kītahi) is an artist, architect, and actor. She graduated from the University of Auckland with a Master of Architecture in 2011 and has worked collaboratively on architectural projects such as Whare in the Bush, Warkworth (2014) and He Whare Tangata, Auckland (2013). She has also undertaken art/design projects, The Grief Series, Miss Crabb HQ, Auckland (2017) and Untitled (pending welcome), Objectspace, Auckland (2017). She presented a suite of drawings, Te poho o Hine-Ruhi, as a Project for the Auckland Art Fair (2018), and her SELFseries was shown at Allpress Studio in Auckland (2017).


Highlights of the public programme associated with this exhibition include the one-day symposium on Saturday 7 July: No Common Ground. This symposium addresses histories of feminist art, mana wahine and queer practice. Hosted at Victoria University of Wellington, it is co-organised with The Dowse Art Museum and Enjoy Public Art Gallery.

Adam Art Gallery is also hosting a one-night screening on Wednesday 18 July of eight films by the Cuban/American artist, Ana Mendieta, who has in part inspired this exhibition. This is introduced by Gabriela Salgado, an expert on Mendieta and artists of the ‘global south’ who is currently Artistic Director at Te Tuhi in Auckland. This is the first screening of Mendieta’s works in Aotearoa New Zealand. The event is brought to Wellington with assistance from the Estate of Ana Mendieta Collection and Galerie Lelong, New York.

For the full public programme click here.

Gordon Walters | New Vision

Gordon Walters | New Vision

Opening Saturday July 7

Auckland Art Gallery Toi o Tāmaki, Auckland

Gordon Walters is one of New Zealand’s most important modernist painters. Across six decades he explored the potential of a few simple geometric elements with a singular focus, creating works of exactitude and refinement.

Gordon Walters: New Vision is the first comprehensive survey of the artist’s complete body of work and draws on paintings from major public and private collections across New Zealand. The exhibition provides an in-depth look into the history of Walters’ development, and reveals the different art forms which fuelled his vision and inspired the creation of his own unique visual language. The original black and white koru paintings of the 1960s are brought back together for the first time and are shown alongside never-before-seen paintings, studies and notebooks.

Gordon Walters: New Vision is a partnership project between the Dunedin Public Art Gallery and Auckland Art Gallery Toi o Tāmaki with support from the Walters Estate.

Gallery entry is free for New Zealand residents, children 12 and under and Gallery Members. An admission charge applies for international visitors.

Image: Gordon Walters, Tiki II 1966
Barry Hopkins Trust Art Collection
Courtesy Waikato Museum Te Whare Taonga o Waikato and the Walters Estate

Call for Proposals | Artspace Aotearoa

Call for Proposals | Artspace Aotearoa

Applications close Monday July 23

Artspace Aotearoa is looking for submissions for the project No Fingerlicking, a mentored exhibition project for artists to run from 20 August – 15 October 2018.

As part of Artspace’s commitment to the promotion, engaging, supporting and critical understanding of young artists, curators, writers or cultural agents, they are seeking proposals from recent graduates looking to collectively and supportively work towards an exhibition at Artspace Aotearoa.

No Fingerlicking advocates for turning pages slowly. Stimulating the potential role that artists and cultural actors have in changing the institutes that organise our lives so profoundly, it addresses governance, political structures, social relationship and community building in an era that seemingly becomes more disruptive, nervous and harder to understand through simple means. No Fingerlicking asks for proposals that offer imaginative analogies, suggestions that think about both the rules that govern us and the perspective we can have on the future horizon, take comfort that it exists and to be able to turn the page to something else.

No Fingerlicking points at the old rule of many libraries where you are not allowed to use saliva to turn the pages of the books, mainly for health reasons. But how to wet our fingers once again, take bodily ownership of our future and turn the page?

For more information about this opportunity please access the website.

Image courtesy of Artspace Aotearoa.

Call for proposals | Courtenay Place Light Boxes

Call for proposals | Courtenay Place Light Boxes

Proposals due  Monday August 6, 9am

Wellington City Council is calling for curators and artists to propose a new light box exhibition for their 2019 programme. They are looking for one – two exhibitions that will run for up to six months each, from mid- 2019

The light boxes form a highly public exhibition space in Courtenay Place Park and feature eight 3m-high steel and glass LED boxes.The light boxes were designed as an integral part of the Courtenay Place Park and were unveiled to Wellingtonians in May 2008. The light boxes encourage people to reflect on this environment, even if just for a minute.

Further information and proposal criteria can be found on their website:

Image: Daniel von Sturmer,  Improbable Stack, 2013; Courtenay Place Park; photo by Rob Garrett.


Sound Art Residency | Toi Pōneke Arts Centre

Sound Art Residency | Toi Pōneke Arts Centre

Applications close Monday July 30

Toi Pōneke is thrilled to announce that submissions are now open for the Toi Pōneke Arts Centre and the New Zealand School of Music Sound Art Residency 2018-2019.

With support from Toi Pōneke and the New Zealand School of Music, the successful candidate will undertake a 12-week residency. The residency will culminate in a new work, along with an exhibition, performance or installation and a series of workshops or lectures, depending on the nature of the work.

The artist will have access to the Lilburn Studios and Sonic Arts Lab at the New Zealand School of Music, along with other equipment and resources depending on the nature of the work undertaken and subject to the availability of these resources.

Toi Pōneke will provide the candidate with a small studio space to work and development support towards a 3 week exhibition at Toi Pōneke Gallery. The artist will also be provided logistical support and assistance with publicising activities associated with the residency.

The artist will be provided a small stipend to help support them during their 12-week residency. At the completion of the residency the artist will be required to provide a written report and feedback on their residency to Toi Pōneke and the New Zealand School of Music.

For further information, eligibility and how to apply please go to their website.

Image courtesy of Toi Pōneke Arts Centre.


Beth Caird | what should I do now, with my hands? 

Beth Caird | what should I do now, with my hands? 

Opening event Tuesday July 10, from 5:30pm

Blue Oyster Art Project Space, Dunedin 

what should I do now, with my hands? takes on the form of a collaged Epyllion or “little epic” poem through video and text layering fictional and biographical stories of grief, loss and discontinuation of familial events. Epyllion poems were created in Ancient Roman times, a time beyond living memory, and not formalised by the common language until the 19 Century. The poem narrates the doings of those who have passed, who gave shape to the moralities that their descendants (the poet and audience) must interpret to fully understand themselves as living beings.

Constructed over the course of three years using footage from various alpine regions throughout Australia and Aotearoa New Zealand, this exhibition brings together Caird’s continuation of a focus on grief processes and life-after-death experiences, self-made myths and the truth buried under fabrications. The exhibition features a kind-of prologue by Canadian-based, New Zealand artist Faith Wilson, developed during her time of relocation, from Te Whanganui-a-Tara Wellington to Fernie, Canada, on the land of the Ktunaxa people, one place of remoteness to another.

Image courtesy of Blue Oyster Art Project Space, Erin Broughton, Poster Series, 2018.

Five | Group Exhibition

Five | Group Exhibition

Opening event Tuesday July 10, from

Grey, Auckland

Five artists; Susan Thomas, Jo Dalgety, Amy McKinnon, Fiona Lee Graham and Frances Rood. The artists come from individual artistic practises and join together for a collaborative exhibition. Each artist has created a series of works from their own style and genre for the exhibition to collectively form the number ‘Five’.

Image: Fiona Lee Graham, Inside Out IX

Leah Emery | Who Told You You Were Naked

Leah Emery | Who Told You You Were Naked

Opening event Tuesday July 10, from 5.30pm

Gow Langsford, Auckland

Gow Langsford Gallery is proud to present a solo exhibition of new works from Australian artist, Leah Emery. The exhibition will run from July 11 –  August 4 2018 at the Kitchener St Gallery.

Vanessa Arthur | To be everywhere at once yet nowhere at all

Vanessa Arthur | To be everywhere at once yet nowhere at all

Opening Tuesday July 10, from 5.30pm

The National, Christchurch

‘Exploring a small town while traveling through Europe a few years ago, I entered an old building. The entrance was formed with a large marble slab.  As I walked through I noticed the stone had a deep worn dip, made by 800 years of feet coming and going.  The perfect tension between the permanent and the fleeting.  This is the feeling I aim to capture in my own work. Small reminders of our own brief moment in time.’   Vanessa Arthur

Vanessa Arthur’s work is directly influenced by her regular documentation and excavation of spaces within the built urban environment, the spaces between planning. The often overlooked elements within the streetscape are her muse; buffed walls, wet cement scrawling, fragments and objects left behind in the rush.  An exploration of the marks we make, and the mark we make.

Born in Wellington, New Zealand, and currently working from her base in Hawke’s Bay, Vanessa completed a Bachelor of Applied Arts at Whitireia NZ in 2011.  She was selected as artist in residence at Toi Pōneke Arts Centre, Wellington, and awarded the 2011 Fingers Gallery Graduate Award.  A participant in the Handshake project, she completed a two year mentorship with Australian Goldsmith David Neale in 2015.  Vanessa has exhibited throughout New Zealand and internationally. In 2018 she was selected for Iwa: New Zealand Makers – an exhibition of nine featured perspectives in contemporary jewellery, spanning four decades of practice in Aotearoa New Zealand.
Brought together for Munich Jewellery Week, these practices articulated a relationship to one another as tributaries to a larger, transforming field of practice.

Image:  Vanessa Arthur, Paint, erase, repeat, 2018, plinth/object, steel, heat set paint, enamel paint.
Wall scrawl, 2018, earrings, sterling silver, oxidised.  Untitled, 2018, pin, brass, sterling silver, heat set paint, enamel paint, steel.

Call for Entries | Jann Medlicott Creative Arts Award

Call for Entries | Jann Medlicott Creative Arts Award

Applications close Friday August 31, at 5pm

Acorn Foundation & Creative Bay of Plenty 

Prize Objective

An annual award valued at $2,000 is for furtherance of studies in the creative arts. This award shall be known as the Acorn Foundation: Jann Medlicott Creative Arts Award.


  • Applicants must be undertaking or about to commence further study in preparation for a career in creative arts.
  • Applicants must provide evidence that they are engaged in, or have been accepted for, an advanced study programme or specialised course in the arts.
  • Applications must be received by 5pm, 31 August 2018.
  • Applicants must have:
  • Received at least part of their secondary education in Tauranga or Western Bay of Plenty
  • and/or currently reside in the Tauranga or Western Bay of Plenty


  • A personal statement summarising your experience, ability and reasons for applying, and outlining the impact this award is likely to have on your training and how this could benefit the local community in the future.
  • Two testimonials from appropriate referees.
  • A brief portfolio of your work if this is relevant to the application.

Application form

Applications can be sent to

Further information can be found here:

Basil Beattie | Ladder and Step Series

Basil Beattie | Ladder and Step Series

Opening event Thursday July 12, from 6pm

Two Rooms, Auckland

Two Rooms presents the third solo exhibition by British artist, Basil Beattie  – a series of oil stick paintings on handmade paper that echo his celebrated large-scale paintings on canvas. All executed within the last year these new works come directly from his 2018 solo exhibition, A Passage of Time at the Royal Academy of Arts, London.

Beattie’s visual language employs pictograms alongside architectural and spatial components to explore the endless possibilities of abstract pictorial space, acting as vehicles for conveying numerous symbolic associations. Beattie states, “My main intention is to refocus the meaning of these works, through the painted language, to a metaphorical level where the physical meaning ceases, but the ideas associated with them, such as progress, traveling through time, carefully negotiating the route etc. are there for contemplation.”

Basil Beattie is one of Britain’s most respected painters with an illustrious career spanning over 60 years. His work is in the collection of TATE London, and he has been invited to exhibit in major public galleries throughout the UK. His extensive teaching career at Goldsmiths’ College through the 1980s until 1998 has exerted a substantial influence on successive generations of artists.

Image: Basil Beattie, No 22, Ladder and Step Series, 2018

Brett Graham  |  Monument

Brett Graham | Monument

Opening event Thursday July 12, from 6pm

Two Rooms, Auckland

Since 2014, the nation has commemorated numerous centenaries in remembrance of World War One. Graham’s Monument is, in a sense, an anti-monument to the Great War, made instead to remember June 11th 1918, when Te Puea Herangi and Waikato Maori made a stand against the conscription that had been imposed on them. Te Puea’s words, “I shall not allow my children to shed blood” were spoken to honour her grandfather King Tawhiao’s 1881 injunction outlawing warfare after he made peace with the Crown. He had said, “I shall bury my patu in the earth and it shall not rise again. Waikato, lie down.”

Graham’s ‘monument’ however, is in the style of a block fort from the Waikato Wars (1863-4), a pioneer’s house, or a redoubt enclosure built to protect frontier property. All are symbols of the invasion of the Waikato and the reason Te Puea had objected to conscription, her tribe having been rendered landless 53 years before.

Image: Brett Graham, Monument, 2018 (Detail)

Emma McIntyre | Rose on red

Emma McIntyre | Rose on red

Opening Event Thursday July 12, from 6pm

Hopkinson Mossman, Wellington

Hopkinson Mossman is pleased to present Rose on red, a solo exhibition of new paintings by Emma McIntyre.

In Rose on red, paintings again feature grid structures (lattices, harlequin, chequerboard etc.) as an orientating and destabilising force. In some works, mesh is embedded into the painting’s base, creating a tight grid, its raised lines inversions of the scratched-in topmost grid. In other works, layers of larger loose grids create a sense of depth, opening up interstices in which lyrical swathes of colour conceal small impressions of a flower stamp, or scratches of fingernails.

Image: Emma McIntyre, Grid (veils), 2018

Group Exhibition | Hawke’s Bay Art Guide Uncovered

Group Exhibition | Hawke’s Bay Art Guide Uncovered

The CAN, Napier

Creative Arts Napier is holding a special three week exhibition to celebrate this year’s successful Hawke’s Bay Art Guide; a comprehensive introduction to the creative community of Hawke’s Bay.

Contributors to the current Art Guide have been invited to work for the exhibition, and the result is a diverse and eclectic collection that will make you proud to live in or visit this region. The works on show showcase a slice of the Hawkes Bay Art and Design industry; what is designed, created, admired, hand-crafted, manufactured, marketed and sold. Napier truly possess a wealth of talent, and this exhibition confirms the vibrancy and ongoing success of the arts community.

In addition, each exhibiting artist has anonymously donated a small piece of their work for CAN to sell for either $50 or $100 – you won’t know whose work you are buying so there could be a few surprises!

Come and be inspired!

Wayne Youle | Exhibition

Wayne Youle | Exhibition

Opening event Friday July 13, from 7.30 – 9am
(Please join Wayne for pastry and coffee)

{Suite} Gallery, Wellington

The indigenous mask was a source of inspiration for many iconic 20th century artists. Youle has long been interested in these objects and collections of them held in European museums. Using carving techniques he learnt while at art school, Youle has created a series of pared back masks. Materials used range from children’s blocks, furniture, fruit bowls, curtain rings, oak bedheads, to wood that has come from demolished buildings in post-earthquake Christchurch.

Image courtesy of {Suite} Gallery

Group Show | Forest has the Blues

Group Show | Forest has the Blues

Opening event Saturday July 14, from 2pm

Depot Artspace, Auckland

Entangled in the richness of our native forest remnants are the sneaking tendrils of unwanted exotic weeds. Forest has the Blues is an installation project that brings the unique plant life of Aotearoa into the gallery space, with 9 printmakers collaborating to create a large scale urban forest, along with some of those undesirable species, using multiple printmaking techniques.

Alongside the installation will be a mini-forest of seedlings, with native trees to give away to local residents, to encourage better backyard biodiversity. The exhibition draws attention to the native forest presence in our urban areas, and the threats they face from invasive weeds.

The threats are many, from the constant incursions of development and land-use change pushing their boundaries ever inwards, to the proliferation of invasive weeds along their margins that can smother regrowth and limit regeneration, and the devastating effects of plant pathogens.

Participating artists include Celia Walker, Toni Hartill, Elle Anderson, Kheang Ov, Nicola Ov, Ina Arraoui and Esther Hansen, and selected students from Pukekohe High School.

Forest has the Blues is complemented by two free events and is part of the Matariki Festival 2018 programme.

Group Show | Whenua: Land

Group Show | Whenua: Land

Opening event Saturday July 14, from 2pm

Depot Artspace, Auckland

This exhibition takes place during Matariki and celebrates the advent of the Maori New Year and the place of whenua in generating new life.  It celebrates the distinctive perceptions of and relationships to whenua of artists both past and present. Our hope for this exhibition is that it raises awareness of our place on this land, Papatuanuku, and creates greater appreciation for the privilege of our presence here.

Matariki is both the name of the Pleiades star cluster and also of the season of its first rising which signals the beginning of the New Year. When the stars are at their brightest it is thought that this is the most auspicious time for planting. Hence, we acknowledge both the confluence of stars and the fertility of whenua.

Artists: Joanne Barrett, Robyn Gibson, Karen Browne, Richard Joughin, Sean McDonnell, Celia Walker, Jermaine Reihana, Don Binney, Howie Cook.

Whatungarongaro te tangata. Toitū te whenua

People perish but the land endures.

Image credit: Takarunga by Richard Joughin

Jo Giddens & Mike Marsh | JAM

Jo Giddens & Mike Marsh | JAM

Opening Event Saturday July 14, from 5:30pm

Space Studio and Gallery, Whanganui

Bangers and mash ups… the anarchy sell out experience, B.Y.O sauce

John Vea | Two Recent Works

John Vea | Two Recent Works

Opening Saturday July 14

Dunedin Public Art Gallery, Dunedin

John Vea is a contemporary artist based in Auckland.  Working across video, performance and sculpture, Vea makes visible stories of Pacific migration, labour and the lived experiences of minority cultures who he has consulted with as part of his research methodology.   Presenting two recent video works by Vea, this exhibition introduces the work of an artist committed to highlighting stories all too often absent from mainstream conversations.

John Reynolds | Darryn George

John Reynolds | Darryn George

Opening event Monday July 16, from 5.30pm

PG gallery 192, Christchurch

recent painting by Darryn George

psychogeographyblues by John Reynolds

Image courtesy of gallery

Open Call | Depot Gallery

Open Call | Depot Gallery

Applications close Friday September 28, at 5pm

Depot Artspace, Auckland

Calling artists and creatives interested in exhibiting at Depot Gallery or who wish to run an event in 2019.

What they’re looking for:

  • Exhibitions and Events that build community and create opportunities for individuals to work together, increasing individual wellbeing, environmental and social justice.
  •  Exhibitions and Events that encourage courageous leadership where artists question, take a stand, and tackle meaningful social and environmental issues.
  • Exhibitions and Events that deepen our understanding of Te Ao Māori and celebrate Aotearoa New Zealand’s unique and evolving identity.
  • Exhibitions and Events that are inclusive, people-focused, fair and welcoming to everyone, creating experiences that make a difference.
  •  Exhibitions and Events that stimulate creative innovation, cutting edge art that challenges audiences, and invites interactive and engaging participation.

For more information/to submit your proposal visit:



Liyen Chong & Emily Wolfe | Opening and Exhibition

Liyen Chong & Emily Wolfe | Opening and Exhibition

Opening event Tuesday July 17, from 5.30pm

Melanie Roger, Auckland

Houston based LIYEN CHONG new work shows a significant and exciting styalistic shift in the artist’s practise although continues her exploration into paint and the interaction of colour. “Separating image from naturalistic colour as a way of protesting the visual world and proposing a different kind of perception, one that is mediated by color. Practicing a certain kind of abstraction (by turning the image upside down, I’m forcing myself to respond to its formal qualities). Skimming the line between formalism and conceptualism.”

It also coincides with an exhibition of earlier work being shown by Chong at the Wallace Trust Gallery opening July 23.

UK based EMILY WOLFE presents a new series of small scale paintings exploring light and shade, objects and the overlooked corners of internal spaces. These are works with a quiet beauty – a contemplation of forgotten times and places.

Also featured in the exhibition will be a collaborative photographic work by YVONNE TODD and LIZ MAW from 2011.

IMAGE: Liyen Chong

Group Show | Fragments No Categories

Group Show | Fragments

Opening event Monday July 16, from 5pm

Weasel Gallery, Hamilton

Fragments is a group exhibition of the work of painter, Esther Deans, multimedia artist Sena Park and sculpturist, Chauncey Flay. Through juxta positioning the aesthetically disparate work of the three artists, the viewer is invited to consider Fragments; of our physical world, of our memory, and the intersection of both. This concept is conveyed visually through reimagined buildings, suggestions of people within spaces, and fragments of found materials which have been repurposed into three dimensional geometric abstractions.

Image of work by Chauncey Flay from Bunker Series, 2018. Image credit: Maurice Lye.

Group Show | Give Me Space

Group Show | Give Me Space

Opening event Thursday July 19, from 6pm

Corban Estate Arts Centre, Auckland

Antje Barke, Patricia Ramos, Hanna Shim and Arielle Walker

Give me space explores ways to articulate and emphasise the physical area of the gallery spaces at Corban Estate Arts Centre. Using a broad range of materials, from the natural to the man-made, this exhibition includes wool, silk, steel, concrete, photography, textiles and more. The site-specific pieces ask the audience to consider their own footprints in relation to the architecture, shape and design and history of the Homestead space.

Image: Patricia Ramos If it were my bahay kubo what do I see around me. 2018. Photograph.

Quishile Charan | Like a Lotus Flower that Grew from Mud

Quishile Charan | Like a Lotus Flower that Grew from Mud

Opening event Thursday July 19, from 6pm

Corban Estate Arts Centre, Auckland

Through textile production techniques passed down from Quishile Charan’s aaji (grandmother), the artist recontextualises the role of the female Girmityas, bringing to light the significance of their roles and the indentured labour they endured. Using repetition of archival images, Charan subverts the “record of power” to form connections with these women, creating a textile narrative of celebratory love.

Dalene Meiring | A Shared World

Dalene Meiring | A Shared World

Opening event Tuesday July 24, from 5.30pm

Parnell Gallery, Auckland

Dalene Meiring’s latest body of work invites the viewer to engage with ‘A Shared World’ brimming with vibrant hues and eclectic imagery. Expressively offering themes of femininity and connectivity, Meiring creates worlds in which familiar motifs such as flowers, landscapes, birds and animals, take on wider symbolic qualities.

A Shared World’ reflects Meiring’s fascination with all living creatures coexisting in various ways. She celebrates the unique ideas and intricacies we all bring to the world. “I wanted to set the scene where individual beings contribute to the adventure of living together. We draw from each other as we move through experiences. We need flowers to celebrate. We love to listen to birds singing. It’s therapeutic to watch a dog sleeping. The farmer needs his livestock. We want to beautify objects to make them a pleasure to look at. Each one of us brings something different, sometimes incongruously, to the table – whether the contribution is needed, or just for pleasure and beauty.”

Image: Dalene Meiring, Betweeen Us

Art Ache | Auckland

Art Ache | Auckland

Thursday July 26, from 5pm – 8pm

LOT23, Auckland

WHO / Headlining artist Judy Darragh will be supported by artist’s Paula Friis, Katharine Atafu-Mayo, Olyvia Hong, Karen Rubado and Greg Page.

AS WELL AS / Julia Deans, who will be performing a selection of songs from her latest album, including The Panic, the video for which consists of hand-drawn animation by artist Greg Page about the discovery and management of anxiety.

ON-SALE  /  Selected artworks, studio treasures at entry level prices. Limited Art Ache collector prints are also available nationwide for $50 each, from Sunday 8th for the month of July at

This event is FREE entry and non-ageist. BRING CASH.

In an effort to make art and culture part of the everyday conversation in New Zealand, Art Ache provides young art lovers and future patrons a rare opportunity to meet a selection of this country’s brightest creatives. They  believe at the core of every happy healthy society is a strong connection with its cultural ambassadors. Through Art Ache, they aim to assist intellectual and creative development, for the betterment of the local community and wider society.
The event has been curated by Natalie Tozer.

Of the line-up, creative director Aimee Ralfini says: “Natalie has brought together a comprehensive collection of striking artists, who present an interesting story around the discipline of career creativity, the obstacles faced by ever-reducing institutional support, and the reality of making ends meet. This, in turn, reiterates the point of Art Ache – to generate a wider awareness of artists’ work and share their story, in order to aid them in their creative journey.”

Amy Blackburn | Breathing in Eternity No Categories

Amy Blackburn | Breathing in Eternity

Opening event Saturday July 28, from 5.30pm

Space Studio and Gallery, Whanganui

New works by Amy Blackburn exploring ideas of essence through paint.

Image courtesy of gallery

Fiona Pardington | Midnight at the Crossroads

Fiona Pardington | Midnight at the Crossroads

Opening event Saturday July 28, from 4pm

The Vivian, Matakana 

The Vivian are delighted to launch Fiona Pardington’s outstanding new series, Midnight at the Crossroads in collaboration with Starkwhite.

Recognised as one of New Zealand’s leading artists, and with over 30-years of professional practice, Fiona believes photography is the ultimate animistic portal; a crossroad where mundane and etheric meet in light and shadow.

Image: Fiona Pardington, Suspect Device 2017.
Courtesy of the artist and Starkwhite, New Zealand

Group Exhibition | Digital Aurora

Group Exhibition | Digital Aurora

Opening event Friday July 28, from 6pm

Depot Artspace, Main Gallery, Auckland

Participating Artists: Joe “Digl” Dixon, Oliver Bucher, Krishna Duddumpudi, James McVay, Hans Kim

Digital Aurora arises from the hearts and minds of young, ambitious artists, engineers, and designers working in the rapidly changing technology and innovation sectors and dreaming about the future. It is a vehicle by which to explore the uncharted territories between technology, art, and culture.

Digital Aurora is a composition of structural, graphical and digital artworks that aim to disconnect the viewer from reality, interpolate data, and invite an examination of human experience and perceived value refracted through a lens of critical enquiry.

“We hope that this exhibition will be able to display a different side of technology that is both beautiful and stimulating, to inspire and encourage the next generation of thinkers, innovators, and artists to take action.”

Image: Krishna Duddumpudi, Whispers in the Wind

Group Show | Iconography of Revolt

Group Show | Iconography of Revolt

City Gallery, Wellington

This show considers the ways artists, filmmakers, and designers have explored and contributed to the iconography of revolt.

It excavates history, from Varvara Stepanova’s Bolshevik sportswear from the 1920s to Emory Douglas’s Black Panther newspaper graphics from the late 1960s and 1970s. It also features Belgian artist Johan Grimonprez’s harrowing collage documentary, Dial H-I-S-T-O-R-Y(1997), which explores the romantic heyday of airplane-hijacking revolutionaries through the eyes of the media.

Australian artist Marco Fusinato creates industrial enlargements of news photos of the decisive moment in riots, when a protagonist brandishes a rock against a backdrop of fire. He also invites well-known graphic designers to remake a historic protest banner in their own distinct styles.

Dress code is crucial. Los Angeles-based artist Jemima Wyman explores the rhetoric of camouflage and masks, via the Zapatistas and Anonymous. In their trademark balaclavas, Russian punk band Pussy Riot are whipped by Cossack militia at the 2014 Sochi Winter Olympics for singing ‘Putin will teach you how to love the motherland’. Plus, there’s a promotional video for the London fashion label Maharishi’s ‘Viet-Afghan Coalition’ collection.

Also featured: Jean-Luc Godard, Giovanni Intra and Michael Parekōwhai, Oliver Maxwell, Dane Mitchell, Muslimgauze, Michael Stevenson, and Rosemarie Trockel.

Image: Jemima Wyman Combat Drag: Lessons in Unlimited Expansion 2008

Larisse Hall | Lemonade

Larisse Hall | Lemonade

Opening event Friday July 27, from 5.30pm

Deport Artspace, Main Gallery, Auckland

‘When life hands you lemons, make lemonade.’

Captivated by the power and energy of optimism, Hall’s work combines the ethereal quality of light with the materiality of paint and form to create an almost tangible experience. This interplay, between the evident and the subliminal, the spoken and the intuitive, is articulated through light and colour and permeates her work.

Lemonade entices the audience to step inside ‘optimism’, to experience it as an actual energy that acts positively upon the disposition of the viewer.

‘The optimist sees the rose and not its thorns; the pessimist stares at the thorns, oblivious of the rose.’ – Kahlil Gibran

Meet the Artist: Sunday July 29, 11.00am – 3.00pm, Free

BodyCartography Project | Walk with me: Immersive Movement Tours

BodyCartography Project | Walk with me: Immersive Movement Tours

Toi Art, Level 5, Te Papa Tongarewa, Wellington

In Walk with me, a new BodyCartography Project commission, dancers lead you through Te Papa’s new art galleries on a unique tour that uses movement to explore art in new ways.

This one-on-one walking tour activates your senses and encourages deep connections with the surrounding art and architecture. As dancers guide you through the new Toi Art galleries, even the simple act of opening and closing your eyes becomes a revelation. Immediate, personal, physical – this immersive movement tour will transform the way you experience art.

Walk with me has been commissioned for Te Papa’s collection, as their first intangible dance acquisition. Developed and choreographed by Olive Bieringa of BodyCartography Project, delivered by Kosta Bogoievski, Josie Archer, and Footnote dance company’s Anu Khapung, Georgia Beechey-Gradwell, Joshua Faletua, Tyler Carney, and Adam Naughton.

The event is free, but bookings are required.

Image courtesy of Te Papa Tongarewa

ORBITAL | Group Show

ORBITAL | Group Show

Opening event Saturday July 28, 1 – 4pm

Comet Project Space, Auckland

Down three lamps end of Ponsonby Road, a new artist-run initiative has emerged. Comet Project Space will be launching their first show ORBITAL, with a pop-up style event that will host a selection of work from a variety of emerging contemporary creatives.

ORBITAL is emblematic of connectedness. The conception of a community, growing as it gains momentum. Orbital observes the artistic energies presently within Comets reach, acting as an anchorage from which we hope to explore and connect with the impressive talents around us.

Artists: Clara Wells, Monique Lacey, Emma Paton, Felixe Laing, Hannah Potbury, James Gibson, Joshua Harris, Kelly Malone, Laura Jer, Leigh Munro, Lucy Gill, Melaine Arnold, Grace Bader, Yasmina Gilles, Yvonne Shaw, Karen Sewell and Dance Plant Collective.

Image courtesy of Comet Project Space

Chris Ingham | Figures in Urban Landscape

Chris Ingham | Figures in Urban Landscape

Solander Gallery, Wellington

Melbourne based artist Chris Ingham is exhibiting a suite of new etchings, lithographs and bronzes that explore the theme of the individual in the wider community. Notions of private and public, the known and the anonymous are reflected in Chris’s urban landscapes.


Kelvin Mann | Skein

Kelvin Mann | Skein

Solander Gallery, Wellington

Skein refers to a flock of wild geese or swans in flight, typically in a V-shaped formation. They fly in this manner in order to benefit from the preceding bird’s updraft to save energy during a long flight.

As with triangular shape of migratory birds, the triangle can also reflect the genealogical base of a species. During the 1970’s and 80’s conservationist Don Merton lead a team to save a tiny bird, the Black Robin, whose numbers at one point dropped to only five. There were two adult females and of that pair only one, Old Blue, managed to successfully rear chicks. Today there are an estimated 250 black robins, all descended from Old Blue who sits unequivocally at the top of her triangular family tree.

This suite of works reflects the significance of the individual and their integral connection to the flock, like building blocks or jigsaw pieces for something larger and far more important.

New Zealand born Kelvin has worked as a printmaker at Stoney Road Press in Dublin since 2002 and shows in Ireland, the United Kingdom, New Zealand and Australia.

Image: Kelvin Mann, Old Blue’s family tree, 2018

Benjamin Work: Write it on the land, Seal it on the hear

Benjamin Work: Write it on the land, Seal it on the hear

Opening event Saturday August 11, from 4pm – 6pm
(Spring Exhibition Opening)

Te Tuhi, Auckland

For Te Tuhi’s Project Wall, Benjamin Work has created a wall painting which calls into question symbols associated with nationhood and identity.

The artist deconstructs the Tongan Royal Flag in order to address the adoption of imperial symbols, and the subsequent devaluing of traditional motifs, to fit within the narrative of civilisation imposed by the English, French and Spanish colonial powers. Work reverses this relationship by incorporating indigenous symbols of wealth and power. A fala (woven mat) will be provided for the viewer to sit on and engage with the work, transforming Te Tuhi’s foyer space into a site of self-determination.

Image: Benjamin Work, Write it on the land, Seal it on the heart, 2018, commissioned by Te Tuhi, Auckland

Hikalu Clarke | Accurate Community Projections

Hikalu Clarke | Accurate Community Projections

Opening event Saturday August 11, from 4pm – 6pm
(Spring Exhibition Opening)

Te Tuhi, Auckland 

When Victor Gruen designed the first enclosed shopping complex, he envisioned it to operate as a communal gathering site – a balance of commerce, entertainment and art, with the intention of reducing the necessity of cars and to reinvigorate a sense of community. Ultimately, Gruen’s vision failed as these mega structures only contributed to the suburban sprawl he attempted to combat. Two years before Gruen’s death, he renounced his utopic vision, claiming: “I would like to take this opportunity to disclaim paternity once and for all. I refuse to pay alimony to those bastard developments. They destroyed our cities.”

For the Te Tuhi Billboards, Hikalu Clarke co-opts the visual vocabulary of advertising and retail developers to question how these ‘public’ arenas entrench hegemonic power and operate as hubs for data procurement. Situated on the outer wall of Pakuranga Plaza, Clarke’s CG images reflect the fortress-like construction of these mega structures. Comprised of abstracted details taken from stills, the billboards speak a network language linked by captions taken from yearly performance reports. The language used is both painfully optimistic, and at times inhuman and cold.

Image: Hikalu Clarke, Accurate Community Projections, 2018, comissioned by Te Tuhi, Auckland

International Group Show | From where I stand, my eye will send a light to you in the North

International Group Show | From where I stand, my eye will send a light to you in the North

Opening event Saturday August 11, from 4pm – 6pm
(Spring Exhibition Opening)

Te Tuhi, Auckland

Curated by Gabriela Salgado

This exhibition takes its title from artist Otobong Nkanga’s performance piece Diaoptasia, presented at Tate Modern, London in 2015. Instead of departing from a theme, the exhibition’s foundations are laid from a selection of works on paper by Nkanga, which provided space for other artists’ works to address the need to challenge Eurocentric historical narratives.

Nkanga’s prints from the series Social Consequences engage with a number of issues through graphically sparse depictions of human bodies and natural resources caught in dystopian entanglements. Her work departs from the observation of stone and minerals to shed light on the contradictions of wealth-producing economies and their restrictive access to gains. Drawing eloquent parallels between minerals and language, Nkanga’s works depict humans that appear to be connected by tools through processes of fracturing, cutting and carving out, evoking language’s constant metamorphosis. Her analysis of minerals as a metonymy for society shows us that we are made of a great variety of elements that react to pressure, heat and other physical forces.

This exhibition encompasses works by international and local artists dealing with a number of poignant subjects in an attempt to shed light over the multiple manifestations of our contemporary ills as seen from the geopolitical south. Their insightful works remind us how the emergence of imperial capitalism in the early 16thcentury led the way to the relentless extraction of raw materials that has continued to the present day. They signal how such intense exploration of natural resources has unleashed what we have come to acknowledge as a migration and climate emergency, generating perpetual economic and human crises whose substrate all but hide the colonial wounds inflicted in the past.

In the same manner that dominant narratives have instigated a partial reading of human history to build a canonical version of reality, it can also be argued that the history of art is biased. Since the idea of Modernity was coined, ways of thinking about high art and craftsmanship have been largely determined by historical conditioning grounded in a binary model of conquerors and oppressed; educated and unqualified; masters and slaves; powerful and disenfranchised; explorers and providers; civilised and primitive.

By bringing to Aotearoa works from all corners of the world, the exhibiting artists invite us to share in numerous knowledge systems and histories which, as light emanating from their eyes, can help illuminate our path.

Image: Otobong Nkanga, Social Consequences I: Crisis, 2009

Workshop | Reading, reflecting and responding: a series of art writing workshops with Francis McWhannell

Workshop | Reading, reflecting and responding: a series of art writing workshops with Francis McWhannell

Led by freelance writer and curator, Francis McWhannell, presented in partnership with Te Tuhi and Artists Alliance.

Reading, reflecting and responding aims to help new writers hone their skills in responding to art creatively and critically. The programme will involve a combination of short presentations by the tutor, group discussions, and writing tasks. The first three sessions will centre on texts by well-known art writers, including art historical essays, exhibition texts, personal responses, and reviews.

Prior to each workshop, participants will be provided with digital copies of two texts and will make brief notes about both. These notes will form the basis of a group discussion. Each participant will also choose one essay to respond to and will produce a concise critique (approximately 500 words). The tutor will provide feedback to each participant in writing at the beginning of the next session.

The final workshop will take a different form. Participants will come with a piece of art writing of 800–1,000 words in length to be workshopped. Each will discuss the text briefly (no more than five minutes), highlighting any difficulties and successes experienced. The group will give constructive feedback and the pieces will be reworked before being submitted for final review by the tutor.

The tutor, Francis McWhannell, is a freelance writer and curator. He holds a Bachelor of Arts (Hons) from the University of Auckland, where he is currently completing a Masters in Art History. He has written for various arts and culture magazines and websites, including Art News New Zealand, HOME, and Runway Conversations. From 2016 to 2017 he was Visual Arts Editor at the Pantograph Punch.

Dates:              August 13, 20, 27 and Sept 3, 5.30-7.30pm

Location:         The Open Book, 201 Ponsonby Rd, Ponsonby, Auckland

Price:               $160 to attend the full suite of four workshops

Please note these workshops will be limited to 10 participants.

Clare Caldwell | In Time

Clare Caldwell | In Time

Opening event Saturday August 18, from 2pm

Depot Artspace, Main Gallery, Auckland

For Clare (Claudie) Caldwell art is the initial impulse,  a filter through which to decipher subliminal, pre-cognitive and cognitive responses to her inner and outer worlds, a way of making sense of and sharing ‘conversations’ about things that are important. In Time is an allegorical narrative of paintings on Angelic intervention: its arrival, its absence and its re-intervention.

The exhibition is a response to the imagery that has mentally and spiritually bombarded the artist, often seemingly random, but now forming a cohesive whole. It has an urgency about it. It seems it is a story that wants to be told.

Clare believes one of the roles of the artist is to ask the hard questions, to challenge established beliefs, like a societal watchdog. In a world currently dominated by the cult of the decadent, the ugly and the secular, art has largely abandoned its role of transcending these dystopias and connecting us to an ‘otherness’ – a connection to what is Divine, that connects to the Divine within us.

It is a loss that severs what she believes to be the pursuit of our sacred purpose on this planet.