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tag:blogger.com,1999:blog-52658138069934972152023-09-11T08:50:44.756-07:00e y e C O N T A C TForum for the examination of the visual arts in Aotearoa, New ZealandJohn Hurrellhttp://email@example.com:blogger.com,1999:blog-5265813806993497215.post-4188006233886173072020-12-04T02:58:00.001-08:002020-12-04T03:03:42.210-08:00Pleasures of the Bodily and Binary      Richard Frater: So Long The Difficulties of Being Single Newcall 11 November – 29 November 2008 When does a collection of seemingly disparate sculptures become an installation so that an overall coherence is apparent where all the parts interconnect? Where there is a sense of only one work engaging the visitor? I'm not sure if that happens in this show, but it is certainly close, though the separate components retain a strong individuality. Into the T-shaped Newcall space Frater has carefully positioned ten varied sculptures. These heighten a viewer's (self) awareness of bodily dynamics between Newcall's walls, window, door gaps, floor and ceiling - and the light (or lack of) on those surfaces. Despite his droll exhibition title about 'being single' – a bachelor or single artwork perhaps - the show seems really about binary combinations, the tension between pairs, and movement around, over, under and through them. This is a meticulously deceptive and extremely subtle show that needs time to absorb because the links are not at first obvious. From two calls to Newcall, here's some of what I spotted: (1.) The title seems to be about getting married, but is nothing of the kind. Other appearances deceive too. Frater has a video loop which seems initially to be of walls of ice bricks slowly dissolving in a large tank of water. These on reflection probably are plastic or polystyrene sheets collapsing in a mineral solvent. Their behaviour is subtly different from dissolving ice. (2.) There are two fabric rectangles on which Frater has printed large photographs. One is folded, the other spread out. The folded one by the window is grey and mottled like the gallery's concrete floor. The other spread image is silvery and of rumpled sheets on a bed. It is itself creased and rumpled. (3.) An isolated freestanding door is placed in the centre of the entrance to the stem of the gallery's T-shape, coming from a nearby wall at the base. Its chrome doorknob sparkles in the light from two panels in the ceiling, as does a similarly sized, silver-plated, mirror egg standing on the floor. (4.) There is a glowing fluorescent tube on the floor with one end raised by a vertical strip of plastic packaging tape going to the ceiling. The tube's length seems to be the same length as a projecting wooden shelf on the opposite wall. (5.) That shelf has been planed to strip off its topmost weathered surface. On it are scattered nearly thirty tags, thin plastic strips that seem to have come from the sticky sides of band-aids which they used to protect. On the adjacent wall in large letters is the name Andrei, possibly referring to the great Russian film director, Tarkovsky – famous for his use of natural elements and long pans. The letters have been shaped by cutting out and peeling off the skin of the gib surface. As Matt Harris warns in an excellent accompanying essay that advises against interpreting Frater's exhibition, these works need to be moved through and experienced, not thought about as semaphores or codes that require translation. To do that though means being aware of connections like those I've mentioned. They provide a pleasurable tension and keep the mind active. The show has not been built for robotic blockheads with legs on 'automatic pilot' but viewers willing to engage with, analyse, and compare the carefully placed ingredients.John Hurrellhttp://email@example.com:blogger.com,1999:blog-5265813806993497215.post-47936148163867882922010-05-17T17:04:00.003-07:002010-05-17T17:25:47.795-07:00Dear eyeCONTACT readerThis blog is pleased to announce it is now EyeContact the website, at www.eyecontactsite.com.

 If you have the blog site bookmarked or linked, please change the address.

 The new site is designed to provide the reader with easier access to both current and past reviews, as well as offering a guide to visual arts venues, institutions and service providers throughout New Zealand and Australia. This intersects with our articles to provide useful and relevant local information.

 The new site also provides the usual search functions to quickly locate review content and writers in a more accessible and engaging fashion, as well as offering the opportunity for advertisers and sponsors to support its writers. Please explore.John Hurrellhttp://email@example.com:blogger.com,1999:blog-5265813806993497215.post-39791100561417096442010-05-12T03:48:00.006-07:002010-05-13T03:39:40.396-07:00Judy Millar currently has a show at Hamish Morrison's in Berlin. Anthony Byrt tells us all about it.

 Every year, Berlin's galleries team up to coordinate Gallery Weekend: three days of openings that attract curators, critics and collectors from all over Europe. This year, people flew in for what promised to be a pretty exciting few days. There was a buzz about the fact that some of the biggest names in the art world were having shows in the city: people queued almost round the clock to get into the new Olafur Eliasson show; and out on Heidestrasse, crowds gathered outside Damien Hirst's opening, trying to get a peek at some of the works he didn't sell at his Sotheby's auction in September 2008. Other big names, though not quite as stratospheric, were also opening around town: Gursky, Wallinger, Bonvicini and Peyton among them.

 In the middle of all this hype (and right next to Hirst's exhibition), Judy Millar opened at Hamish Morrison Galerie. Millar's show, A Better Life, is her first major installation since representing New Zealand at Venice last year. As with Venice, she hasn't backed away from either the high-profile context or the size of the space she's been given: it's an all-or-nothing project, for an all-or-nothing weekend.

 Extending the concerns of her Venice show, giant strips of billboard material printed with her blown-up marks collapse over each other and spill through the gallery. There's more colour than at Venice. Complex negative curves make the piece more dynamic too, and there's a sharper interplay between form and content. In the past, I've written that at ten times their actual size, her marks become graphic rather than expressive. But here she's managed to make them architectural too, designing them to follow the curves of the structures that support them. She's also resisted the temptation to put too many paintings on the walls, so there's nothing to distract viewers from the main event; as one artist said to me at the opening, the work is like a single breath through the gallery.

 I've worked with Millar many times before: so people can take or leave the fact that I think it's a great exhibition. The more important issue is what it represents for her career. It's no secret that the New Zealand art world has had an uneasy relationship both with her international rise and with her work for a while now. I think this is caused by three factors. First, her work demands time, and a lot of people either don't want to, or don't think they need to, give it the extended attention it asks for. Second, there's a fixation with the idea that her work is primarily about abstraction, which it isn't, and it's therefore written off as decorative and out-of-date. Third, and perhaps most importantly, it looks out from New Zealand rather than in, participating in a global conversation about the relationship that painting has with the real world it both seeks to represent and be a part of. While there aren't many artists in New Zealand exploring similar ideas, there are plenty of very good ones around the world who are: Katharina Grosse, Sterling Ruby, Arturo Herrera, Thomas Scheibitz and Richard Wright, to name a few. I'm not suggesting that these artists have exactly the same motivations as Millar, but there are parallels.

 The fact that Millar is now participating in this conversation points to her own determination to be part of it. But it also says something about the platform that Venice has given her. Like her predecessors et al, Michael Stevenson and Peter Robinson, Venice has brought her work to the attention of international curators, collectors and writers. That's why this exhibition with Hamish Morrison is so important: it's her first chance to confirm that Venice wasn't a one-off, and that she really does belong on a big stage.

 There's also a lot riding on the show for the gallery. Expatriate New Zealander Morrison was one of the first gallerists to move to Heidestrasse, which is now one of Berlin's most important gallery strips. Over the past few years, he's built up a diverse stable of artists including: Iceland's Gabriela Fridriksdottir (also a Venice veteran); The Netherlands' Ronald de Bloeme; Dresden-based painter Paul Pretzer; Britain's Andrew Cranston; Australia's Mikala Dwyer; and Millar. Morrison has taken a leap of faith by giving Millar the Gallery Weekend gig – one of the two most important slots in Berlin's art calendar (the other is the start of the gallery season in September, which he's given to Dwyer). But if reaction at the opening is anything to go by, the gamble is paying off.

 Morrison, and Millar's other dealers Mark Müller (Zurich) and Gow Langsford (Auckland), will all have been perfectly aware that once Venice was over it was up to them to push the artist's career forward. This raises a challenging question for CNZ though, about who benefits most from their massive investment in the bi-annual event. Obviously the artists do well out of it. Their dealers do too: Venice, for any artist from any country, still serves as a quality-mark for collectors. However, there might still be questions about the value it creates for New Zealand; the old 'home or away' debate that causes CNZ – and New Zealand artists based overseas – endless amounts of grief. The anachronistic 'national' structure of Venice doesn't help. But the harsh truth is, this national angle doesn't really matter much any more. In a global art world, there's nothing inherently interesting about an artist being from New Zealand: it only becomes interesting when that artist harnesses their point of cultural difference to make work that contributes in a worthwhile way to international conversations. This is exactly what Millar has done, and what et al, Stevenson and Robinson did before her.

 Millar's show with Hamish Morrison then, is exactly the sort of thing that CNZ should be pointing to as a positive outcome from their investment in Venice. A Better Life, and the results that will likely come from it – museum shows, big collections, residencies – illustrate that there is life after Venice for New Zealand artists, even if that life doesn't play itself out at home.

 Images courtesy of the artist and Hamish Morrison GalleryJohn Hurrellhttp://email@example.com:blogger.com,1999:blog-5265813806993497215.post-13815328263494141422010-05-11T22:11:00.005-07:002010-05-11T22:28:08.798-07:00Andrew Paul Wood visits Eve Armstrong's show at The Physics Room

Eve Armstrong: After
 The Physics Room
 21 April - 23 May 2010

 Eve Armstrong's installation After coherently and holistically fills an entire gallery space, but consists of sub installations which makes for a visually interesting and engaging environment without diluting the web of associations and connections (song lines, ley lines, lines of sight) of meaning or becoming inarticulate. On a basic level it can be read as a Romantic landscape constructed from the found detritus of modern consumer society, seemingly after the apocalypse and in carefully selected shades of pastel pink, grey and black. As with movies like Planet of the Apes and Logan's Run, it is difficult to guess how future humans might interpret and seek to enshrine the relics of the present, even though After is clearly here and now.

 The colours are essential in providing a harmonising and homogenising matrix for all of these objets trouvé. Using colour as the means for the unification of the whole is a clever strategy, remaining true to the minimalist aesthetics of modern consumer goods and avoiding the sensation for the viewer that they are surrounded by a less consciously selected, random or pastiche-seeming clutter - lacking refined meaning and significance. The muted nature of the palette enhances an overall minimalist sensibility that does not distract from the important physical relationships between zones and sub-installations within the gestalt whole. The focus is not on nostalgia, the beautiful, kitsch nor sentimentality, neither does it seek to revise art history. Rather After seeks to redress a new place to stand for artist and audience that metronomes between yearning and anxiety. Armstrong is obviously as aware of the debates within contemporary art as she is of art historical predecessors.

 The Romantic spirit which reached its full flowering where the eighteenth century becomes the nineteenth is, I think, key to teasing the intellectual threads of meaning out of the complex fabric of After. Romanticism in art, has in recent years come back in force – one might consider the 2005 survey exhibition Munschwelten: Neue Romantik in der Kunst der Gegenwart (Ideal Worlds: New Romanticism in Contemporary Art) at the Schirn Kunsthalle, Frankfurt am Main. The 'landscape' effect is strongly suggested by Outlet; a towering 'alp' of concrete blocks studded with electric lamp stands in which candles have been inserted (consider the opposition of technological levels) overlooking Display; a small 'lake' constructed on the floor from mirror off-cuts. The classic Romantic landscape is represented at scale and in metaphor, a visually stimulating accumulation of altitudes and voids. Silvered glass and concrete seem as natural as this landscape will get, and yet that also seems to be enough.

 Casper David Friedrich-like lone figures in a landscape is intimated in two seats; Vying to return – a bathroom stool upholstered ad hoc with a fluffy pink bath towel seen better days, and de rigueur – an insubstantial tube aluminum chair (picture a cheap collapsible ironing board folded into a chair, ugly and tacky as sin) atop a plinth covered in carpet off-cuts. A third 'figure in the landscape' seems to be represented by Bystander – a metal standard lamp stand sans lamp – a skeletal pole rising out of its base, trying to be casual and insouciant in its relationship with the other components. These suggestions of isolated observers, staffage really, are in of themselves quintessentially Romantic with a capital 'R'.

 Unlike the various variations on Classicism, Romanticism does not propagate any absolute set of ideals, but rather sought to create individualised alternate counterworlds through which to escape the violently accelerated tenor of contemporary life. Whereas the Romantics of the nineteenth century tried to find escape in an idealised pastoral fantasy of the past, Armstrong has eliminated the present altogether. The modern world is represented through discarded, obsolete objects aesthetically associated with the 1970s and 1980s (thus aligning the installation with Armstrong's X-generation youth, the important aesthetic developmental period) as they might be found in the ruins of Western civilisation after some terrible global man-made natural disaster.

 At one end of the gallery is Future you – a minimalist shower door mounted monolithically and architecturally atop a sheet of linoleum, the marble pattern of which suggests a sculptural plinth. Leaning against a wall, Passing consists of a glacial wall of glass off-cuts, some of which are slathered with a gestural plain of white acrylic paint. Posted to these are laser prints on newsprint depicting collages of consumer appliance and white goods superimposed on landscapes associated with the Sublime (volcanoes, mountains, geysers) and the Picturesque (forest). These prints (including to the one stuck to the shower door of Future you) represent primers to understanding this alluded to world of capitalist technocrat consumerism, with a historical vision of nature as metaphor for the human world.

 The installation grows crystal-like from a ground of culture, dispersed around horizontal and vertical surfaces like something organic, coaxing high drama and a sense of becoming out of the mundane and otherwise static surfaces of the gallery space staged independent of space or time. These are very much interlocking tableaux functioning like an ambient organic machine to evoke deep and unexpected emotional states in the viewer – another trait of Romanticism. There seems to be an innate desire on the part of After to undergo transformation and dissolve boundaries, confounding our sensibilities of mind and scale. Scale is important here, because only when taken as a whole does the Lilliputian nature of this indoor landscape become apparent.

 This really is a delicious assemblage that has real depth, meaning and interest, and a refreshing delight when all too many installations of found objects seem merely to be going through the motions.

 Images courtesy Mark Gore and The Physics Room.John Hurrellhttp://email@example.com:blogger.com,1999:blog-5265813806993497215.post-80541486373359661382010-05-11T21:35:00.005-07:002010-05-11T21:43:52.454-07:00Reflective fluorescent Culbert

Bill Culbert: Light State
 Sue Crockford
 27 April – 22 May 2010

 For this new Bill Culbert show at Crockford's we have his characteristic use of the illuminative and reflective properties of light, demonstrated through a suite of works using fluorescent tubes positioned along the edges of large squares of shiny glass or placed across their centres. These are displayed on the walls of the front gallery, while an assortment of white tubes threaded through groups of plastic bottles are presented on shelves in the small back room.

 The glass sheets and aligned glowing fluorescent tubes make a wonderfully nuanced presentation but its effect depends largely on the time of day you visit. When I called it was about 4.45 on a cool clear autumn afternoon when the sky (seen through the 'waterfront' windows) was a dark blue, giving the right-angled and diagonal lines and their multiple reflections (from the floor too) added impact – by virtue of contrast. Having the sun low in the sky was an advantage.The work looked more striking than the above photographs indicate.

 As you moved around the space the precisely angled lines caught in the shiny squares were mirrored in the floor's reflective parquet surfaces, to mix with the dark azure window rectangles. The way Culbert had positioned the tube brackets on the glass edges or flat plane of each glass sheet was a crucial element: sometimes on their backs in an inverted, diagonal T-formation in the square's middle so that the light faced the viewer frontally bordered by two fuzzy shadows; sometimes on their sides on the lefthand and bottom edges so that a softly illuminated wall side was contrasted with an opposite parallel shadowy edge.

 These seven Light States collectively force the strolling visitor to think about their movement, getting them to notice the shifting relationships between the different reflected works coming and going between the vertical glass edges before them. For a Culbert installation, this organisation of different carefully placed elements within a series, is unusually participatory and immersive – quite different with its self awareness from say any passively observing of glowing objects on a wall, like that found in the other gallery.

 Those particular translucent screwtop container works (for which Culbert is now quite famous) make you think about the internal properties of each horizontally repeated hollow form, the nuances of colour, the different densities of the plastic shell and how they were originally made. Here is light partially passing through substance, not completely so as with glass and not lying on top of it as with an opaque wall. You experience these levels of transparency along with the shadows that they might cast and the white light that goes from the frosted glass of the projecting tubes directly to your eye.

 The immersive front gallery experience, with the reflective glass and fluorescent tubes on the walls interacting with the shiny floor, shows Culbert at his very best. Worth a late afternoon trip down town to investigate for yourself.John Hurrellhttp://email@example.com:blogger.com,1999:blog-5265813806993497215.post-6923087612886937652010-05-09T05:08:00.005-07:002010-05-13T01:55:39.823-07:00Andrea Bell tells us about the recent Richard Orjis / LA Lakers / Death Throes performances in Christchurch

 Richard Orjis: Silver Park (with LA Lakers and Death Throes)
 HSP
 Christchurch
 16 April – 8 May

 Dirt, heavy metal and pyrotechnics: what more could you want from an exhibition?

 After a long wait on the stairwell outside the gallery we were finally let in. The lights were out, and any natural light was banished with the windows sealed in shiny black plastic. The gallery's candle lit floor was littered with straw, crumpled tinfoil, the occasional photograph, amongst other detritus. At the end of the room, someone (something?) was throwing clods of dirt through an open window into the gallery. To the right of the window sat a robed shaman-like figure. A tinsel wig covered his face, disguising his identity. A small circular stage sat in the centre of the room, set up with a drum kit, microphone and amps.

 The first performance was by LA Lakers (the robed figure). Crouching near the stage, his low-tech cassette tape and a-lyrical vocal performance echoed the pagan sentiment of the setting. Bells were rung and Walkmans were methodically flung across the floor. Following the performance, LA Lakers shuffled blindly around the gallery, lighting sparklers and offering them out to members of the audience, marking the close of the initiation. After a short interlude Death Throes took the stage. At this point, some of the audience there for the art left, replaced by an influx of teenage metal fans. This was my first metal gig. Although I couldn't make out any of the lyrics, the throaty vocals and sustained power and aggression was hypnotic.

 Coupled with the music, the Silver Park installation suggested the same dark anthropological sense of ritual and contemporary gothic that Orjis' is known for. Having only ever seen Orjis' Empire of Dirt photographs of young men, smeared in mud, and adorned with phallic flora garlands, Silver Park was not quite what I'd expected. Described on the gallery's website as a "crepuscular ceremony" rather than an exhibition, Orjis' installation set the scene for a performance-based manifestation of his interest in mysticism, and transcendence.

 The performance aspect of Silver Park showed certain continuities with Orjis' 2008 Physics Room show Welcome to the Jungle (For this work Orjis invited Christchurch locals to cover their bare skin in soot and be photographed in the gallery. On opening night bodies writhed in the black coal while the portraits of coal-faced individuals were projected on the wall. Meanwhile a black station wagon parked below the gallery, brimming with orchids in lush fushias, purples and marigolds alerted those at street level to the activity above.)

 Formally, the circular stage in Silver Park echoed the circular mound of coal central to Orjis' earlier show. Circles are ubiquitous in pagan rituals, symbolizing the changing seasons, wheel-chart of astronomy and the cyclic nature of life itself. Orjis' act of casting a circle creates a place suggestive of earth worshipping and ritual in the gallery.

 The relationship between the performative and installation based elements inherent to Orjis' work is one of evolution. Whereas in Welcome to the Jungle, the relationship between the material and performative aspects of the exhibition was cohesive and unified, here Orjis' stage, dirt, foil, candles and floor-based photos were less polished, and more open and anarchistic. This is perhaps suggestive of a desire to move away from the formal and thematic aspects that he has become known for.John Hurrellhttp://email@example.com:blogger.com,1999:blog-5265813806993497215.post-84372859833009104192010-05-08T15:52:00.003-07:002010-05-08T16:09:28.416-07:00Mark Amery has been reading One Day Sculpture - the book

One Day Sculpture
 Ed. David Cross and Claire Doherty
 Book Design. A Practice For Everyday Life
 276 pp, coloured illustrations
 Kerber Verlag 2009

 One Day Sculpture saw twenty works occur for one day each, spread over more than a year, across the country. How to assess something where only a few handfuls of people actually witnessed more than a handful of projects?

 The answer is not to. Rather, how such a web of time-based activity is documented becomes crucial. Editors of this book and managing curators David Cross and Claire Doherty show they've given this a lot of thought. This title is a guidebook, providing some handy contemporary context and then gathering together with excellent photography disparate eyewitness accounts and curatorial perspectives of the projects. It's the Lonely Planet of art publishing.

 Whatever your assessment of One Day Sculpture's success its impact has been significant. Artists, writers and curators will be sparking off for years to come the questions it raised, models it set up and the work, good, bad and indifferent. This is the quick reference book for that continuing enquiry, and its smart clear design makes it feel like one.

 Given that most people's experience of the work has been through documentation or discussion (signaled as an issue by the inclusion of an essay by Daniel Palmer on the photographs relationship to temporary work), how the book is led editorially is very important. This was one of the more interesting aspects of the whole enterprise - where and when the viewing point for work began and stopped – and writing around specific works here is kept principally subjective, with eyewitness accounts.

 The book is a very self-aware exercise in keeping interpretation open, and for the most part that's very welcome. That is taken to a fairly fruitless extreme however by the inclusion in the back of a transcript of an uneven conversation between various curators, better left in the public programme.

 After a very readable summary from the editors of the entire programme, the book opens with what is titled a Reader: short essays on issues pertinent to temporary work. These texts provide general context from a distance rather than a response to the works, some more clearly than others (as with her address at the symposium Jane Rendell's is full of fascinating insights but pretty impenetrable).

 It's uncomfortable that all bar one of the Reader writers (and he, American Martin Patrick, a recent addition to Massey staff) hail from outside of New Zealand. They give the work international ballast and attention (which I'm sure is a smart move academically), but it's disturbing that the project ends up feeling like it has that old hierarchy of being framed from the outside, while the writers on the actual work are in the great majority local.

 Handy as it is it's also a rather dense beginning to the book. Placed at the back these writers could have been given more room. As it is you sense they are just getting going on their topic before they have to wrap it up.

 As for the overseas artists, while some visitors created works that were charged by and the whole concept of being brought to the other end of the world for the briefest of projects, others it seemed to me left behind not just light work but lightweight work. It was hard to see how brief visits were conducive to making good work. Some of my favourites were by artists local to their locations, able to understand the complexities of their context. I simply didn't buy ODS's championing of actions with only fleeting engagement with their sites.

 Whether the different writers felt the events they write upon successful can be hard to gauge from their impressions. They often keep a passerby's distance, and criticism becomes implicit rather than stated.

 On Roman Ondak's Camouflaged Building, Max Delany starts by suggesting on first glance the work might seem disappointing, but then after thoroughly discussing its context doesn't really offer enough to suggest a change in that judgement (it was disappointing). Cheryl Bernstein also seems initially unimpressed by Thomas Hirschhorn's cardboard-dressed car, and her writing goes on to mostly avoids the subject by meditating on the difficulty of seeing art with children. Jon Bywater writes of the camouflage implicit in the title of the work by Bik van Der Pol, but his text itself feels like an act of camouflage against actually saying how he was affected by the work. Having seen neither of those last two works I find myself trying to read between the lines to get a real impression of the work.

 Generally however I found this first-hand account approach useful and refreshing. One of the book's strengths is the diversity of writers brought together. Dylan Horrocks' account of Paola Pivi's work for example is an articulate piece of storytelling - the story being his experience of the work. Horrocks allowed me to consider the complexities of what at a distance seemed like a memorable work on all sorts of levels. Given we can't say we've seen the work through documentation, this sort of thorough first hand account feels like the best next viewing area.

 Likewise Anna Sanderson, Ian Wedde, David Cross and Lara Strongman do well at reliving the experience of following an artwork over a one day period. Implicit here is that the test of a One Day Sculpture is to be with it, or thinking about it over an entire day. And while some writers seem reticent about their experience (and in being so critical), there are also equally strong responses to what sounded like great works – I came away from John Di Stefano's consideration of Javier Tellez's Intermission kicking myself I wasn't there, but glad for having this reflection of it in words and pictures.

 One Day Sculpture's principle weakness, and one that I felt is an undercurrent of comment through the book, is the fact that so few works paid strong attention to the time component. It felt like a better marketing device for temporary art series than it was actual conceptual framework. So many of the works I saw get a 'yes' answer when I ask the question as to whether the work would have been more effective staged over a longer period, to a wider audience. Nor was the word sculpture interrogated enough to warrant its use (Scape in 2008 was far better on this). What we had more was an interrogation of the notion of the event, which is written about by Mick Wilson in the Reader and the book as a whole conveys.

 Conversely One Day Sculpture's openness and focus on collaboration between artists, curators and institutions was a great strength. And ultimately it's the openness of this publication to a diverse array of responses to the work that helps make it an essential item for the bookshelf, not to mention a really good read.

 A final note. Crucial to the book's success is Stephen Rowe's colour photography and the plentiful space given to it. Rowe doesn't pretend to mimic the experience of the visitor to the work, but rather step away and record the interaction with clarity and precision.John Hurrellhttp://firstname.lastname@example.com:blogger.com,1999:blog-5265813806993497215.post-26246778782340482452010-05-06T19:51:00.005-07:002010-05-06T20:03:49.495-07:00Mystic panoramic sandwiches

Barbara Tuck: Habits of Paradise
 Anna Miles
 7 April – 8 May 2010

 The six recent Barbara Tuck oil paintings displayed here were made during a trip to the South Island's McKenzie Country, that sparsely populated, high altitude basin that straddles the border between Canterbury and Otago.

 These paintings are quite impressionistic – in the sense of mental impressions, not qualities of light on surfaces. They contain collage-like fragments of landscape or clumps of terrain, botany or sky, usually aligned within horizontal strata. Earlier shows of hers have been more vertical or diagonal with their organisation of vista portions – as if looking up through or down into treetop canopies. These compositions have a sense of looking across austere grass-covered landforms towards dominant mountain ranges. There is a sense of loosely stacking multiple views on top of each other that is vaguely related to a famous Cental Otago Rita Angus painting, where the sky at the top is replaced with a new imposed landscape foreground – like a club sandwich. Or like McCahon's Six Days in Nelson and Canterbury which is like a sequence of film story-boards made by a cycling traveller.

 Tuck's organic images however have a wild spontaneity that is totally different from Angus or McCahon. She seems to enjoy riffing with certain repeated brush lines that often reference landforms, foliage or patterns on chinaware. Her oil paint is thin and runny, providing an oozy, bubbly sensuality that lets the underpainted gessoed board shine through.

 Tuck obviously delights in mark making, and there is a strong sense of obsessive process where the aim is not a refined, compositionally perfect product but an outpouring of restless energy and felt response to the environs. This is strangely related to Alan Pearson's squiggly improvisations painted while listening to Italian opera, Bill Hammond's early suburban interiors made while grooving to rock music, or Phil Clairmont's excitement with Hendrix: an intoxicatingly bodily drive that results in experiments with shape and line. Except Tuck's 'music' is the McKenzie Basin location itself and the wonder of its particular geology, climate, flora and fauna.

 Sometimes she has pale blobby forms floating in front of the picture plane, flat curved shapes hovering in a space all their own and painted with thin blue twitchy lines. These slightly foetal decorative forms disrupt the image like a floating Brent Wong architrave and their oddness undermines even the discordant collaged feel of painted fragmentation – as if symbolic in intention and slightly at odds with the surrounding space. However such shapes, like the rest of her spontaneously arranged textures, patterns and rendered vistas, are kick-started by an intuitive response to an unusual location. Their unpredictable properties, dwelling on interiority and spiritual preoccupations (as indicated by her titles) reinforce the subjectivity of her method.

 The paintings, in descending order, are: O Maramu. Ahuriri Augellus; Unfurnished Eye; About Fleeing; Pour and melt of Distances; Soul's Neural Tekapo.John Hurrellhttp://email@example.com:blogger.com,1999:blog-5265813806993497215.post-7383651897115894412010-05-06T13:59:00.006-07:002010-05-06T14:09:46.343-07:00Exquisite watercolours of calamities

Linden Simmons: In the passing of a night
 Tim Melville
 13 April - 8 May 2010

 This selection of works by Linden Simmons showcases his extraordinary dexterity with watercolour, for his finely intricate, life-size copies of New Zealand Herald images really draw you in close so you can admire their delicate detail.

 What is interesting about them is the combination of the sensuality of the transparent gum medium – made palpable with its nuanced overlaying of planes and forms – with the ramifications of the images he chooses. Though his titles are deliberately vague the information about each image source is easily coaxed out of his very approachable dealer, or seen in nearby filed photocopies of pertinent newspaper pages.

 Why the indeterminate titles? Well obviously he wishes to emphasize the bodily experience of the image, and feels mental imagery within a label might overwhelm it. So why divulge the image origins to his dealer? Because he wants contextual information circulated – to eventually get embedded within the social matrix of the art world audience - even though he doesn't want to appear too brazen about directly presenting it, or wants it to dominate so that the images become illustrative.

 Simmons picks a certain kind of image to copy. Firstly they come from faded newsprint where the ink seems to have soaked in and not kept to the surface. They do not have the saturated colour or spatial depth of a glossy photograph.

 Secondly these images are of a particular type. All taken overseas most feature calamitous highly destructive events that have resulted from the forces of nature. Of course now 'forces of nature' are no longer perceived as always isolated from human stupidity. Often there are direct ecological causal connections.

 Simmons' rendered images include the destructive results of tidal waves, volcanic eruptions, earthquakes, and storms of land and sea. Sometimes the site or activity of a future disaster is implied, such as locations where uranium is planned to be mined. The pervading theme is mass human suffering – usually in third world countries.

 What Simmons seems to be doing is commenting on the desensitisation of readers when they come across accounts of catastrophic tragedies in 'foreign' lands while relaxing at home or at work. He offers a form of escapism in the form of beauty and virtuoso technique while at the same time undercutting that release. This 'reality trip' occurs not so much through the descriptive properties of his painting as through the eventual dawning of the initial context through word of mouth or reading – gradually eroding the built-in mental distance. The beguiling works become disturbing.

 How significant that is I'm not sure. The visual appeal of the work dominates, and while perhaps a sense of helplessness is caused by the enormity of these disasters, or feelings of guilt at one's own comfortable privilege or security, ultimately nothing changes except perhaps personal contributions to aid relief.

 Perhaps that is enough, and the precise point. That is all that can be expected, for the work is not just about manual finesse but a meditation on economic and geographic separation, and the psychology of an art-lover's self-awareness.

 Work titles in descending order: Mosque; Princess Ashika; Legazpi; Forensics; Thursday January 7, 2010, Page A3; Tuesday January 19, 2010, Page A12.
 John Hurrellhttp://email@example.com:blogger.com,1999:blog-5265813806993497215.post-54120337592230919142010-05-03T14:44:00.009-07:002010-05-06T06:08:15.655-07:00Running out of time

Darryn George: Rarohiko
 Gow Langsford
 28 April - 22 May 2010

 With this new Gow Langsford exhibition Darryn George carries on with some compositional aspects of the 'abstract' wall painting that he presented last December at Te Tuhi. With that work the image (entitled Rehita) could be described as a diagrammatic drawing of a bookcase, with books lying on their sides on its shelves.

 George is interested in systems of knowledge and how cultures accumulate and store it. With Rarohiko (the Maori word for computer) there are similarities to the earlier show but the 'Maori' red is mostly gone, as is the wide airy flat space. Instead the motifs are stacked on top of each other within a boxlike computer screen and allude to systems of stored files (digital or in cabinets) or to tabs attached to folders.

 The alignment of space within each work varies. Sometimes it is conventional perspective, occasionally aerial perspective, now and then orthogonal. The same sized rectangular tabs are stacked vertically, or descend moving to the bottom right, or else they recede. There is a sense of these precisely arranged oblongs being symbols for containers of information.

 With the Countdown series there is a focus on ten recited numbers that seems a tribute to McCahon's 1965 Numerals series, plus a visual tip of the hat to the English Gothic 'Gang-patch' lettering of Shane Cotton and perhaps the delicate ink drawings of <a href="http://images.google.com/imgres?imgurl=http://collection.aucklandartgallery.govt.nz/collection/images/display/1991-2000/1994_5_2.jpg&imgrefurl=http://collection.aucklandartgallery.govt.nz/collection/results.do%3Bjsessionid%3DF442E48B57C79FBA7B087BEC63025A93%3Fview%3Ddetail%26db%3Dobject%26id%3D7906&usg=__gMfbdtGYdeN4vS-aGc8eYHrBNEo=&h=353&w=480&sz=61&hl=en&start=14&sig2=cXoBi4WdmCS70CR30uHKfA&um=1&itbs=1&tbnid=iofx42FhgF6bWM:&tbnh=95&tbnw=129&prev=/images%3Fq%3Djohn%2Bbevan%2Bford%2Bartist%26um%3D1%26hl%3Den%26lr%3D%26sa%3DN%26tbs%3Disch:1&ei=UULfS6L5M4ncswP30OmzBg">John Bevan Ford.

 As the title states, George here is using a line of small canvases to list their numbers backwards in diminishing denominations. He is not using them to surprise the eye with unexpected placements (as McCahon might do) - only showing them decreasing within a sequenced row. This creates a sense of the apocalyptic.

 There is an abstract distancing with this predetermined arrangement, supplemented by a pulse of alternating red and black footers and the alternating arepa/omeka (alpha/omega) names of Jesus from the Book of Revelations. They are ominous whilst also decorative. Furthermore the subtle (though I suspect coincidental) optical mixing of finely linear coloured koru forms in their backgrounds introduces a pleasing chance component – makes the work less icy and more spontaneous.

 I think the Rarohiko canvases work better than the more intricate, much smaller Countdown paintings. Their size has more impact, while the varied experiments with a stark compositional layout and the ideas about digital information storage - blended with traditional Maori motifs - are more satisfying and unique.

 What is interesting is the tension created by George's presentation of these two series together. One type seems to be about building a better future through the accumulation of knowledge, and the other is saying that time is running out, that the benefits of using such knowledge may never get the chance to be appreciated. George might be referring to the planet's ecological demise or he might be thinking of The Second Coming. Perhaps both.John Hurrellhttp://firstname.lastname@example.com:blogger.com,1999:blog-5265813806993497215.post-3704497307888290642010-05-03T14:12:00.007-07:002010-05-06T06:11:32.447-07:00Self-referential Killeen bores

Richard Killeen: The Presence of Objects
 Ivan Anthony
 21 April -22 May 2010

 This quite large show of Richard Killeen's digitally inked paper prints and larger canvas 'paintings', occupies both ends of the Ivan Anthony Gallery. These 'objects' reference many parts of his very varied career, particularly his earlier cut-outs, those silhouetted single-coloured shapes (1978-81) designed to be hung side by side within compositionally arranged groups created by the exhibition hanger.

 With these recycled images now being fixed in position within portable rectangles - juxtaposed, overlaid or sometimes bodily interwoven - the metallic looking, computer-rendered forms look as if they have been made with an airbrush. Gone are the flat monochromatic primary or black hues: these have a sheen and are often mottled. Absent also are the thin, perpendicular in cross-section, edges of each shape. The drawn contours curve over into the top plane like a sanded bevel, and accentuate the shapes' highly ornamental properties as animals, utensils or plants, with painted highlights added. They look like decals found on heavy industrial machinery.

 The shapes thus are softly rounded, with no spiky geometry or threatening sharp edges – and are always accompanied by fuzzy shadows so that they have a thickness. The shallow tray-like space, because it references the wall on which the cut-outs were hung, though illusionist, is a vaguely modernist picture plane that repudiates the depth of his other digital, more densely packed and highly decorative images.

 The hermetic reflexivity of Killeen's practice has been going on for some time now, going round and round, spiralling in on itself. Sometimes it leads to fresh, unexpected surprises; on other occasions he seems too preoccupied with his own umbilicus, and the work (for Killeen – one of the indisputably great NZ artists of the seventies and eighties) becomes disappointingly tired.

 Here you can see the artist's mind ticking over with new spatial and stylistic treatments of his image–bank but the constant revamping is now becoming lacklustre. I visited this show with excited anticipation, because Killeen is an artist with an exceptionally interesting painting history, and he of course knows he has that drawing power. However there are signs within this self-referential exhibition that the work is getting jaded, too conceptually repetitive. He needs to escape from his standard now over-utilised repertoire, take a holiday, and start reinventing.John Hurrellhttp://email@example.com:blogger.com,1999:blog-5265813806993497215.post-69669903215714830372010-05-01T17:34:00.005-07:002010-05-02T14:07:21.312-07:00David Cross visits New Plymouth

John Reynolds
 Nomadology: Loitering With Intent
 Curated by Rhana Devenport
 Govett-Brewster Art Gallery
 27 March - June 13

 Standing on the pavement of the White Hart Hotel in New Plymouth looking at John Reynolds' LED road sign I was flummoxed. Flashing in front of me were repetitive textual bytes that listed a litany of dead philosophers and the ways in which they had died. It was hard to view the sign in the late afternoon light and the passing cars would barely have sensed its presence, but this was not ultimately what troubled me.

 Having spent a few hours grappling with Reynolds' many and varied interrogations of the discursive permutations of text in art, I had become inured to the potential power/value of the texts. Song lyrics, New Plymouth street names, the index to Deleuze and Guattari's A Thousand Plateaus, writing on the Middle East conflict by Robert Fiske, these were just some of the many and varied sources for the artist's various artistic iterations. Ambitious in scope, and demonstrating a heightened level of cultural capital, the exhibition looked slick and savvy but ultimately the nagging question was what greater purpose did these textual meanderings serve?

 Reynolds' sweep through philosophy, popular culture, New Zealand art history and the New Plymouth vernacular in the fourteen works on show suggested a firm belief in the possibility of synthesising eclectic content around his signature aesthetic/sensibility. The Reynolds touch - his distinctive graphic style and refined use of language - more than a broader coherent critical schema, was seen as the requisite glue to pull the show together. Dexterous as he is as a painter, it is the absence of a larger programme that makes this major survey flaccid. It's as if the artist has constructed a range of discrete sketches across a multiplicity of fronts believing that that the sum will somehow equal the parts. The cult of personality angle was certainly perpetuated in the galleries supporting material where the artist is described as a 'trickster'. Yet it is hard to see where in Nomadology: Loitering with Intent Reynolds disobeys normal rules and conventional behavior. Mixing philosophy, politics, street names and the lyrics to an AC/DC song seems to this writer to be a recipe for a very trickster-lite identity at best.

 Reynolds is too sunny to be a trickster and certainly too family friendly. His excursion into participatory art Hells Bells, gave the audience an opportunity to make their own sentences from lyrical fragments of an assortment of songs used by the America military to torture detainees. While an acerbic political statement, the caustic undertone was largely usurped by the relational setup and candy coloured modules. Of course this sharp incongruity was the point of the work, but in a room with mariachi lighting and every street name in New Plymouth chalked on the surrounding walls, the statement was buried in an overload of signifying systems. Everywhere you looked the artist was riffing on something different, the phenomena of twitter in Twitterature: The Iliad by Homer, a meditation on the Arabian Nights, the vagaries of acronyms. Each had at least a kernel of interest as a discrete component but experienced as a whole the effect was one of conceptual pot pourri. While the artist clearly loves the elusive possibility of words I found myself beginning to doubt their capacity for any real profundity. Juxtaposing so many different literary modes against one another rendered them flatly equivalent, making it harder to care about both the edgier political dimensions, or the fandom obsessions of a rock band's set list.

 The best work in the show was the least demonstrative, allowing Reynolds to use his modular modality to its best effect. Birdsong (Corner of King and Queen) consisted of small monochrome canvases with clearly prefaced drips of paint, stacked floor to ceiling. The work played cleverly with the architecture of the gallery linking the bottom and top spaces together while also building a compelling connection with the rectangular component of Len Lye's rectangular kinetic sculpture Trilogy. The work spoke volumes about the languages of painting, architecture and their assorted materialities without requiring a single word to preface its meaning.

 It says a lot about the Govett-Brewster's belief in John Reynolds' standing that not only did he secure the majority of the gallery spaces, he did so to mark the 40th anniversary celebration. This was something of a missed opportunity. Perhaps a smaller, tighter showing of his work in tandem with other connected practitioners might have been a better bet. Failing that at least a much tighter curatorial focus was required so that there was significantly more coherent intent to the artist's loitering.

 The above photographs were taken by Patrick Reynolds. In descending order these installation images are as follows:
 1. 1001 Nights 2010 (detail). 2. To Die Laughing 2010.
 3. To Die Laughing 2010 at the Govett-Brewster hits 40 pARTy. 4. Foreground: Works End 2008. Background Nomadology 2009. 5. & 6. Hells Bells 2010. 7. John Reynolds working on By The Roads And Fields 2010. Photographs courtesy of the Sue Crockford Gallery, Starkwhite, the Govett-Brewster Art Gallery, the photographer and the artist.John Hurrellhttp://email@example.com:blogger.com,1999:blog-5265813806993497215.post-90912217453547139352010-04-30T13:44:00.012-07:002010-05-04T00:19:51.105-07:00Kate Brettkelly-Chalmers looks at last week's Week of Goodness

 Living Room 2010: A Week of Goodness
 Various outdoor sites in Auckland's CBD
 9 - 17 April 2010

 Public art can be a tricky enterprise. Buoyed by the noble premise of engaging the masses, it can succumb to the pitfalls of pernicious advertising, forcing an unsuspecting public to see stuff that they might not want to. Art in civic spaces boasts a medley of different audiences each with their own motives and opinions when it comes to what we see in our daily commuter walks or sit-in-the-sun lunch breaks. Which is why the Auckland City Council's Living Room project, an annual weeklong series of performative events that is now in its fifth year, should not be greeted with the kind of apathy or indifference it often engenders.

 A Week of Goodness is the title of this year's Living Room series, curated for the second time by the Council's public art manager Pontus Kyander. Citing the Surrealist Max Ernst's 1934 series of collaged books, Une Semaine de Bonte, this programme of performances and film screenings is said to explore notions of 'giving and kindness' in civic squares around the central city.

 This altruistic theme relates somewhat tenuously to Ernst's strange and intriguing collages—surreal fantasy scenes the artist constructed from clippings of pulp novel and encyclopedia illustrations. It is also difficult to see a purposeful correlation between these ideas and the Living Room performances themselves, at least the ones I witnessed.

 Nevertheless, Kyander's commitment to developing temporary public art projects and engaging international artists is strongly evident in this year's programme. The curator has brought together a somewhat chaotic selection of artists and choreographers, both from New Zealand and abroad, to collaborate and produce performances.

 Located in the fountains of Freyberg Place, Isobel Dryburgh and artist/dancer Mark Harvey's project Beige involved a group of people clad in cardboard boxes dancing to a gradually sped up version of Tom Jones' You Can Leave Your Hat On. The performance was invitingly anarchic—cardboard boxes got delightfully drenched, bits dropped off the dancers' costumes, and the considerable crowd giggled at Jones' ominously languid vocals.

 Sarah Jane Parton's audience also responded with tentative chuckles to her piece The Collection III. Parton staged her performance amongst the kauri trees of QEII Square where piles of snow had been dumped either side of a wooden walkway. A group of people dressed as giant fruit played nursery games while two children dutifully recited a sketchy version of Chariots of Fire on their recorders. Nearby, bored teenaged girls wearing 80s ball gown dresses sat on benches listening iPods.

 I have a hunch that Parton knew it was school holidays and, while adult audience members tittered somewhat nervously, their kids took charge of the scene relentlessly grabbing handfuls of snow to throw at the giant fruit. Chaos ensued: the giant fruit returned a hail of snowballs, the young musicians giggled into their recorders and the teenaged girls managed to look even more disinterested.

 Both Parton and Dryburgh/Harvey's charmingly kooky works were reminiscent of fringe-festival performances. It was fun to see such playful and quirky activities occurring in ordinarily straight-laced public squares. Nevertheless, these artists and their participants had none of the street-savvy of fringe-festival performers or buskers—they basically didn't know how to work a crowd.

 I was reminded of bands like Auckland's Golden Axe or Evil Ocean whose seemingly ad-hoc style of makeshift show biz is underpinned by an engagement with their audience. Watching these aimlessly rambling Living Room performances I couldn't help but wish that at some point Evil Ocean's Liz Maw would turn up dressed in her God outfit. I wanted a grander kind of theatre and a greater commitment to the drama and incongruity of it all.

 Lilibeth Cuenca Rasmussen did not fare much better. After seeing a video of hers in Mash Up at ARTSPACE last year I was excited to attend her performance The Future is already way behind the Present doesn't exist in my Mind…. Having already staged this as a solo piece at several international venues, Cuenca Rasmussen collaborated with performer Charles Koroneho and extended the show to include a large troupe of dancers from Unitec's School of Performing and Screen Arts.

 The result was a full-scale sound and light performance that involved Cuenca Rasmussen singing passages of contemporary feminist prose while dressed in a cleverly designed skin-tight lycra costume. Her hour-long show was a concoction of theatre, female sexuality and slow-paced endurance performance. It drew on an assortment of genres reminding me variously of Grace Jones music videos, brazen Peaches gigs and Warwick Broadhead costumed spectaculars. While this collision of performative tropes might sound quite exciting its unpolished execution ultimately left me somewhat indifferent. I couldn't help but think of the Smokefree Stage Quest, the annual high school performing arts competition.

 Unfortunately, none of the Living Room performances I experienced left an impression that went beyond an initial amused chuckle. For the most part artists treated their allotted civic space as a bare stage on which to present their activities and this inspired a somewhat superficial experience. The sometimes contentious history and current social use of Auckland's public plazas offers an artistic potential that none of these artists chose to engage with.

 Although Cuenca Rasmussen's gleaming white costumes were notably juxtaposed against the formal plaza of St Patrick's Square, I didn't see the need to have these works performed in outdoor public spaces at all—they would have had a comparable effect in a theatre or gallery. Ultimately, an opportunity was missed to develop performances that were richer than the brief fanciful strangeness they engendered.

 Nevertheless, the superficial impression I was left with may have been due to the lack of contextual information offered for each artist and performance. I would love to know how Parton's The Collection III related to her previous 'Collection' performances that took place in locations as diverse as Rarotonga and Christchurch. Was her choice of Auckland's QEII Square significant in relation to these other venues? Did kids throw snow at giant fruit in balmy Rarotonga?

 What the Living Room series seriously lacked is the publicity machine employed by One Day Sculpture, the similar series of temporary art projects that took place across the country during 2008 and 2009. The latter's yearlong series of projects was promoted through a deluge of advertising. From txts and emails to postcards and a fantastically organized website, One Day Sculpture covered as many forms of media as it could to publicize its single day events.

 Although the better part of their budget would have been funnelled into this advertising hyperbole (and away from individual art projects), One Day Sculpture successfully garnered a greater public engagement with their projects. The point here is that our conception of 'public space' is no longer limited to physical sites. To successfully exist in the wider public realm art projects must also exist in the virtual realm, in web and media based platforms. In this regard, the Living Room series holds onto an overly confined vision of the public sphere that works to the great detriment of both audiences and artists. Hopefully next year they will finally get it right.

 Scrolling down, most of the photographs are by Rebekah Robinson. The third and fourth however are by Kate Brettkelly Chalmers.John Hurrellhttp://email@example.com:blogger.com,1999:blog-5265813806993497215.post-2938441833721868652010-04-29T23:50:00.007-07:002010-04-30T00:13:10.955-07:00Andrew Paul Wood goes GalleryGallery-Gallery visiting

GalleryGallery-Gallery
 SOFA Gallery
 Christchurch
 until 16 May 2010

 Some ideas, like Freddy Kruger, shoulder pads or a dodgy curry, just seem to keep coming back again and again. GalleryGallery is a portable scaled down 2.4x1.6m white cube conceived as a guerrilla (a word that sets my teeth on edge) intervention by Christchurch artist Matt Akehurst. Since March 2009 GalleryGallery has been popping up around the South Island like a mushroom, hosting a number of (mostly student) artists in its mock mini gallery, and even poetry readings and live music performances.

 The project has been something of a mixed bag; some engagements have been witty and engaging, while others have seemed little more than half-arsed opportunism. My personal favourite deployment was OpeningOpening at the University of Canterbury School of Fine Arts where for opening night it became a bar (and let's face it, isn't that the main reason two thirds of people go to gallery openings anyway?) but I have to say that it's concluding incarnation GalleryGallery-Gallery at Christchurch's SOFA Gallery left me rather cold.

 The gallery space is abruptly curtailed by a nicely joined wall and short flight of stairs. The door leads to GalleryGallery itself, which overlooks the now hermetically blocked off gallery space like a duck hide or a tree house – or perhaps even the Seraglio of the Ottoman sultans. The lights go on... And the lights go off... Like the famous Martin Creed work played at half speed and just as ephemeral. On. Off. On. Off. I think they used to do similar things to prisoners at Guantanamo Bay.

 To be fair, it is beautifully constructed with a very nice wooden floor, and should Akehurst ever grow weary of being a struggling artist he can always fall back on carpentry, but the idea of 'guerrilla gallery interventions' into the white cube is hardly a new one and back in the 1970s when it was fashionable to equate being successful to selling out it was pretty much done to death. Every generation of students seems to feel the need to raise the floor, move the walls around or build partitions. Even the idea of a portable container that can be transported around as an ad hoc venue, whether it be called a pod, a capsule, a kiosk or whatever, has been the staple of Arts Festivals, Biennials and Triennials for decades.

 Even back in 2002 when Maurizio Cattelan unleashed The Wrong Gallery on New York, and later Sergei Jensen's Waiting Room in Berlin, 2006, the concept was getting a little tired. One can also talk about artists like Daniela Brahm, Markus Draper, Anton Henning, and that's just Germany. It may even ultimately go back to the sort of enclosures Joseph Beuys used to fashion in gallery spaces in order to act like a bit of a side show twat with a coyote. Unless you are a claustrophobe, there is a womb-like security in such odd little hermitages – something we learn the first time we made a tent by throwing a sheet over two chairs as a child.

 Of course Akehurst is being ironic – how could it be otherwise – but by stripping it of its collaborative trappings it seems about as much of an experience as the Orana Park giraffe feeding platform without the giraffes. An empty gallery is not really much of a metaphor in a context where Marcel Duchamp had been playing around with similar ideas a century earlier. Meta-meta-art goes off quicker than milk that's been left out of the fridge overnight.

 So, if you know something about the history post-modernist art, you feel a little blasé. If you are a tourist off the street who doesn't know what the gallery looks like in the first place it is somewhat meaningless. If you don't know anything about the history of these kinds of interventions, you are not going to get the irony of the references. It feels something of a letdown after an entertaining journey.

 Or perhaps it is an appropriately poignant and elegiac retirement of a worn-out warhorse, and I salute it. As one might imagine, in that reduced space opening night was like the Black Hole of Calcutta.

 Images courtesy of the artist.John Hurrellhttp://email@example.com:blogger.com,1999:blog-5265813806993497215.post-80761667188100267692010-04-28T15:31:00.003-07:002010-04-28T23:28:50.422-07:00Lydia Chai agreeswith my take on the Sharon Hayes work, while Pauline Dawson disagrees with my reference to Natasha Conland's pregnancy.John Hurrellhttp://email@example.com:blogger.com,1999:blog-5265813806993497215.post-6886088566969909722010-04-28T14:53:00.012-07:002010-05-06T06:26:53.228-07:00The last theme of the Auckland Triennial

Last Ride In A Hot Air Balloon: Part Five - Dialogue
 Shigeyuki Kihara, Alex Monteith, Zheng Bo, Shilpa Gupta, Sharon Hayes, Mahmoud Bakhshi
 Curated by Natasha Conland
 Various Auckland venues
 13 March - 20 June 2010

 Now we have the last of my five examinations of the various themes from this event: dialogue – kinds of conversation between individuals, cultures, communities, artwork and audiences that reference all sorts of values, such as notions of 'family', sexual orientation, sporting competitiveness, even global foreign policies.

 Shigeyuki Kihara for the official opening of this event, presented a work that paired musical representatives of two cultures together (Maori Kapa Haka and Japanese drumming), not to make a musical hybrid or blend where difference is covered over, but rather a kind of splicing where separate cultural identities alternate. In this taking of turns there is a good natured competitiveness openly expressed between two eaily identifiable cultures and two quite different forms of musical expression. It is a little like sport, but without clear cut winners; more like a lively discussion where no clear conclusions are reached but where the pleasure is in the chat. At ARTSPACE you can see documentation of six pairings showing the spirited interaction of Chinese, Scottish, Cook Island, Brazilian, Samoan, Hindu, Aboriginal, Maori and Japanese musical/dance performance groups.

 Alex Monteith's massive screen in Shed 6, showing surfies at Stent Road wave break in Taranaki, is not the viscerally engaging work one would expect from her for the type of 'risky' event Conland has organised. Like Mike Parr's project, it seems a perverse tactic by Conland to deliberately confound expectations of bodily risk. It is an anti-avantgardist gesture where the gallery goer here has no bodily empathy or engagement but instead is a remote and passive spectator watching the many rubbersuited figures calmly glide through or over the water.

 The artist's friends are seen wearing red shirts to replace the individualistic identification colours that are characteristic of competitive surfers. Of course instead of individual rivalries we now have team ones – the 'art crowd' versus the 'life crowd', for the two communities make a vivid contrast.

 Zheng Bo presents an installation at ARTSPACE looking at the official Chinese view of marriage and what it entails. His film depicts life on an imaginary location called Karibu Island where time occurs backwards. The elderly suddenly arrive and gradually 'advance' to become babies who finally re-enter their mothers. Nearby are six panels to be examined by gallery visitors and voted on through beans being placed into bowls.

 The options displayed for consideration about marriage are not clear in their demarcation. It is not just a matter of whether homosexuals should marry.(That issue is not clearly confronted. The words 'homosexual' or 'heterosexual' are nowhere to be seen) There are several other issues. These include should marriage be for life or is divorce permissible, is a partnership satisfactory without marriage's legal sanction, and can arranged marriages work where lovers don't choose each other? The murkiness seems to be the result of these panels being planned by a committee of heteros, gays and lesbians. The proposed lifestyle options are somewhat convoluted.

 Shilpa Gupta's black 'cloud' of 4000 microphones in the New Gallery refers to the Mumbai bombings of 2008 when 171 died. The mikes are clumped together with complex speaker systems hidden within, yet the sound is near inaudible because of various 'noisier' works nearby and the echo from the concrete floor. This bad location however accentuates an odd dialogue with her other contribution, a split-flap display board of the type often seen in airports. Such a whirling blurring noticeboard is an intriguing object in its own right. Almost like a living creature, it responds with phrases like YOURMINEOUR DEAD to the sounds of a singing girl's voice wishing to fly high in the sky, emanating deep from within the adjacent, ominous, knobby black brain.

 I found Sharon Hayes' installation in the New Gallery too shrill and histrionic as a declamatory mode of recorded performance to take her political and personal content seriously – despite her inclusion of worthy texts from Martin Luther King's denunciation of the Vietnam War and the private letters of lesbian writers like Radclyffe Hall. Her idea of mixing such material with her own correspondence to an ex-lover in order to harangue the US Government about their foreign policy in Iraq would probably succeed better if expressed in print, not spoken verbally. Hayes' speech comes across as bleating and over agitated, although if shown as a text her appropriated thoughts may indicate the contrary. In the New Gallery her 'speeches' are played through five speakers on stands, but here you can see her for yourself on youtube. What do you think? Perhaps I am too easily irritated? I think the work needs distance. It is too personal.

 Mahmoud Bakhshi's work in Shed 6 was only functioning properly for a very short time. Apparently it features adjustable speakers playing recordings of different calls to prayer in Tehran at sunset, each one based on a different chapter of the Qur'an. Visitors were meant to modify the sound by turning the vertical columns around, constantly changing the overall aural mix. It sounds like a fascinating comment on interpretative communities, so for this Triennial its breakdown is highly unfortunate, if not calamitous. Shed 6 badly needs more obvious energy, otherwise it remains a gloomy black hole.

 In summing up, this year's Triennial is not an overwhelming success, though it is definitely more exciting than Turbulence. However the first two, organised by Allan Smith for 2001, and Ngahiraka Mason and Ewen McDonald for 2004, though with less overseas art stars, seem in hindsight to have been more consistent with more sparkle. Maybe AAG got caught out by Natasha Conland's pregnancy, although the abysmal failure of Shed 6 is balanced by the success of St. Paul St and George Fraser, and some exciting surprises in the New Gallery. ARTSPACE is also worth exploring. Be sure to do that before it closes at the end of this week.John Hurrellhttp://firstname.lastname@example.com:blogger.com,1999:blog-5265813806993497215.post-48010143502947085622010-04-27T02:05:00.026-07:002010-04-29T01:23:28.949-07:00After K comes L

 Chris Lipomi: Interactive Visual History Compression (the Ks)
 Featuring work by Mike Kelley, Kieran Kinney, Martin Kippenberger, Alice Könitz, Paul Kos, Michael Krebber, George Kuchar.
 Michael Lett
 21 April - 15 May 2010

 Chris Lipomi is one of those artists interested in the merging of creative identity and blending of artistic content or style. We have here an exhibition that is a sort of voluntary cuckoo-host, where an artist has devised his own show to include several other artists whom he admires, generously inviting them to pop their eggs into his own (gallery) nest. Whilst it could be seen as a shrewd way of clinging to their shirt tails if they are superstars and advancing himself, if the show is exciting enough as a curated project and attracts attention, those guests get introduced to new audiences who perhaps buy work. The other artists appreciate the new contextualisation. They enjoy the support.

 Lipomi's installation at Michael Lett incorporates parallel railway sleepers as seats for looking at videos. It gives us the chance to investigate several artists (all with names beginning with K) mostly not seen here before, mixed in with some fake Kaprows, and Kawaras.There are lots of surprises.

 For example, there is a wonderfully verbose, double-sided Mike Kelley poster, The Great Tragedy of the Bill Clinton Administration…(under glass but on a hinge), which attacks America's fixation on celebrity culture and on sexual desire. As a remedy he recommends that all Hollywood stars be compelled to do medical work in clinics for sexual diseases. Kelley's poster and a silkscreened, coloured cotton table cloth are blended into a row of imitation Lipomi 'Kelleys' in a mash up of artistic identities.

 Other works make the presence of 'authentic' individuality much clearer. There is a Martin Kippenberger set of nine wooden frames converted with Mylar and black tape into a game of noughts and crosses. To perpetuate his hang dog 'loser' image, there is never a winner (i.e. a line of three) in its hanging arrangement.

 There is also a riddlelike Paul Kos with a coathanger hanging off the top of a broom handle, balanced by a bell one end and a candle at the other. It seems to be a meditation about thought and action, the activity of sweeping seen as generating ideas - symbolised by the lighting of the candle or the ringing of the bell.

 Cologne conceptual painter Michael Krebber once worked for Martin Kippenberger as his assistant, and Kippenberger often used his ideas. He displays here a black and white painting showing an excerpt of a smeared photocopied comic where sections of teenage action are densely overlaid with confusing text. The year later (2008) he showed at Maureen Paley in London, a similar series of images based on French cowboy comics.

 Krebber also has a slice of a red windsurfing board on Michael Lett's wall. The tilted, sawn off parallelogram seems to be a metaphor for the adventurous side of an art career, a journey over the waves where work is fun, a recreational, even escapist, activity. Another interpretation (on an online blog) is that it is created to mock 'sculpture's bodily immediacy'. That seems farfetched. The work embraces immediacy – even as a mutilated readymade.

 Kieran Kinney contributes a dramatic, completed oil painting. Men Are Back is a send up of the film 'Men In Black' and seems an amusing photorealist comment on gender balance in the art sector, saying that the current apparent dominance by women is changing. Maybe that is accurate in Melbourne, the city where Kinney lives, or Australia.

 Los Angeles artist Alice Könitz has two tightly geometric, formally elegant, cardboard masks that link to a nearby video where similarly masked actors balance on tree trunks and mumble lines from Genet, Brecht or other playwrights. The masks are great but the video is superfluous.

 The videos of New York underground film-maker George Kuchar are less pretentious. He has two low budget, low tech, richly layered works about variable weather patterns and places he visits when travelling. They are structured around what seems to be Kuchar himself playing the bored out-of-towner, either cleaning filthy bathrooms in sleazy motels or gazing anxiously out of grubby windows - pondering the local wildlife or contemplating changing cloud formations. Apparently he used to earn a living painting weather maps for television studios.

 This is one of those shows you need to look at in the space, go home and do some Googling or ferreting around with your stack of favourite art mags, and then return for another squiz - with some new contextual background under your belt. There is a lot here to ruminate over - particularly with Kelley, Kos, Krebber, Kuchar and Kinney. It's an unusual, extremely interesting exhibition.John Hurrellhttp://email@example.com:blogger.com,1999:blog-5265813806993497215.post-60914570608238458722010-04-25T23:40:00.015-07:002010-04-29T00:37:49.836-07:00Process and perception

Sculpture Season 2010
 Curated by Melissa Laing
 St.Paul St Gallery Three
 Anthony Cribb and Agnes So
 22 April – 1 May 2010

 In this last (sixth) presentation of a series of sculptural projects by mainly recent AUT graduates - organised by Melissa Laing - Agnes So occupies most of Gallery Three's bunkerish space while Anthony Cribb has a large lidlike tray at the far end, suspended high up near the ceiling. His flat shallow box is held there by wooden struts and slightly spindly legs, and contains a mini-landscape of hillock forms projecting out of a pool of black water. The lumpy forms are made of sand and bitumen.

 Cribb's dark gritty mounds are built with the expectation they'll soon subside. The saturated sand will shift under the crumbly bitumen and the moving sludge will slowly even out. This impending collapse is exacerbated by small vibrations from the passing Symond Street traffic which continually shake the laden structure. At the end of the month the swampy 'geology' should look notably different from what it does now.

 Cribb likes to tease his audience though, for the height will prevent many (less tall people) from seeing the tray's contents. They will have to imagine the details. Because this comparatively (visually) inaccessible component of Cribb's work is not stable anyway, that makes such reliance on mental fantasies extra perverse – if not sadistically funny. He seems to be mocking elucidated 'factual description' and spotlighting the limitations of language.

 Agnes So's items, in contrast to Cribb's elegant raised platform, are Heath Robinsonish and rickety. However, like his they demonstrate an interest in the laws of physics, using the weight of her precariously balanced materials to hold something in place - or taut lines (traversing space) to exert tension. Often she teases with decoys, deliberately misleading her audience. For example many of her physically slight constructions seem to be vertically held up by long lines of glistening nylon that sparkle under the gallery lights. You are meant to see them.

 One of these threads goes through a circular hole in an almost teetering board, implying that it exerts an antigravitational tension, but in fact it doesn't touch the opening's sides. The rectangle's equilibrium is actually securely maintained by chocks at the base. In another work, a brown cardboard oblong is taped on its edge to a long vertical line of joined balsa sticks that help it balance on the top edge of a wall that partially blocks out the windows. The line of attached sticks runs down to the floor and across it – far longer than necessary to keep the cardboard stable. The horizontal part of the balsa line is superfluous, a deliberate overstatement, as the vertical length – though light - has sufficient weight on its own to do the job.

 At the other end of the same top edge of the same long wall a un-nailed baton of timber pinions down a loose photocopy hanging down the side. The image shows a solid mapping pin resting on top of a sheet of paper with its sharp tip almost touching a folded paper crease but not impaling it.

 Nearby is a weighed-down, balsa-sticked 'flag' with a photograph attached at its top. It looks like a dark hole in its centre until you realise it is a solid grey rock attached to yet another inverted (perhaps the same) flag. So enjoys making reflexive jokes about the work's own construction.

 She also presents a short film projected onto a low, small L-shaped wall. It shows a brown plastic rectangular cushion cover that has been squished up into a tight ball and released to slowly unravel. In parts of the film it seems to be speeding up and even inflating and ballooning out with pumped in air - not just relaxing into its natural uncompressed form. Eventually it topples off its stand which happens to be an inverted cardboard carton for a reading lamp, making some sort of pun about 'lightness' and instability. The process of a moving body gradually changing as it approaches stasis makes a nice link to Cribb's project down the other end of the space, and its high placement on a supporting structure.

 Laing has made an exceptionally interesting combination pairing these two artists together. While So is about observation and perception and Cripp the duration of time and gradual geological motion, they both delight in examining instability and temporality, mixing their interest with a mischievous humour. Well worth a visit.

 Many thanks to the artists for their images.John Hurrellhttp://email@example.com:blogger.com,1999:blog-5265813806993497215.post-46723209362281907322010-04-25T03:54:00.000-07:002010-04-25T03:54:16.908-07:00Andrew Paul Wood tells us about Miranda Parkes' new show in Christchurch.

Miranda Parkes: Cracker,
 Jonathan Smart Gallery
 April 13 – May 8 2010

 Followers of Miranda Parkes' career may recall that the first of her work to gain notice were the rouched and rumpled canvases that resembled technicolour sheets left bundled rather than folded by a lazy homemaker. They sagged from their stretchers in blatant defiance of the conventions (or clichés) of traditional painting and suggested a space between painting and sculpture, or even an eventual transition to the third dimension.

 Then gradually over time the canvases stretched, flattened and tautened in response to some unseen exercise programme instituted by the artist. The Op/Pop Art paintwork remained hard-edged and geometric, but as the current exhibition Cracker reveals, this too has undergone exploratory evolution to become more expressive and biomorphic, and in some cases exploiting Op Art effects even more extensively than earlier work. But what does this signify? What new directions does this body of work suggest about Parkes' practice?

 Although there is a bunched-up work (Tanker in silver orange and blue cheques like some over-the-top Vivienne Westwood fabric print) and a video work (Jetty, filmed at Akaroa on Banks' Peninsula) in the exhibition, this is primarily a show of grid painting. The individual works have, as a foundation, poured and dropped paint to provide textural interest, and in turn loose grids are built up in translucent layers and gestural strokes of translucent bubblegum colour. These most directly remind of the Byzantine decorative effects of Austrian painting – specifically Gustav Klimt and Friedensreich Hundertwasser. The latter, of course, has very specific inferences for New Zealand, and was deeply influenced by the former.

 One large work, Doozer, achieves unity through a dispersed pixilation of small yellow oval motifs throughout the composition. This binds the painting together like egg binds together a cake and the effect is reminiscent of the visual tests for colour blindness. Another protean work, Mozer, coaxes interest from the nooks and crannies of a loosely painted grid. It reminds me slightly of the topological "three colour map problem" in which any pattern overlapping outlines cannot be filled using just three colours without two adjacent zones eventually being filled by the same colour. It is predominantly variants of fleshy pink with windows of tallow on green and purple on red.

 A small ceramic work called Zapper – roughly ashtray size and shape – forms the basis of an Op Art grid pattern in red and blue that sets up interesting interference pattern buzz when viewed from a distance. It lacks, however, Op Art's technocratic aesthetic programme. The ceramic basis lends a homey and eccentric roughness – little patches of insecurity and vulnerability scattered throughout the overall confidence of the handling.

 A further work Jiggle Grid interprets the grid as a matrix of irregular, roughly circular blobs of paint on a silver plain, with each blob being carefully worked up as a sub-grid in hard candy colours and patterns. A further grid called Blob Grid consists of a loose, colourful matrix in which circular areas have been cut and rotated. The simplicity of that strategy might at first seem like a liability in a context that favours the conceptually more elaborate, but aesthetically it brings its own formal strength.

 Perhaps the most interesting interpretation of the grid is Jetty, with its shaky hand-held digital video projection of a metal grating submerged in rippling water. However I am not entirely certain that this adds much to the paintings. And because the paintings are dispersed through two gallery spaces, and the projection shares room with just two modest sized works, it seems a trifle distracting and even diluting in the overall exhibition context.

 In a sense, these polychromatic spiderwebs and mazes represent a flâneur voyage around the painterly plain, wearing strata, trace and art-historical reference openly on their sleeves. The visual impact is at once bold and simultaneous in a visual equivocation of style, media and process. I can't help thinking that Cracker represents a transitional phase in Parkes' career. I doubt we will be seeing baggy paintings again for a while.

 Images in descending sequence are Tanker, Mozer, Doozer, Jiggle Grid, Blob Grid.John Hurrellhttp://firstname.lastname@example.com:blogger.com,1999:blog-5265813806993497215.post-24501044209645821642010-04-22T02:27:00.005-07:002010-04-22T02:45:48.370-07:00Kate Brettkelly-Chalmers tells us about the last show at Newcall

 Richard Bryant
 Newcall
 9 - 24 April 2010

 An exhibition of paintings by Richard Bryant is the final show for Newcall Gallery, the Auckland artist-run-space located in Grafton's Newcall Tower. After a short run of two years the gallery's collective of artists is disbanding and moving onto other projects.

 Although it is sad to see Newcall and its fantastically spacious gallery go, the temporary character of many of Auckland's artist-run-spaces is not a necessarily a bad thing. Apart from the enduring presence of rm (the K'Rd incarnation of what was most recently called rm103), Newcall is very much part of a legacy of short-term galleries that emerge to meet the particular needs of new groups of artists. From Teststrip in K' Rd/Vulcan Lane to Special in the Britomart precinct, longevity is not the focus of these collectives so much as providing a hub for a deft mixture of critical thought and collegiality. Just as Newcall's cohort of artists is moving on, other groups will undoubtedly see the need to develop new exhibition prospects.

 It is fitting that Newcall's swan song exhibition is by Bryant, a founding member of fellow artist-initiative A Centre For Art (ACFA). Bryant's show presents a highly considered collection of intriguing paintings and paper works. Small in scale with muted hues these works draw attention to the subtle nuances of painted surfaces. The artist takes an unassuming and restrained approach to the material pleasures of liquid brush marks, paper crinkles, fabric weaves and various inky washes. These are quietly compelling paintings that encourage time spent peering at the edge of a canvas or pondering simple material traces.

 This understated cleverness is also extended to Bryant's use of basic collaging techniques. He creates frames or margins within paintings by overlaying different rectangular surfaces. The artist's exhibition invite offers a curious coupling of presumably found images: a painting of a surreal grandiose space is laid over a somewhat dubious massage instruction chart.

 Lest we forget that they are paintings Bryant's peripheral borders subtly refer to the medium's more historically loaded concerns. Are we looking at an image within a frame or an image of a frame? The canvas surface of one painting is so thin that the ghostly form of its stretcher shows through the weave. Although Bryant's works don't overtly engage with the conceptual ins and outs of contemporary painting (as painters like Simon Ingram or Andrew Barber might) a whisper of a painting discourse is apparent.

 What I find most interesting about Bryant's works is the way they are hung. Although they offer an investigation of similar materials and surfaces these paintings carefully avoid being serialised. The artist does not simply present a series of experiments in painterly delights but a selection of distinctly individual works. Bryant hangs his paintings in careful groupings that refer much more to the visual language of installation than they do to painting traditions. He considers the space between individual works in the same way that an artist like Kate Newby might pay careful attention to the space between different sculptural forms.

 In the collegial spirit of artist-run-spaces it seems appropriate to acknowledge the similar practices of other Newcall/ACFA members such as Patrick Lundberg, Anya Henis, Richard Frater or John Ward-Knox. These artists have an affinity for materials and engage with historically hefty formal concerns in fresh and interesting ways. Their artist-initiatives encourage a coalescence of ideas and critical thought alongside a kind of chummy art school camaraderie. These galleries are not only offering alternative exhibition opportunities to those of dealers or institutions, they are also offering an alternative ethos, a space of thought where artists might share and debate similar artistic concerns. It is an unabashedly earnest endeavour, but one that has fruitfully sustained these new art practices beyond their art school beginnings.John Hurrellhttp://firstname.lastname@example.com:blogger.com,1999:blog-5265813806993497215.post-90491959357779768372010-04-21T17:04:00.011-07:002010-04-21T17:24:36.698-07:00Revamping, revitalising stock

From The Stockroom
 Sue Crockford
 1 April - 27 April 2010

 This stock show presents seventeen works from ten artists. It includes some surprises and some revitalisations within a new group context.

 The Billy Apples haven't been displayed before, three small Xeroxes (from 1966) on coloured canvas that looks like gingham tablecloth patterns. The smudgy photocopied ink shows a grinning apple positioned alongside an inert Idaho spud, while the title 'Apple in Idaho' refers to the (now) proper names of people, vegetables, and of course, North American states.

 Next to Apple are three Ava Seymour framed photographed collages with super finely-tweaked edges. The outer contours of her paper shapes you need to examine closely to grasp the nuanced precision with which her scalpel has moved. From a cutting virtuoso.

 Peter Robinson's two large calligraphic paintings look better in a group show than in a solo display where they don't stand out as black and white statements, with so much white around them. Here with some colourful Mrkusichs nearby, they seem activated spatially and become highly energised grotesque landforms - quoting earlier, non-landscape, 'quantum' Peter Robinsons.

 Julian Dashper's solitary illuminated neon tube on a white wall with hanging wires on either side presents itself as a delicate – but glowing - linear drawing. The wires could almost be pencil lines within a calculatedly 'minimal' statement.

 Opposite the gallery entrance is an early Gordon Walters koru painting from 1965. It intrigues because of the awkward top and bottom edges which explain the title, Black on White. It is definitely not vice versa, like the more resolved and spatially ambiguous works he later arrived at.

 Of the two very different Mrkusich works, the smaller single-panelled blue painting (as opposed to the three panelled, three coloured one) has an intriguing tension by virtue of a symmetry at the top and an asymmetry at the bottom. It oddly twists the central field.

 In the back room a mid-seventies Albrecht is a gorgeous stack of floating, horizontal stains, oddly divided into two halves, one placed above the other, while nearby a big black Hotere of shiny corrugated steel has its two panels spaced apart to form the vertical beam of a cross. Its arms consist of horizontally cut slots peeled away to reveal bright orange painted on the back.

 There is also an oddly sinister Boyd Webb, with the clustered stamens of an ochry brown fabric flower in a shadow - exuding menace.

 In thinking about shows like this, I tend to prefer solo exhibitions over group displays, and of the latter, thematically tight presentations over promotion of unsold stock. Yet the latter often allow us to spot things we might have originally missed, a chance to stumble on new connections – especially with more historic work that may be owned by an artist's family, not an institution. A good opportunity.John Hurrellhttp://email@example.com:blogger.com,1999:blog-5265813806993497215.post-22498053174913157552010-04-21T16:34:00.002-07:002010-04-21T16:42:45.268-07:00Enlarged bleached maps on telly

Sue Novell: Bionica
 Antoinette Godkin
 8 April - 8 May 2010

 The seven paintings displayed by Sue Novell at Antoinette Godkin's feature a colourful pixelated line where paint is applied in linear formations of small squares. They are a sort of grid painting (with tiny modules) where three varieties of overlapping map, representing topographic landforms, global contours, and inner city streets, coalesce with a form of aerial perspective that seems to show a high up, three-quarter view of city buildings.

 So while they are highly abstract, and hint of the gesturally random and jumbled, you still think of maps, perhaps television screens, and rug or basket weaving - while also spotting the occasional rooftop, courtyard, park or waterfront. While at the first glance these paintings may seem formulaic, it doesn't take too long to realise that the works greatly vary in canvas size, pixel size, chroma range, tonal range and density of mark. Some have surprises like double lines that look like knitted bike chains, or rectangular jutting forms near the bottom edge that look like fuzzy wharves or jetties.

 Within these apparently competing systems the ones that aesthetically work best seem to be the densest in terms of surface covering and layering, and which feature fluid compositional movement and dramatic use of dark tones. The ambiguity of various interwoven amorphous forms is not undermined by too much openly airy space or perpendicular geometry.

 Novell's largest work here is the pale and less griddy P926000 VI. It has an all pervading looseness, and is the earliest of the series. The pastel squares are in fact blobby dots, whilst the whole surface is more painterly as a series of marks and less referencing of electronics. In contrast the middle sized works often have a diagonal movement of shimmering organic shapes while the smaller paintings have a nuggety compactness caused by relatively large dark pixels. That makes them somewhat graphic, bringing a crisp concision, an appealingly robust energy.John Hurrellhttp://firstname.lastname@example.com:blogger.com,1999:blog-5265813806993497215.post-31684869051303309422010-04-19T15:29:00.001-07:002010-04-19T15:33:16.143-07:00Last Ride in a Hot Air Balloon: Part Four - The Economy

The 4th Auckland Triennial: The themes
 Learning Site, Michael Stevenson, Olivia Plender, Garrett Phelan, Jorge Macchi
 Various Auckland venues
 12 March - 20 June 2010

 Of the five themes I have selected, the one of global economy is the aspect I think Natasha Conland handles more adroitly than any other. The above set of five artists makes a nice bundle that explores the nuances of this subject, with lots of interconnections. And even though I personally am not particularly interested in this topic, the work drew me in and to some extent, changed that. I got hooked.

 Take a group like Learning Site for example – from Denmark and Sweden. I tend to dislike 'school teacher art', work which goes all out to educate and which openly presents information – usually historical – in the form of an installation or performed lecture, with the expectation that the audience will absorb it. Good education (most of us know) is far sneakier than that. It entertains so that the 'student' is unaware that they are learning. They become interested and take stuff in by virtue of having fun.

 With Learning Site it wasn't so much the disintegrating, mushroom seeded, 'termite mound', clay sculpture (House of Economy) at the base of the two gallery escalators that appealed to me - though it did - as the elegant little pamphlet made available with it. Anthony Iles' text Crises, Ruin, Allegory is very informative and the illustrations helpful. The content, especially the discussion of economics as 'the dismal science', and his examination of the 1720 South Sea Bubble phenomenon, locks in tightly with the wonderfully poetic and visually nuanced Michael Stevenson video and the satirical posters and board game of Olivia Plender.

 Stevenson's On How Things Behave highlights global economics as 'things' and has an appropriately lugubrious mood set by the voice over, provided by Suzanne Mārtens. Her fourteen minute long, monotonously gloomy reading is offset by the skilful and witty linking by Stevenson of a wide range of texts. These range from philosophical treatises by David Hume and Nelson Goodman (on grounds for prediction and categorisation of qualities) to accounts of Issac Newton's investment losses in 1720. They also include visual allusions to the economic-sunspot theories of W.S. Jevons. Stevenson's imagery is meticulously thought out, with tracking shots of a long wall featuring a mural by Manfred Gnādinger, a hermit who died after his home was wrecked by the Prestige oil spill, and various incorporated circular (solar) symbols, such as hollow Russian, spherical, wooden dolls.

 Plender's set of snappily designed, parodic 'Victorian' posters is particularly amusing. One features a 2006 whale sighting in the Thames Estuary as an ominous economic omen, another references the suffragette Mary Richardson's attack on Velázquez's Rokeby Venus in 1914 in the National Gallery, a third posits an imperialist British seizing of Iceland's bank assets, and one more warns of the availability of carved wooden nutmegs and other fraudulent comestibles on the market.

 Her board game Set Sail For the Levant grimly sets out crime as the only viable alternative for the poor tenant farmer enduring increasing rents at the time of the Industrial Revolution. Faced with increasing debt, he steals the landlord's gold and attempts to get to the Eastern Mediterranean where the law can't touch him, and letting others pay the cost. Plender's game is based on the sixteenth century Royal Game of the Goose, a early precursor of Snakes and Ladders or Ludo.

 Garrett Phelan's installation is much rawer visually and more openly abrasive in mood. It features a looped animated DVD, framed drawings, a separate but simultaneous crackling audio component picked up by a radio from a nearby broadcasting transmitter, and a purchasable comic (Selflessness in the Face of Adversity) in which Phelan's wild ink drawings are positioned alongside Free Trade and Human Rights in a Sustainable Environment, an essay (handwritten by Phelan) by the curator and collector Jobst Graeve.

 'Free' trade of course means not the liberty of people but the unimpaired flow of goods and services within a relationship of exchange that is often not balanced or equal. As a means of bypassing the self-interest of banks and corporates, Graeve has devised a formula for calculating a fair pricing system for all goods and services, taking into account the energy necessary for the production and fabrication of raw materials, the effect on workers' health, the recycling potential and time taken, along with the effects on energy, wealth, and the environment for both production and consumption.

 The last artist in this group has a contradictory lightness of touch and far less intense ambience. Jorge Macchi's videos of manually wound music boxes playing cardboard strips of punched holes stating sentences of economic catastrophe from newspaper headlines, are surprisingly pretty and buoyant. They don't sound random or grimly chaotic as you might expect, but are perversely melodic – as if these events' calamitous significance has been exaggerated. They seem oddly celebratory and uplifting, even optimistic, thumbing their noses at fiscal preoccupations and any search for prosperity.

 The fifth and last Triennial theme coming up: Generating Dialogue.John Hurrellhttp://firstname.lastname@example.com:blogger.com,1999:blog-5265813806993497215.post-45588376979678912112010-04-18T14:15:00.004-07:002010-05-11T13:52:38.018-07:00Young Sun Han performance

Young Sun Han: Dance Of The Cockatrice
 City Art Rooms
 6 April – 8 May 2010

 Artist, Curator and gallery sales-person of City Art Rooms (where I myself exhibit - I need to declare that), Young Han Sun here presents an installation of photographs made in anticipation of a performance in front of a live audience. These eight images were taken with a 'practice' mock up using a painted end wall - with the artist's body carefully painted as well. Mounted and framed under glass, they are accompanied by a new painted wall created for the second 'proper' performance presented a week into the exhibition.

 The hot cadmium yellow 'camouflaged' wall, being slightly darker in the photos, is quite overwhelming when experienced directly in the gallery. The pattern doesn't so much reference popular youth fashion as Andy Warhol and his paintings of the mid-eighties. Instead of incorporating mottled landscape forms with subdued 'earth' colours as the army does, these were deliberately synthetic, bright and inorganic. Warhol eventually incorporated these motifs into his self-portraits, and here lies a connection with Young Sun Han's project. Just as Warhol attempted to balance his fame as a popular 'American' artist with his need for privacy, coming from a family of Polish immigrants and being gay, Sun Han focuses on his own (North Korean) ethnic and sexual difference and how such otherness can be 'camouflaged' so he fits in as a 'mainstream' American / New Zealander.

 To this end he uses the painted blobby pattern to blur the edges between figure and ground, his naked body and the background wall. The applied acrylic paint becomes a metaphor for cultural and sexual suppression, and his performance of stretching his body in order to crack and peel off the rubbery wrinkly skin a gesture of resentment and resistance. The discarded, shredded bits of dried paint scattered on the floor (also 'camouflaged') or stuck to the wall become futile attempts at conformity and 'normalization.'

 There is another layer to this activity which suggests far more than a resentment / disguise component – despite the work being entitled Dance of the Cockatrice, that being a mythological rooster/lizard creature with a intense gaze that can turn people to stone.

 During the paint peeling process the artist holds a variety of poses as if in a tableau vivant, turning himself into a mock marble sculpture and object of desire. He also systematically locks the various members of the audience one at a time in a directly confrontational glare, perhaps as a withering 'fuck you' gesture scorning the pressures of social conformity, but maybe even more as a brooding but beckoning homo-erotic 'cruising' gaze for attracting lovers.

 This makes the paint-peeling process a kind of strip-tease involving seductive poses and enticing body movements that turns the painted fabric helmet Sun Han is wearing not only into a way of hiding his head without shaving off all his hair, but also a jaunty fetish item that showcases his eyes. It is an unexpected accoutrement for generating arousal, like white socks or long gloves.

 So Dance of the Cockatrice is a double game which both encourages and scorns voyeurism, reeling it in with a moving decoy while also slapping it down - perhaps in sadistic humiliation. The stringy sticky residue scattered on the floor from the performance is presented for the rest of the show as discarded erotic 'clothing' or else as remnants of abandoned symbolic social pretence. It is highly ambiguous. The meaning of this cleverly layered and thoughtful installation / performance continually oscillates, teases, confronts and entertains.

 The first three images are from the photographs on the gallery walls. The rest are from the performance of April 13, documented by Zac Arnold.John Hurrellhttp://email@example.com:blogger.com,1999:blog-5265813806993497215.post-2817506094991867852010-04-17T05:32:00.001-07:002010-04-17T13:34:19.168-07:00Walter Stahl has some thoughts on the workof Peter MaddenJohn Hurrellhttp://firstname.lastname@example.com