EVENT
HIGHLIGHTS: 5 - 18 AUGUST
If you've enjoyed
our Séraphine Pick exhibition then you'll be
thrilled to discover that it is accompanied by a spectacular new
book on Pick's original and highly imaginative practice. Featuring
full-page colour illustrations of more than 100 of the artist's most
significant works, the book is available from the Gallery Shop,
priced $79.99.
And if you have visited the Gallery
in the last couple of weeks, you'll have seen that the first-floor
collection galleries are now closed. In four months time they will
reopen with a new exhibition, entitled Brought to Light: A
New View of the Collection, featuring previously
seldom-seen works, a great many new ones, and plenty of new
conversations amongst old favourites.
In the meantime, you can watch some
of the work in progress on the monitor at the top of the stairs,
check out our new web
pages, or follow our progress on our blog.
5.15pm / meet in the foyer /
free
Curator Felicity Milburn leads this
floortalk in the exhibition.
6pm / Philip Carter Family
Auditorium / free
Elizabeth Knox, acclaimed author of
The Vintner's Luck, promised Séraphine Pick an essay on her
The Love School painting; but what she produced was a story
based on the characters in the work and their pictorial situations.
Join Elizabeth for a reading of her short story, which also features
in the Gallery's beautiful new book on the artist.
Sponsored by The
Press
6pm / meet in the foyer /
free
Art reviewer Andrew Paul Wood
discusses New Zealand's most enigmatic art collective. Followed by a
floortalk in the exhibition that's obvious! that's right!
that's true! with curator Jennifer Hay.
Sponsored by The
Press
7.15pm / foyer / free
Dave Isdale and Simon Kong
manipulate images with sound and vice versa in this live
performance. Isdale is an experimental visual performer who uses
projectors and customised screens, while Kong is a sound artist who
expresses sound as spatial and textural form.
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Ronnie van Hout
Bed Sit, 2008. Painted plywood, epoxy resin
and fibreglass on polyurethane, doll wigs, painted resin,
speaker, sound, dvd projection. Collection of the artist.
Reproduced courtesy of the artist |
8.30am / Alchemy / Friends $20
/ public $30 / book by 12 August, tel (03) 941 7356
Breakfast and floortalk by senior
curator Justin Paton.
Until 22 November
Séraphine Pick's original and
imaginative practice has made her one of New Zealand's most highly
regarded painters. From the spectral dresses, leaky baths and
teetering suitcases of the 1990s to the psychologically-charged
dreamscapes of more recent years, this large-scale survey brings
together more than a hundred works made between 1994 and 2009.
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et al
altruistic studies-no vote! 2008.
Installation: Interstitial Zones: Historical Facts,
Archaeologies of the Present and Dialectics of Seeing. Argos
Centre for Art & Media, Brussels. Courtesy et al. |
Until 22 November
The collective et al. has exhibited
widely both nationally and internationally to great acclaim. This
exhibition continues their exploration of 'superfiction' by
combining words, industrial furniture and video projections to
create works of art that mirror political structures.
Until 18 October
Best known for his funny and
haunting variations on the self-portrait, Ronnie van Hout's brand of
absurdist sculpture unfolds here in a twisting journey past failed
robots, doll-sized portraits of the artist, shadowy rooms of memory
and something strange from Antarctica.
Until 23 August
Gary Hill is world-renowned for his
bold experiments with moving images. In this exhibition he explores
the paradoxes and difficulties of the human attempt to communicate.
The best known of the works on show, Wall Piece is a
high-impact fusion of light, language and body language.
Presented with support from The
Arts Centre, Christchurch, in association with the St Paul St
Gallery, Auckland
Until 14 November
Keeping younger audiences in mind,
and including a number of new works by contemporary artists,
White on White is an exhibition brimming with the
imaginative possibilities of white.
Generously supported by
Chartwell Trust
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