Exhibitions
Events
On display
Angloscenic: Landscape, Colonial Visual Cultures, and Environmental Violence
John Gibb Bottle Lake 1882. Oil on canvas. Collection of Christchurch Art Gallery Te Puna o Waiwhetū, presented to the Canterbury Society of Arts by W. Reece, 1902; given to the Gallery in 1932
Talk
Past event
Philip Carter Family Auditorium
Free
Arguing that the environmental agency of images is significant but under-examined, historian Dr Rosie Ibbotson explores the range of visual representations that suggest how British landscape ideals were imposed on the whenua of Aotearoa New Zealand, and the devasting consequences they were entangled with.
This talk explores connections between images and anthropogenic environmental change in nineteenth-century Aotearoa New Zealand. While the violent transformation of land and ecologies under white settler colonialism was motivated by a range of ideological and economic drivers, imported aesthetic notions and sources also played a role in this history. In doing this, the talk takes a broad view of the artistic genre of ‘landscape’, and considers how environments themselves became forms of visual representation.
Related reading: Enviromentalism, landscapes (representations)
Commentary
Pauline Rhodes: Blue Mind
Painted blue and patterned with rust, the thin plywood panels and screens lean nonchalantly around the walls of the gallery and form a skyline of sorts. Across the floor sculptures intersect the space, with groupings of tall rods, waist-high enclosures, clusters of plywood shapes and a small kayak frame on salvaged seaweed and driftwood. Islands for the audience to navigate. The forms are roughly human in scale and relative to the body, generating an intensity and making this an immersive installation to wade through.
Commentary
The Edge of the Sea
A vision of New Zealand’s past from 1995:
Europeans first imagined New Zealand as “a garden and a pasture in which the best elements of British society might grow into an ideal nation”... When the smoke of the colonists’ fires cleared at the end of the 19th century, New Zealand had become a different country. Māori had lost their most precious life-support system. Only in the hilliest places did the forest still come down to the sea. Huge slices of the ancient ecosystem were missing, evicted and extinguished. Our histories, however, have had neither the sense of place nor ecological consciousness to explain what has happened.
Exhibition
Adele Jackson: Antarctic Sun Lines
To mark the opening of the 2019/20 Antarctic summer season, Christchurch Art Gallery Te Puna o Waiwhetū presents the first publicly exhibited Antarctic Sun Lines solargraph. A multi-day exposure image made using a pinhole camera and illuminated with solar energy, it considers Antarctica in relation to the sun and the natural forces that create and sustain life on Earth
Exhibition
Endless Light
Historic European artworks that embrace the thrill-filled moments which art and light provide.
Interview
Power Play
In November 2017, Simon Denny’s The Founder’s Paradox opened at Michael Lett Gallery in Auckland, the first solo exhibition Denny had made specifically for New Zealand audiences in several years. His starting point for the project was local: the news, broken by New Zealand Herald journalist Matt Nippert in early 2017, that the billionaire tech investor and Donald Trump supporter Peter Thiel was in fact a New Zealand citizen.
Commentary
Of Braided Rivers and Hydro-Traders
“With 14,000km of coastline, over 180,000km of rivers, and 3,820 lakes, there’s more to the land of the long white cloud than land…” So began an advertisement in a recent Sunday Star Times. It might have been the opening gambit for a campaign devoted to water conservation but was, in fact, a promotion for the latest model jet ski: “And all you need to unlock it is the all-new Yamaha Waverunner FX HO… SAME PLANET, DIFFERENT WORLD. Yamaha-motor.co.nz.”
Commentary
The Lines That Are Left
Of landscape itself as artefact and artifice; as the ground for the inscribing hand of culture and technology; as no clean slate.
— Joanna Paul
The residential Red Zone is mostly green. After each house is demolished, contractors sweep up what is left, cover the section with a layer of soil and plant grass seed. Almost overnight, driveway, yard, porch, garage, shed and house become a little paddock; the border of plants and trees outlining it the only remaining sign that there was once a house there.
Collection
Ralph Hotere Dawn/Water Poem
For the exhibition Untitled #1050 (25 November 2017 – 14 October 2018) this work was displayed with the following label:
“There are very few things I can say about my work, that are better than saying nothing.”
—Ralph Hotere, undated