Category: 2019 Exhibition
Caitlin Clarke and Arwen Mirama Sommers, A weakened dark in the deepest, deepest blue

September 18th- October 5th

Wild flowers spilling into the earth

Spilling into the woods

Wild spirits spill into our hands

Into our feet

A weakened dark in the deepest deepest blue

Ancestors calling from our stomachs

Mediate your intentions

Shall we learn about our relationship with ourselves first, before we learn to place stones.

We must acknowledge that we don’t exist without our relationship to space. Is it that our separation from our place in nature is causing disruption.

Caitlin and Arwen have been investigating how to place intentions carefully. Through returning to spaces they find significant, they have been transforming their experiences of these places to find new meaning, where memory becomes the thread to bring you deeper into yourself.

They invite the viewer to slip back into childhood and to explore the rope of the immaterial world through how our human intentions affect spaces.

We welcome you to come, renew your thread, and start a ripple.

Clare Fleming and Bronte Perry

Clare Fleming, The momentary triumph of aggression over tenderness
and 
Bronte Perry, Awaiting Paradise
August 28th- September 14th

The momentary triumph of aggression over tenderness
Clare Fleming

In The momentary triumph of aggression over tenderness, Clare Fleming brings together sound and image to recall the interior world of motherhood as it is felt. In this deeply subjective practice of psychodrama and catharsis, her documentation of the domestic tableau works to frame a soundscape that is a raw re-enactment of a mother’s mind produced by the deep listening and self-excavation of parenting by connection. 

This work of disclosure investigates the ambiguity between memory and experience, reality and re-enactment. It questions the mythologies of women’s magazines and influencer feeds, and the art-historical representation of the mother, in an emotional self-portrait of the agony and the ecstasy. Here, the mother is both contemporary archetype and lived contradiction.

Awaiting Paradise
Bronte Perry

Thou shalt break them with a rod of iron; thou shalt dash them in pieces like a potter’s vessel. Psalm 2:9

In the memory of my grandmother’s house I can hear Armageddon. It bubbles and seeps underneath the floorboards, whispering cold horrors from the ashtray and old Cody’s on her kitchen table. It’s in this house that family values and religious dogma formed a site of corruption of kinship, a place where religious practice and abuse were amalgamated into one another. Where whanaungatanga was lost as the fragility of colonial kinship cracked under its own weight.

My hands buried deep among the pamphlets of his leather bag, a brother of the faith once told me:

“The dead will rise again Bronte, and you will be greeted by them in lush fields laden with fruit.”

I still dream of her kicking and flailing as she screamed for god to not let her die. The stress of not knowing how to respond to her passing was more traumatic than watching her beg wildly for god to save her; for we are taught to not speak ill of the dead – or the dying. Between the spatters of fluid that were filling her lungs, Tim said “we will meet you again in paradise”. But I wonder still if she found her way to Hine-nui-te-Po or whether the assimilated lay aimlessly in purgatory.

I no longer think of paradise but I still dream Armageddon, the crumbling salt pillar of Lots wife and Linda singing Poi E as she drowned.

Robbie Handcock – OnlyFans

OnlyFans
Robbie Handcock
with publication by Simon Gennard (download PDF here)
August 14-24

For OnlyFans, Robbie Handcock draws upon an ever-evolving archive of amateur pornography to develop a queer visual language in painting. Domestic in scale, Handcock’s works situate queerness as at once a matter of sexual desire and gendered performance, and an orientation towards decoration and ornamentation, transmitted through gossip, hearsay and tacky objects of visual culture. Rendered with haste and flippancy, refusing mastery and refinement, Handcock proposes painting as an erotic practise, able to make contact with moments of sexual possibility in the past, and imagine altered forms of intimacy in the future.

Accompanying the exhibition is a publication produced by Simon Gennard, titled Hatefucking. Taking visual cues from queer liberation magazines from the 1970s and 80s, Hatefucking traverses the author’s personal sexual misadventures as well as the political history of queer activism in Aotearoa, arguing for sex as a profoundly ambivalent force–capable of animating a desire for a more just future, and liable to be swept up in an anaemic liberal logic of inclusion.
OnlyFans and its accompanying publication have been made possible with the generous support of the Emerging Artists Trust and RM.

BENTLEY / MCNEIL / WALTON / I Lean You My Support

24th July- 10 August
Opening 6pm 24th July

“There is nothing inherently unusual about the notion of not working while at work; people commonly look at Facebook on their phones or seek other distractions during work hours… “[But] appearing as if you’re doing nothing is seen as a threat to the general working order of the company”” (How to Do Nothing: Resisting the Attention Economy, Jenny Odell).

I Lean You My Support is a group show by three artists that engages with the idea of teamwork in business environments: sharing ideas, problem solving and working together.
Floorsheet PDF – download here

Virginia Were 
Working Together Can Lead to a Miraculous 
Outcome

A Review of I Lean You My Support
Download PDF here

Ardit Hoxha – Solidaritet/Solidarity

Solidaritet/Solidarity
3rd – 20th July
Ardit Hoxha

Solidaritet/Solidarity takes its name from a former social housing complex in Kosovo, where Ardit Hoxha and his family resided in the late 1990s. Displaced by the ethnic cleansing that characterised the collapse of Yugoslavia and its subsequent wars, Hoxha now revists this site, its contradictions and its utopian visions, constructing a narrative of red nostalgia. 
The show is accompanied by a publication including the written work of Vanessa Cole and Ardit Hoxha. Designed by Bardhi Haliti. 
Made possible by the generous support of Creative New Zealand and RM Gallery

Amy Unkovich – Gathered Vernacular

12-29 June 2019
Amy Unkovich is an Auckland based artist. She works primarily with materials associated with construction and renovation. Amy makes architectonic sculptural installations that use colour and tactility to play with notions of interior treatments and architectural tropes.

Mark Schroder – GOLDKORP

GOLDKORP
22 May – 7 June
Mark Schroder

WE HAVE REVIEWED THE SYSTEM OF INTERNAL CONTROLS OPERATED BY THE RELEVANT DEPARTMENT OF THE COMPANY AND CARRIED OUT SUCH TESTS AS WE HAVE CONSIDERED NECESSARY. FROM OUR EXAMINATIONS WE ARE OF THE OPINION THAT THE RELEVANT DEPARTMENT OF THE COMPANY HAS PROPERLY MAINTAINED THE BALANCE FOR THE MONTH OF [DATE].

GOLDKORP repurposes RM as head office of a confident and seemingly sophisticated gold holdings company.

What could possibly go wrong?
Don’t miss out.
Invest today!

Mark Schroder creates amalgam-installations of aspiration and disappointment. Recent projects include: it’s only a scratch, play_station, Wellington, 2018 and NEW GOLD MOUNTAIN, Blue Oyster Art Project Space, Dunedin, 2018.

Photos by Sam Hartnett.

Nicholete Brocchi – It’s not a move it is a Transition

17th April – 11th May

It’s not a move it is a Transition investigates the privatization of correctional facilities in Aotearoa. Working from a removed position the exhibition draws on the connections to the justice system in Australia, and the relation homelessness and drug addiction have to incarceration.

The ongoing project is concerned with how current legal systems reduce a person to a set of criminal actions, individualizing and moralizing systemic issues. This process fails to take into consideration the heightened and targeted rates of incarceration amongst marginalized members of the community. It’s not a move it is a Transition reverses the process of current legal systems onto the viewer, asking them to take a position on the conditions of correctional facilities in Aotearoa.

Accompanying essay by Just Speak

Emerita Baik – I love more than two loves

I love more than two loves
Emerita Baik

27th March – 13 April

I Love More Than Two Loves is a solo exhibition by Emerita Baik. The tactile sculptures manifest the intangible experiences of people living with a language barrier. Baik explores traditional Korean quilting technique, Nubi as well as western quilting techniques to articulate the hybridisation of cultures. Within this, fabrics drawn from the everyday, such as bedsheets, shower curtains, blankets are juxtaposed with traditional Korean fabric, Ramie. The mark making on the surface responds to experiences of estrangement, challenging the familiar perceptions of the everyday through materiality.

Generously sponsored by The Fabric Store, Wellington.

Image credit: Hendrix Watson

David Cooper, Claudia Dunes, Rainer Weston & James Wylie: Sometime, someday, when all is said and done

Sometime, someday, when all is said and done, a group show with David Cooper, Claudia Dunes, Rainer Weston & James Wylie.
March 6- March 23rd 2019.

That thing which you have seen and know intimately. Which helped form a part of your understanding of how things work. Despite the fact that you are aware it’s just a fabrication and not real, it’s still here – there’s just no linearity or narrative to it. The work is earnest, it just feels a little more cynical. You know how it ends. But it doesn’t. Ah! Un effomdement d’egos!

Sometime, someday, when all is said and done is a group exhibition of video, sculpture and painting. A sequel of sorts to the artist’s recent group exhibition ‘fine moon, poor tuning’ at Wellington’s Meanwhile gallery last July.

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We are  2 minutes walk from Artspace, Ivan Anthony, Michael Lett and Bowerbank Ninow.

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