Don’t Sweat Your Metal
\\ 8- 24 November
RM Gallery presents Don’t Sweat Your Metal, a series of sculptural works by Auckland artist Hannah Berry.
Don’t Sweat Your Metal
RM Gallery presents Don’t Sweat Your Metal, a series of sculptural works by Auckland artist Hannah Berry.
“I’d like to say that, in my first solo exhibition, I am be-coming an artist. My present works are about the internet culture and how it relates with contemporary art. I think that since the internet is changing our lifestyles, it has becomes a part of our culture, which means that there are group of people who belong there. I don’t expect my audience to all have the same experiences, but after seeing my show, I hope that they will take some ideas away. There’s one about Miku. She’s a virtual character. Everyone can make music in her name and share it on the internet. So, it should be said that there are a group of artists called Miku, who are making Miku music. I believe it’s a good idea, because, for people who aren’t ‘Artists’ as a job, they are able to share their works and also gain honour. That makes creating art flexible and easier. Especially in contemporary art, art works don’t have to be so heavy.
I want to use my works to loudly say my reasons for being an artist; to declare my attitude towards transitions, the future and everything I am against; and to create conversation with everything that exists that I also care about. Therefore, I re-created some famous artists’ works as my start.”
‘Ghosts, vampires, monsters […] flourish in an era when you might expect them to be dead
and buried, without a place. They are something brought about by modernity itself. […] What
seems to be a leftover is actually a product of modernity its counterpart’
– Mladen Dolar
At least since Bram Stoker wrote Dracula in the late-nineteenth century, the vampire has
served as a subtle symbol of modern alienation in its various forms: the alienation of
individuals from larger social units; of subjects from their unconscious desires; of workers
from the value of their labour. As Roger Luckhurst writes, the vampire ’embodies in one
elusive figure everything that shiny modernity [is] at risk of forgetting about its [own]
blood-soaked history.’ Engaging the vampire figure from this perspective, The Half of Life is
a moving-image by Oliver Gilbert which is an interpretation of a short story by Daniel Satele.
Oliver Gilbert finished his BFA(Hons) at the University of Auckland in 2014. He directed The
Door to Safety is Shut in 2016 for Window Gallery.
Daniel Satele is a doctoral candidate in English at the University of Auckland. His writing has
been published in ArtAsiaPacific, Art New Zealand and the New Zealand Listener. In 2017
his work featured in The Cold Islanders at Waikato Museum.
\\ 13-29 September 2018
Christina Pataialii’s recent paintings address objective and subjective cultural narratives that focus on more recent global shifts towards cultural and national redefinition, the rise of Western nationalist ideologies and current fixations on regression to a ‘golden era,’ contemplating the concept of a shared national identity. In her new works, she considers an objective relationship to history and heritage, constructing pictorial spaces that deal with tensions between cultural attachment and detachment and the complexities between place and belonging.
Christina Pataialii (b.1988, Auckland) graduated with a BFA (2015) and an MFA (2018) from Whitecliffe College of Arts and design. Recent exhibitions include Thoughts and Feelings, mother?, 2018; Projects, Auckland Art fair, 2018; Never an Answer, The Vivian, 2018; Slow Jamz Till Midnight, Blue Oyster Project Space, 2017; The Tomorrow People, Adam Art Gallery Te Pātaka Toi, 2017.
\\ August 22nd – September 8th 2018
Forest of Ladders
Forest of Ladders is a project which explores the self through world-building. It is an atmospheric encyclopedia, an exercise done by the artist in order to catalogue their own sensibility.
To do this, a series of short, short stories has been written, each one an account of an imaginary place or scene. Although written as individual stories, these texts form a body of work which teases idiosyncratic modes of perception. This is developed through the decision to write each text by hand, and through photography. The stories have been handwritten and then photographed against windows, shot from the inside looking out. Despite this project being formed around the description of places and worlds, its consistency of style and voice, both in material form and content, reveals the presence of a self; a specific subjectivity which emerges through images of place.
Forest of Ladders negotiates concepts of otherness through a study of place. Places which are not here, those which could become here. Places which can be seen, and those which can only be read. It is a meeting of here and there, brought into form through the conjunction of photography and writing. By bringing these opposing elements together, I hope to create an atmosphere; a sense of something forming.
Take care now
Take care now is a body of work that arises from a felt response-ability, and an accumulation of response. These responses are sensitively assembled and realised on purpose-made screen mechanisms within a video-projection based installation. There is a futile quality to the responsive gestures performed, privileging the minor gestures and emotional labour that become embedded within daily processes of caring. The kinds of caring the work is concerned with consciously reject the individualistic and the grandeur, and often approaches things from an ecological perspective. It acknowledges the multiplicity of already existing social, political and environmental processes, for better or worse, as well the subtleties and nuances that complicate such binaries. Take care now over time has become rooted in maintenance and continuation, developing gestures that have become grounded against prevailing capitalistic markers of what is considered valuable work. The porous and durational threshold between art-making and life-living means the tools for caring have been lifted directly from the artists own material vocabulary and practices of life-living which accumulate as small realities of care-based economies.
Accompanying Take care now is the open invitation to receive handwritten ‘newsletters’ from the artist throughout the duration of the show.
\\ July 25th – August 11th 2018
All photos Emma van Kerckhof
What we allow ourselves to say
Untold, her histories speak in written form
Images map lineages of desire
What are the architectures of these subjectivities
when conventions will not let her live?
The grotesqueness of time and taking
Dirty fingers always in her mouth
\\ July 4th- 21st July 2018
Our experience of the world around us is often mediated by technology, contributing to the idea that humans are separate from nature. In The Entities, artists Sarah Callesen and Shelley Simpson use visual and audio recordings to construct a ‘natural’ world, exploring relationships between human and non-human, natural and artificial, culture and nature. All recording is subjective, mediated by both humans and technologies used in the process. The Entities considers the role of each player within the communication system – where each offers its own affect.
Simpson has created photographs of forest floor worlds in the temperate bush of Rakiura, Stewart Island – an intense, remote environment mostly devoid of human activity. We generally perceive events that occur at human scale, not too big, not too small. We can extend our perceptual range using technology. Scale shifts, time slows. The images are presented as a two-channel video work scaled up to an immersive size. Subtle animation augments the imagery, bringing attention to the sense of process, of visibility, of observer and of mediation.
In response to the macro imagery, Callesen presents an accompanying sound piece that considers change in sound at a qualitative scale, rather than in loudness. Echo and reverb are tropes often used in film to exaggerate the sound of small things. Natural history documentaries often apply imagined sounds to visual footage, particularly for small fauna such as insects, which are too minute to capture with existing technology. Designed sound in film, television and now virtual environments, continue to fabricate what humans imagine unheard phenomena to sound like. Callesen has used designed planet atmospheres and other constructed sounds sourced from stock libraries, as well as manipulated field recordings taken by both artists.
In contrast to the digitally produced video and audio, an analogue slide machine opens conversation about past and present technologies used for generating and communicating content. The slides are drawings made by hand using ink, pen and scratches onto acetate. When magnified, these small abstract marks allude to expansive imagined lifeworld environments.
Saturday 14th July, 3pm
A selection of the films of Jean Painlevé’s Science is Fiction
Associated with the early surrealists, Painlevé collaborated with his partner Genevieve Hamon on over 200 films from the late 1920s to the 1970s. Their work was the precursor to nature documentary film makers such as Cousteau, Attenborough etal. The films “testify to a genuinely ‘magic realism’ at the periphery of consensual perception”1.
1 Knox, Jim Sounding the depths;Jean Painlevé’s sunken cinema British Film Unit Publications
\\ 6th – 23rd June 2018
I have an idea for an exploded essay.
(In the Archive Room)
Something that sits between writing and object; between reading and performance; between the privacy of being a viewer or a reader and the interaction of a participant.
Essays are three-dimensional for me; I carry them in my mind and work on passages of text in my head, so the experience of writing an essay is as much in the world as it is in front of a computer screen or on a piece of paper. So I have this idea for an exploded essay that can somehow be replete with objects as well as words; that takes place throughout a space as well as in the time of reading; that allows narrative to be formed through the objects as well as via the words; that the words can be heard as well as read.
But especially, I want to write an exploded essay about unfinished work, about beginnings that went nowhere, about the constant tensions between wanting to make artwork and all the constraints that suspend the making, about the artworks I wish I’d made and never did.
So, this is an exploded essay of missed opportunities; of unfinished work; of ideas had but not acted upon. This is about the sense of missed opportunities and regrets of being an artist, ten-years after graduation.
La Belle Dame avec les Mains Vertes
Evangeline Riddiford Graham
(In the gallery space)
The future’s a disaster.
Everyone knows it’s time to get proofing.
But you, you’re out of energy to bolt down the bookshelf.
You can’t afford to renovate a carbon-neutral kitchen.
Balance the math and trash the books: you won’t ever have a house.
You little worm. Do you really think you deserve your own bedroom?
Fear not! If you can’t afford to be a part of the problem, you can still buy into the compromise. There’s still time to maximise space. Make your last-ditch dive for privacy! La Belle Dame avec les Mains Vertes offers a solution, in the shape of hand-crafted, silk-painted, made-in-New Zealand room dividers.
These light-weight, adjustable folding screens not only respond to your every civic grievance, but have it set down in writing. Please forgive the cursive: one last blast of art and crafts, for Auckland.
La Belle Dame sees your plaint, and raises it. Would you like to register a charge, or a lamentation?
She offers you RM, divided.
Thank you to Wall Fabrics, Ltd., for their generous sponsorship.
Joshua Harris-Harding /
Vanessa Crofskey /
// 16th May- 2nd July 2018
Language is flat-pack furniture: we are trying to build a table. We tried to get The Internet to help us build it and this is the best it could offer.
We belong to fonts, Akaroa, art school, and the dialectical digitas. Trust us, we have University Degrees. We are using our mouths and hands to think about symbols. Limbic to limbo. We are not trying to sell you anything, but we may be persuaded.
Listen, we have to talk. We have squeezed some thoughts through a play-doh extruder in a variety of shapes. A Do It Yourself Font. ________ is a shiny, clean thing that flattens out what is embodied, complex, and furry. Repeated cycles of dis/assembly that thread its screws and tarnish its veneer.
Ask Raph Leviens why he made Inconsolata; about his penchant for herrings. The compression and decompression of a defibrillator. ____ __ a directive invitation.
It might seem like talking has failed us but it is the only option left.
FOOTNOTE: Inconsolata is an open-source font created by Raph Levien. It is a humanist monospaced font designed for source code listing, terminal emulators, and similar uses. It is used by RM Gallery and is the title of our exhibition.
// April 4-28 2018
Talia Smith /
Alice Alva /
Ed Ritchie /
Monique Lacey /
Katie Kerr /
Curated by Chloe Geoghegan
In April, RM presented Cul-de-sac, a group show bringing together the work of five artists that experiment with the crossings of art within its many disciplines. Using elements of design as a framework for discussion, Cul-de-sac created a laboratory-showroom at RM that will challenge what an experimental space can provide conventional genres of practice within contemporary art.
Based in Sydney, Talia Smith presents a small series of cyanotypes on cotton that investigate the materiality of the photographic image and its form. While Auckland based artist Monqiue Lacey explores the nature of structure and surface within painting, Dunedin artist Ed Ritchie creates sculptural assemblages that become props for uncertain narratives. Wellington artist Alice Alva presents a series of radical, pop-imagistic handcrafted works and Auckland designer Katie Kerr produces an experimental paperback that folds the ideas in Cul-de-sac back on themselves.