Blog Archives
Georgina Rose Watson and Jaimee Stockman-Young: Betrayer, The Archetype

A collaborative exhibition by Georgina Rose Watson and Jaimee Stockman-Young
Betrayer, The Archetype

\\ 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




Internalised thefts,


Affectations, fretwork

Dirty fingers always in her mouth




Sarah Callesen and Shelley Simpson: The Entities

Sarah Callesen and Shelley Simpson (a collaboration)

The Entities

\\ 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.




Public Screening
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

Gabrielle Amodeo and Evangeline Riddiford Graham

Gabrielle Amodeo and Evangeline Riddiford Graham

\\ 6th – 23rd June 2018

I have an idea for an exploded essay.

Gabrielle Amodeo
(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 and Vanessa Crofskey: Inconsolata


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.

I Understand If You’re Busy

I Understand If You’re Busy

// March 11- April 2

Sarah Callesen /
Olyvia Hong /
Anh Tran /
Taylor Wagstaff /
Ellie Lee-Duncan /
Holly Paynter /
Rachel Ashby /
Kari Schmidt /
Loulou Callister-Baker /

Anxiety is a psychological and physiological phenomenon familiar to most all of us in this contemporary time. ‘I Understand If You’re Busy’ aims to examine its nature in an effort to contextualise, understand and perhaps exorcise or ameliorate it, through utilising strategies of investigation, transformation and escape. Accordingly, the exhibition attempts to play with and/or make useful an otherwise uncomfortable sensation, by which we are increasingly beset.

As a title, ‘I Understand if You’re Busy’ nods to anxiety as it manifests itself in micro-moments, particularly within the context of texts, Facebook messages and emails: ‘I understand if you’re busy’; ‘I’m sorry to be a pain…’; ‘It’s all good if not’; ‘I just wanted to check whether…’; ‘No worries if not…’; ‘Yeah, nah…’; ‘Can I ask a question?’ etc.

The exhibition will examine the concept and experience of anxiety through art, writing and a series of events including a poetry reading, panel discussion and story-telling event. It will feature an accompanying publication to be released at a closing event, as well as the zine ANXIETY which will be launched at an associated event. The exhibition will also show at the newly established [tacit] gallery in Hamilton, from the 12th – 29th of April.

Shivanjani Lal: यहाँ से देखें [yahaan se dekhen]

Shivanjani Lal
यहाँ से देखें [yahaan se dekhen]

November 8-December 2
Opening November 8th 6pm

The phrase यहाँ से देखें [yahaan se dekhen] translated means to see from here, in this site specific  video installation at RM gallery, this statement is offered as a position to consider notions of memory, erasure and passing. The titular film यहाँ से देखें [yahaan se dekhen] explores the artist’s return to her Aaji’s (paternal grandmother’s) farmhouse in Fiji after an absence of 11 years, 13 years after her passing. The film explores the landscape of the country side, and the house, whilst slowly moving inwards to reveal an unchanged room: her room. Throughout the visuals we hear disembodied conversations, in Fijian Hindi and English. These conversations speak of the relationships she has with the house and with her family.

Shivanjani Lal is an emerging Pacific artist and curator, she was born in Fiji, is culturally Indian, and grew up in Western Sydney. Lal’s practice seeks to question the body, gesture and home. She creates work from her position as a twice removed culturally Indian, Fijian Australian artist whose history is intrinsically linked to the indentured labour diaspora of the Pacific and Asia. Currently Lal is using spatial activations and video to create archives which document and analyse her personal narratives in the broader context of the social history which brought her family from India to Fiji and now to Australia. This is done to preserve, create and redefine the history of the Indo-Fijian Community away from the narratives produced by the current political climate in both Fiji and India.



Plan to be wrapped up in cozy minks this Sunday?

Drop in at RM Gallery to get styled in blanket couture by artist Sione Monu and photographed by artist Jermaine Dean any time from 1- 4pm.

An assortment of minks will be available for you to choose from but if you have your own special kafu then please feel free to bring it along!


Sione Monu often uses Instagram (visit @sione93) as an art tool, constantly creating artworks that utilise the platform as a way of re-indigenising space as well as create accessibility for his community to engage with the works. His series of self portraits #BlanketCouture (2016) came to life due to a day of play but with only having access to the materials in his home. Although playful the use of blankets are on the artists’ body are striking and intimate as the artist challenges notions of representation and gender.

Jermaine Dean is of Māori heritage and is a member of the roots Vogue scene in Aotearoa New Zealand while also working in the space as a photographer and visual artist. A member of the collective FAFSWAG, Dean has been building an important portfolio of work that documents the Vouge scene while also being an active member.

Fuck election night: celebrating the limits of parliamentarianism

“Everything’s Fucked: but the point is to go beyond that” presents an election night party celebrating the limits of parliamentary politics.
Let’s face it, regardless of who wins the election the result will do little to help those suffering from the structural inequalities inherent to the racist, patriarchal capitalist system that truly governs our country. Thankfully, politics doesn’t only happen once every three years and political organisation is not limited to the party form. Join us in a celebration of our capacity to collectively organise against the status quo for real change.

We will be live streaming election coverage and will have performances from:

Baby Zionov
Hammer and Sickle
poetry by Vanessa Crofskey

and Speakers:

Vanessa Cole (Auckland Action Against Poverty)
Justine Sachs (Socialist)

Remedial Reading

Remedial learning examines the notion of a ‘remedial class’ as a curative, reparative or compensatory way of learning. The idea of a remedial class suggests a transformation in order to fit in with things as they are, while suppressing the symptoms of alterity. Remedial learning attempts to reimagine the potential for radical transformation by asserting decentralised bodies of knowledge.

Remedial learning is presented as a one day ‘remedial class’ exploring the potential for physical, cultural and environmental healing through a series of drop-in workshops and opportunities for knowledge exchange.

With contributions from
Tosh Ahkit
Louie Bretana
Divyaa Kumar
Vanessa Crofskey
Kaoru Kodama & Albert Ashton
Natalia Saegusa
Amy Weng


Open all day
Trading table for remedies – Amy Weng
Visitors are invited to bring a remedy or a cure for exchange – these might be rongoā, Traditional Chinese medicines, recipes for nourishing soups, poultices, karakia, garden herbs etc.

Asia Aotearoa Big Bang Collective
Reading group and movement facilitated by Tosh Ahkit
Text: Shortcomings by Adrian Tomine
+ Kawakawa tea

Kaoru Kodama & Albert Ashton
Seaweed in Japanese and Māori diets

Performance by Natalia Saegusa

Poetry reading by Vanessa Crofskey
+ fortune cookie

5:30 – 7PM
Bite me – Decolonising the diet
Eat My Rice presented by Louie Bretana
Eat My Spice presented by Divyaa Kumar

Koha or offering is appreciated

RM Gallery and Project Space
Thursday and Friday 1pm - 5pm
Saturday 12pm - 4pm

Samoa House Lane
Auckland Central 1010

We are located in the centre of Auckland, close to Karangahape Road. We are on Samoa House Lane, just off of Beresford Street -- look out for the incredible fale of Samoa House and you're nearly there.
We are  2 minutes walk from Artspace, Ivan Anthony and Michael Lett.

Safe Space Alliance

RM is a member of Safe Space Alliance

A safe space is a space where the LGBTQI+ community can freely express themselves without fear. It is a space that does not tolerate violence, bullying, or hate speech towards the LGBTQI+ community.

A safe space does not guarantee 100% safety, rather, it’s a space that has your back if an incident (violence, bullying, or hate speech) were to occur.

Click here to find out more about Safe Space Alliance

The RM Archive Project

Help us identify what is in our Archive! We have digitised many slides in our archive and invite participation to identify them. Please click here to access the collection.

Our Boxed Archive
Since 2009 RM has been building an archive of material related to our exhibition and event programme. An index to the collection is available here.

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