Category: 2011

Liz Allan, Jooyoung Lee, James A. Wallace

// Closing event 6pm, Wednesday 21 December
// Thursday 8 – Friday 23 December 2011

For RM’s final exhibition of the year we have invited three artists to present recent works — local artist and co-founder of Canary Gallery, James A Wallace returns for his for project with us since we’ve moved to Karangahape Road, whilst this is our first time working with Wellington’s Liz Allan and Seoul-based artist Jooyoung Lee.

Cushla Donaldson & Rebecca Steedman

Orange Milk

// Thurs. 24/11 – Sat. 3/12, 2011

// Opening 6pm Wed. 23/11

How does the aesthetics of modern technology fit with the aesthetics of two contemporary female artists?

In Donaldson’s assemblages, an idea is rotating with enough centrifugal force that its constituent parts are separating. Old and new school, machine-made and hand-crafted objects cohabit, often speaking against their own materials. The infamous CERN laboratory is rendered on silk; driftwood sits beside resin. The shiny splendour of a luminous, milky phallus is undone somewhat by vinyl spangled with potato-printed shapes in assuming apricot.

Steedman’s intimate studies recall the terrifying glory of cosmic phenomena; including the solar flares, gas giants and sunspots of 70s science books. Unimaginable heat and vaporous convection are conveyed in splotchy watercolours.

Although each has her own distinct handwriting – combining as intriguingly orange and milk – both Cusha Donaldson’s and Rebecca Steedman’s works appear to harbour a suspicious fascination with science, an arena in which, despite knowing better, we still surrender all our faith and derive all our arrogance.

– Rose Hoare

From Bruegel to Onkalo

Thurs. 17/11 – Sat. 03/12, 2011

A selection of readings, events and ephemera developed in response to the

RM Archive

Over the last six months we have been working with our intern Ena Kosovac to turn our archives into a more accessible resource. For three weeks a section of the archive moves into our foyer space where it will become part of a developing conversation around time-capsules, time-shifting and the compulsion to save material for an unknowable future.


Drift of Summer

Miguel Arzabe
Jeffrey Gibson
Hendrikje Kuehne / Beat Klein
Richard Maloy
Michael Ned Holte
Mariele Neudecker
Rune Olsen
Allison Smith
Ola Ståhl
Hadi Tabatabai

// Thurs. 27/10 – Sat. 12/11, 2011

// Opening 6pm Wed. 26/10

An exhibition developed by Richard Maloy, Drift of Summer brings together a number of the people that he worked alongside while undertaking the Headland Center for the Arts residency in California last year.

To coincide with this exploration of artist in residence programs, Richard has invited Mladen Bizumic to create a new work for RM’s foyer space.

Mladen Bizumic

Artists in Residence
(Proposal for Auckland)

// Thurs. 27/10 – Sat. 12/11, 2011

// Opening 6pm Wed. 26/10

Samuel Ostermann


// Thurs. 6/10 – Sat. 22/10, 2011

// Opening 6pm Thurs. 6/10

This exhibition of photographs presents to a New
Zealand audience the artistic project of Samuel
Ostermann, a graduate of the Elam school of Fine Arts in Auckland City. Samuel is concerning himself with the legacy of “Temporary Sculpture” or “Plural Sculpture” and “Post-Object art”. Look out for his art-work in ‘Singles’ and Boabooks from Geneva, Switzerland!

Rebekah Burt / Andrea Gaskin / Linda Roche / Kathryn Tsui


// Opening 6pm, Thursday 6 October

// Thursday 6 October – Saturday 22 October 2011

The idea for this exhibition generated out of a shared interest, between the four participating artists, in the relationship between process, chance and formal outcome within their work. Rather than being bound by the doctrine that has historically defined a formal approach, the work within the show pursues a more natural, unconscious kind of formalism. The thread linking the work is the fact that chance is in some way internalised within the outcome. Within the works is the sense of an ‘incidental’ formalism: formal outcomes are the by-product of a process, system or action rather than the result of any marked attention to arrangement, style or artistic means.

Annie Bradley





// Thurs. 15/09 – Sat. 01/10, 2011

// Opening 6pm Wed. 14/09

Text in response to the work by Julia Waite:

In 1947 Gordon Walters visited Theo Schoon in South Canterbury. Schoon was busy working for the Department of Internal Affairs photographing and making copies of rock drawings. Both men were impressed by the rock artist’s economy of means and inspired by the organic quality of the drawings they saw.

Like Walters and Schoon, Bradley seems to have ventured into a ‘cave’ and returned with a series of artefacts – hers address the intersection of fine arts with craft, the gallery with domestic space, the everyday and public with the private and personal. Baby Baby Baby, Oh Baby fuses elements of Walters’s abstract modernism with Schoon’s more craft-based practice while considering the effects of relationships in the art world. And Bradley’s personal is not just political – it’s professional.

To explore these themes the artist hoes into past experiences. The exhibition includes handmade artefacts and paper ‘records’. Clay forms sit atop a makeshift table like an archaeologist’s recent, uncatalogued findings, ready for investigation. A koru pattern is recorded in a series of rubbings onto paper, a technique often employed in archaeological research. These ‘dug up’ relics, a mix of clay and porcelain in various shapes and sizes, can be taxonomically organised into three main groups. The first, thin tablets of clay impressed with the repeated koru pattern; the second a cluster of tight balls; and the third, a collection of irregularly shaped forms, which recall the pieces of textured limestone Schoon photographed.

There is evidence of personal encounters in this tableau of mutating artefacts. Using emergency contraceptive pill packaging Bradley manipulates Walters’s benign koru pattern motif and suggests the art world’s layers of connection and the uneasy relationships between biology and culture, art and the body.

What controls us but cannot be seen – hormones and genetics, the repetition of life – fascinates Bradley. The crisp elegance of the ECP koru pattern, which subtly spreads across all the elements, contrasts with the irregular and organically shaped ceramics. The insidiousness of these ‘biological’ controls is accentuated by the partial breakdown of Walters’s koru motif, which itself might be seen to contain undertones of obsession and monotony.

Bite marks and lines of severance disrupt the surfaces of each unique ceramic ball, challenging the seemingly serious nature of the work and any of clay’s gentler associations. The title of the exhibition, a lyric from The Carpenters’ ballad Superstar, adds to the drollness of the work. And this choice of title – of theme song – accentuates the intersection of the public and the private. Here art world heavy weights Schoon and Walters collide with the heart broken Karen Carpenter.

While Baby Baby Baby, Oh Baby appears to hold evidence of the excavation of experience and memory, the opposite has really occurred: Bradley’s buried personal encounters in metaphor and art history.

Click here to view PDF version.

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.

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