Category: 2011

Laura Robertson

Just (2|1)

// Thurs. 4/8 – Sat. 20/8, 2011

// Opening 6pm Wed. 3/8

A three week gallery exhibition, as well as the following series of works based in the stairway next to RM:

  1. The hair of all the funny women

  2. I graft and split my sides

  3. Beneath all the lip

  4. Tanya Ruka:Tawhiri 3

  5. Drawing Series

Luke Willis Thompson


// Thurs. 14/07 – Sat. 30/07, 2011

// Preview: 6:00 – 7:00pm, Wednesday 13/07, followed by drinks at D.O.C. at 7pm

// Artists Talk: 6:00pm Thursday 28/07

Simon Lawrence

More Humans

// Thurs. 23/06 – Sat. 09/07, 2011

// Opening 6pm Wed. 22/06


Re: Insect psychology

It is difficult to empathise with creatures of a dimension not easily observed. When humans are viewed with the aid of sensory enhancing technologies, their appearance often invokes horror. Is this because their form is so unlike ours? We know empathy is possible between fishmoths, carpetsharks and other similar sized lifeforms, for these creatures contain thysanuramorphic traits that imply character and personality. The majority of human forms are so alien that we struggle to see any silverfish trait at all.

Kind Regards,



Simon Lawrence is consumed by the inconsequential details of his own home in which thoughts or perceptions are presented without regard for logical sequences. Structure and distinctions between various levels of reality create an interior monologue. Free association of objects and images show a continuous flow of ideas that move forward by ones own knowledge and perception; or stand still.

– Paul Johns

Charles Ninow

Coming up for air

// Opening 6pm Wed. 20/04

// Thurs. 21/04 – Sat. 07/05, 2011

Waiting rooms, elevators, corridors in public buildings, they are all similar in nature. They’re places that we all experience and usually only pass through when we’re on the way to some place else. At times their décor can make them seem inhospitable and at times it can make them feel warm and welcoming; most of the time they’re coated with surfaces that are easy to clean.

I like to presume that the way in which these spaces are decorated reflects the aspirations of whoever chose the fit out. For example, a lobby clad with gold fittings and wall-to-wall marbling easily presents itself as an aphorism for success. To some extent, many of the interior spaces that I pass through are similar to out-of-date election billboards in that they carry a lot of thrust but not much real meaning. As such, even though these ‘common areas’ are deeply infused with human concerns, they often make me feel a little alienated. The subterfuge that surrounds human endeavour can feel a little cold when it is so tightly knitted around you.

Stainless steel, tile and grout; I find it comforting to look for gaps between where one surface ends and another begins. A broken away tile can serve as a vent in an otherwise impenetrable façade; one small area where the politics surrounding it’s provenance aren’t immediately visible.

Kirstin Carlin & Carina Brand

Timber Trophy

// Thurs. 31/03 – Sat. 16/04, 2011

// Opening 6pm Wed. 30/03

Timber Trophy brings together the work of Kirstin
Carlin and Carina Brand. The show is concerned with unabashedly placing high and low forms of culture and value side by side in an attempt to playfully tease out contradictions of history and culture. Both artists employ elements of kitsch and contemplate the irony of taste. Juxtaposing good with bad and amateur with professional they investigate the tropes of representation that make up art and object culture. There is a sense of longing that plays out in the consideration of a European tradition that is undermined by ‘New World’ aesthetics and reflects what these might be?

Kirstin reinterprets Dutch and Flemish still life painting. The polite imagery and well torn territory of the still life painting genre is torn apart in these new paintings which are made up of impasto shiny paint threatening to dissolve into murkiness. The lithographs- part postcard part collage cut and paste cultural clichés in a labour intensive process.

Carina’s objects look back and survey the range of ‘goods’ taken as trophies or what’s left behind as relic. All works are cast or copied from objects found in opportunity shops and hobbyist/amateur WebPages. The work engages in a dialogue of the politics of the ‘Global Aesthetic’ and a continued culture of collecting.

Kathy Barry

Folded Room: Paths Crossing

// Thurs. 10/03 – Sat. 26/02, 2011
// Opening 6pm Wed. 09/03

The more I kept finding myself returning to these pencil-gridded kaleidoscopic abstract works, the more I realised they speak to the battleground of edges between things. The way in life we cannot adopt one system without having to concede it is failing as much as succeeding… While embracing a package of structures from modernism, they constantly fight the idea of some forward momentum and harmony, to suggest a constant shifting forward and back; of things being built up, build down, built over and built around. On the surface they have the appearance of a fiendishly complicated modular board or computer game, but in their thick web of abstracted influences there’s a battle going on between different cultures, aesthetics, and hierarchies. One minute I’m thinking of the gridded battleground spaces of Uccello’s San Romano, the next I’m feeding the watercolours of Frances Hodgkins through cubism enroute to the drips of the abstract expressi onists and cubes of the geometric abstractionist. Then I’m unfolding it all as boxes in Wellington with Richard Reddaway. The carefully trained drips of watercolour course along side the channels created by the vertical pencil marks, like blood spilt from battles between design and art, and one moment in cultural history and another.

– Mark Amery

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Saturday 12pm - 4pm

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