/ Opening Wednesday 5 December, 6pm
// Thursday 6 December – Saturday 22 December 2012
Art is more than just mechanism; it is more than method; it is more than outward show or fashion; it is independent of times and seasons; it is the power to influence the soul of others, to cause them to glow with love or burn with passion.
– Blomfield Charles (1925) What is Art? article from the Herald
// Opening Wednesday 5 December, 6pm
// Thursday 6 December – Saturday 22 December 2012
Blorp. another day, another allegation. It’s a conversation of intimacy at the bar, on the bus or in bed. Circling around an idea or ideas of the day. It’s hard to pin it down but it’s interesting. UH-dorable
Someone in the room calls your name and you turn around. Checking The Latest Posts, okay. calculated Disinterest. scrolling friends and waiting for friends
That girl has the same shoes but originality is overrated. My look is constantly updated DON’T WORRY! I Know You Better Than You Know Yourself. The world’s biggest secrets revealed. it’s getting cold, put on a layer. I get days where I’m just down and gloomy, just because I’m human. wow they both have very nasty fat asses Reply Like
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Oscar Enberg (b.1988, Christchurch, NZ) is an Auckland based artist. Recent exhibitions include Reduced Options for Juergen’s House at Gloria Knight, Auckland (solo) 2012, EVEN further reductions on retail jokes at Enjoy Public Art Gallery, Wellington (performance) 2012, Further reductions on retail jokes at Blue Oyster, Dunedin (performance) 2012, Returned Merchandise and Joke Seconds at Artspace, Auckland (solo) 2012.
Francis Till (b.1989, Christchurch, NZ) is an Auckland based artist. Recent exhibitions include Light Industry at Gloria Knight, Auckland (solo) 2012, Naptime at ABC, Christchurch (group) 2012, Pollution at George Fraser, Auckland (group) 2011.
Enberg and Till are two of the founding members of Gloria Knight.
// 5pm, Saturday 17 November, 5pm
Join us to celebrate the launch of Vaughan Gunson’s new poetry collection, this hill, all it’s about is lifting it to a higher level, published by Steele Roberts. Vaughan will be reading a selection of poems from the collection.
The book can be purchased at the launch for $20 or via the Steele Roberts website.
“His poems merge his concerns for the human and natural worlds into a unity that reflects the human condition and its expression in internal and external experience.” – Alistair Paterson, ONZM
“Buoyed by Gunson’s eye for the unusual and precise and his cadent tongue, the book mines new and familiar territory in surprising and exciting ways.” – Siobhan Harvey
// Opening Wednesday 14 November, 6pm
// Exhibition runs Thursday 15 November – Saturday 1 December
Looped video projection, 6:55 min, 2011.
When I was 15, my mother worked on a psychic hotline. She had a phone shaped like a pair of bright red lips in her bedroom, and when it rang she would stop whatever she was doing and transform into ‘Jane’.
I pursue an extended engagement within the intersections of real and imagined experience, working alongside performers, including psychic mediums, barbershop quartets, friends, family, and strangers on opposite ends of the world. By curating an experience that conflates elements of personal story, historical narrative, myth making and trial and error, my work attempts to make the distances between the virtual and the real, the ubiquitous and the unlikely seem less severe. Intrigued by the transformative potential of shifting context, the work is rooted in my ongoing negotiations, collaborations and performative interactions with local subcultures. It is my intention to offer a new communal mythology – a multilayered ‘Chinese whisper’, tales of supernatural lust, anxiety and a desire for (im)possible futures and (im)probable pasts.
// Opening Wednesday 14 November, 6pm
// Exhibition runs Thursday 15 November – Saturday 1 December
The John Dory Report (JDR) is a subscription based contemporary arts zine loosely based in Christchurch, New Zealand. Recent issues have focused on the performance anxieties inherent to the work of Kathryn Andrews and Ann Liv Young; New Zealand’s pre-Aotearoan Land of Birds mythology; the constitutive role of nature’s value within ideations of suburbia; Simon Lawrence’s preoccupation with botanic agency and the negative attributes of the merely human; and the beachcomber devolution apparent in the drawings of Mark Braunias. This latest issue, number 47 swaps the zine format for that of a gallery-based exhibition and focuses specifically on the meaning of lost pet posters.
Explored in relation to a collection of over seventy posters, What Lost Pet Posters Mean takes its point of departure from these posters’ unique expression of human estrangement and grief. With their appeals to home and family these missives openly demonstrate the constitutive role pets play within human domesticity, an aspect made all the more evident by the rupture their disappearance causes. However, while these posters may be thought of as cathartic human texts we should not mistake them for obituaries, but rather possessive claims on potentially autonomous subjects.
Appearing on doorsteps, power poles, through letter-boxes, inserted into newspapers, and posted upon community centre notice-boards, lost pet posters stake out something of the potential or likely presence of an entity capable of living in two worlds. Hence, whilst these posters are repositories of human sentiment, reminding us (humans) just how much the pet is a social subject stitched into humanised kinship practices, they are also potent reminders that our pets inhabit a subaltern animal geography that extends all around us. Connected to notions of partial domestication and porous urbanism, lost pet posters proliferate a tactical network, marking out a hybrid geography through which we can glimpse the multitude of agencies at work in a world no longer defined by purely human concerns.
The John Dory Report was founded in 2004 and has been published on a sporadic basis ever since. Publicly accessible collections of the zine can be found in the University of Auckland’s Elam Library, the University of Canterbury’s Macmillan Brown Library, and in the Christchurch City Public Library’s ephemeral collection.
// Opening Wednesday 24 October, 6pm
// Show runs from 25 October until 10 November 2012
The changing methods of artistic practice during the twentieth century and the simultaneous inception and development of computerised technology represent an intriguing historical parallel. In 1961, the first industrial robot began working at a General Motors factory in New Jersey. Named UNIMATE, this robot sequenced and stacked hot pieces of die-cast metal with its 4,000-pound arm, by following a series of instructions stored on a magnetic drum. In the same year, George Brecht composed numerous “event scores,” that is, step-by-step instructions dictating the actions of performers. One such event score, Three Telephone Events (1961), reads “When the telephone rings, it is allowed to continue ringing until it stops / When the telephone rings, the receiver is lifted, then replaced / When the telephone rings, it is answered.”
Presenting either a system or something made according to the dictates of a system, Simon Ingram, Richard Killeen, Sean Kerr, Jeena Shin, John F. Simon Jr. and Martin Thompson explore the highly structured and analytical relationship between artist and artwork evoked by such comparisons between technology and art. These structured relationships, whether formally unexpressed or articulated using language, are mediated in each instance by the artist’s use of instructions, steps or algorithms. As a result, each work presented as part of Procedure was, is or will be created under conditions in which the role of the artist shifts towards that of a programmer, draftsperson, composer or logician.
// Opening Wednesday 3 October, 6pm
// Show runs from 4 October until 20 October 2012
‘Moving Forward’ is a solo exhibition by Erica van Zon of her personal archive, spanning the years 1996 to 2012.
in partnership with Artspace, and as part of —
STEINBERG, SAUL. THE NEW YORKER. NEW YORK, 1945–2000. (HAROLD, WILLIAM, ROBERT, TINA, DAVID, EDS.)
Curated by Robert Snowden and Scott Ponik
// 6:30, Thursday 13 September
// Samoa House, Level 2/283 K’Road (next door to RM, and opposite Artspace)
// Opening Tuesday 21 August, 6pm
// 23 August – 8 September
There is more satisfaction in the serendipitous finding of interventions than in attempting to manufacture them; those interventions which occur naturally, in the course of everyday life, are usually more revealing and more challenging than any set-piece.
Patience is a virtue. Eventually, everywhere will at some point have been the scene of a crime….
// Opening Tuesday 21 August, 6pm
// Show runs 23 August – 8 September 2012
Eunji Cho uses video, drawing, installation and performance to create a socio-psyschological landscape of the city and its surface. Hailing from Seoul, Korea, Eunji has spent the last week in Auckland developing a new work for RM. Eunji has recently exhibited at the Nam Jun Paik Cente in Yongin and the Palais de Tokyo in Paris, and was part of the 8th Gwangju Biennale in 2008.
Eunji is one half of the Michelangelo Pistoletto Band, who toured New Zealand earlier this month for shows at the City Gallery in Wellington, the Waikato Museum, St Paul St Gallery, and the Dunedin Public Art Gallery. Her trip to New Zealand was made possible with support from the Asia: NZ Foundation and the Spark International Festival.