Category: 2021 Exhibition

Dilohana Lekamge : A Different Ocean

Dilohana Lekamge
A Different Ocean
26 November – 18 December 2021

A Different Ocean centres on a geographic site commonly known as Adam’s Bridge or Ram’s Setu which sits between Sri Lanka and India in the Palk Strait. This stretch of limestone shoals has been a point of contention for many. Studies of this location have yet to concretely determine its age and the processes of its formation. It also has foundational significance in
several religions.

This exhibition responds to the expansive lineage of this site. Resurfacing its histories and recounting them through a lens anchored in romanticism. The collection of videos shot in Sri Lanka creates a collage of moving-image and accompanies the verbal narration that introduces the foundations of this geographical area. Using various sources to research this location, the artist created a new narrative text, connecting the separate stories to the present and acknowledging the external influences that have imparied the view of these lands, even for those who identify with them. This response contemplates the difficulties and levels of despondence which arise when faced with an untraversable distance and inaccessibility.

By presenting a variety of pasts and realms, this installation allows several realities to run parallel. This work layers journeys that were taken in the recent past with those from distant pasts – overlapping ancient and pre colonial tales with that of contemporary post-migration. Responding to histories, not as static periods that have already concluded, but as non-linear and cyclic forms. These reverberations are not just held in one physical place, but are echoed in the experiences of those who hail from that land and live elsewhere. Encountering these mirrored occurrences can create a form of solace, existing as a reminder of commonality, despite earthly separation.

Dilohana Lekamge was awarded the 2021 RM Women’s Moving Image Grant. This project, A Different Ocean is the result.

Hannah Valentine : Sensible instability

Hannah Valentine
Sensible instability
26 November – 18 December 2021

“The handyman’s hand was more than just an explorer and discoverer of things in the objective world; it was a divider, a joiner, an enumerator, dissector, and an assembler.  The handyman’s hand could be loving, aggressive, or playful.  Eventually, it found in the intimate touch of grooming the secret to the power of healing.  It may also have been the instigator of human language.

There is growing evidence that H. sapiens acquired in its new hand not simply the mechanical capacity for redefined manipulative and tool-using skills but, as time passed and events unfolded, an impetus to the redesign, or reallocation, of the brain’s circuitry.”

Frank R. Wilson, The Hand: How Its Use Shapes the Brain, Language, and Human Culture, Vintage, 1999. p.59

When we make things, we gain far more knowledge than we could ever say. We learn things through touch and through playing; and especially learn things through working with a material to convey our ideas. When I look at Valentine’s work I realise I am seeing her tacit knowledge and material understanding as much as the work itself. There is a generosity in her objects where she invites us to see her process, nothing is concealed from view. In fact her process is so visible, literally cast into the surface of objects and evident all over her work, you could think of her process as a material applied to the object, rather than something that has happened. Valentine’s presence is thick on the surface of her objects.

…For this exhibition, Valentine has purposefully taken a step sideways, ignoring what she has recently learned, and re-introducing ideas and materials that had previously been set aside. 

She is responding to the inherent nature of RM, giving herself space to experiment with ideas and follow a different fork in the road, just to see where she ends up. I like that this show isn’t about refining ideas, but instead setting up a situation to create them.

Excerpt from text by Finn McCahon-Jones
Read full text

Daphne Simons

Daphne Simons 








TO READ ——–> 









Pablo’s Lament       

By: Rabindranath A. Bhose

Pablo’s Lament

By: Rabindranath A. Bhose

With every passing day,
I find myself more bitter.
And needless now to say 
The customers get shitter.

Tiny charts her reckless course, 
Boa whispers in her ear,
Of bad advice - an endless source,
The rest of us are left to fear

Our path through the water
Our journey at sea.
The Captain Log’s author 
Less canny than me.

When Joeyina comes in 
And envelops us all 
With thunderclaps, lightning
And dramatic rainfall

Maybe then we can all 
Get a decent night’s sleep
As the customers bawl 
And the open decks weep.

When the skies open up
I can lick my bar clean
Oh so empty my cup
But at least it will gleam 

There is nothing for me 
On this God awful ship 
To  Joeyina I plea: 
With your force make it flip.

Into sunnier times
Where we swim wild and free
The clock’s hourly chimes
Muffled flat by the sea. 

A familiar hum 
And intertwined necks
To my ears it will come 
‘Til they no longer flex 

Until then I must toil 
As Hobby drones on 
And my blood will still boil 
Until curtains are drawn.


HOBBY HORSE   Music by Yanik Soland

UNABLE TASMAN   Music by Yanik Soland



JOEYINA TEMPESTINA   Music by Yanik Soland

ALBINO BOA  Music by Yanik Soland

Due to COVID restrictions, the majority of this project took place online from 6th October – 20th November, 2021. With a 3-day physical exhibition from 18th – 20th November. 


POISON PAWN  was a process-based collaborative film-making project. To begin with, Daphne introduced a group of stock characters, each with their own storyboard, background and musical motif which was developed by Yanik Soland. These were accompanied by a naval-themed soliloquy, Pablo’s Lament, written by Rabindranath A. Bhose. The characters and soliloquy then prompted a script that has been co-developed with Josie Perry.

POISON PAWN expands on Daphne’s interests in de-forming cinematic conventions and representations through collaboration, camp caricature and a ridiculous form of parapraxis. This project began as an attempt to mis-construct an alternate ending to the biography of former US chess champion Bobby Fischer, but the plot grew stale and was hijacked by side-characters with more personality. Bobby is long gone and the ship has been taken over by another motley crew (not that Mötley Crüe).

Stay tuned to see how Tiny Titanic, Pablo the depressed Alpaca, Hobby Horse, The Albino Boa and Unable Tasman grapple with Joeyina Tempestina, the fast approaching, and strangely enchanting, tropical hurricane. 

Special thanks to;

Yanik Soland  

Josie Perry 

Rabindranath A. Bhose 

The Mondriaan Fonds
Amy Yalland
Mark Schroder


Bio: Daphne Simons (b. The Netherlands) is a visual artist currently based in Papaioea, Aotearoa NZ. Their work incorporates moving-image, sculpture, drawing, and collaborative production methods. These forms allow them to expand the potential of surRidiculism, a self-defined tendency. They have a Master of Fine Arts from The Piet Zwart Institute (NL). Recent exhibitions include; JAM-POD (collaborative), SIGN (NL); Day Job (group), Flux Factory, (USA); Material Context (group), Het Archief (NL) and YIKES (solo), Growing Space (NL). They have co-produced a series of comic books and installations with Josie Perry  titled PLASMA FREEZE, and performed at TWENTY ONE, South-end-on-Sea (UK); Locatie Z, The Hague (NL), and LaVallée, Brussels (BE). They have undertaken artist residencies at Kunsthuis SYB, (NL), Wassaic Project (USA) and Enjoy Contemporary Art Space (NZ). And they collaborate with Li-Ming Hu as the artist duo RIFF RAFF, which held projects at GLOVEBOX (NZ), Enjoy Contemporary Art Space (NZ) and The Physics Room (NZ). They also co-organised the temporary project space CANAPÉ CANOPY in Tāmaki Makaurau (NZ) with Mark O’Donnell.

Grace Crothall : Heat Pits

Grace Crothall
Heat Pits
4-28 August 2021

Before I formed you in the womb, I knew you.
Journeying staircase into chocolate river:
The word Journey sounds too metaphysical?
       …Step-cement your earthly magic.
Does it need tarseal beneath its waters?
How else can belly travel?
           Mallow snaps concrete..
The plated piping will aid in your digestion…
A very knowing muscle…
If you stand inside the milk-powdered pool, you’ll find it resting knee-deep
(with ample resources to climb back out).
How much do you believe in the chocolate’s message?
When it bubbles in tongues it glitches in orange..
But I’ve come to accept that for who it is.
Chocolate patina rightly divided.
         A gluey forthcoming rolls over its fibs.
Who can remove his outer coat?

Grace Crothall (b. 1993) is an installation based artist living in Ōtautahi.
For Heat Pits she has worked alongside Priscilla Rose Howe (design)
and Mitchell Bright (photographer).
With special thanks to Cameron Gray.

Antje Barke : Seven Islands

Antje Barke
Seven Islands
4-28 August 2021

Seven Islands is a solo showing of new work by Tāmaki Makaurau-based artist Antje Tamae Barke. As a meditation of narrative projected onto periphery spaces, these works explore the interpretation of two locations; a road trip in Quebec in 2017 and wanderings in Tāmaki Makaurau.

Antje Tamae Barke is a Japan-born, Pākehā New Zealand multidisciplinary artist whose work explores the intersection of lens-based media and sculptural installation. She completed her MFA from Elam School of Fine Arts in 2019. Recent shows include Iteration 10, Mothermother at The Auckland Art Fair (2021); Elam Graduate Exhibition (2019); Give Me Space, Corbans Estate (2018); and was a finalist in the 25th Wallace Arts Awards (2016).

Shivanjani Lal, Amol K Patil and Niccolò Moscatelli : Looking North, Looking West, Looking South, Looking East

Looking North, Looking West, Looking South, Looking East is a project which explores time, distance and friendship in this era of uncertainty. Three collaborators, three friends: artists Shivanjani Lal, Amol K Patil and Niccolò Moscatelli based in the UK, India and France respectively are exploring how to connect across distance and time through friendship.

Instead of an exhibition, a triangulation, an offering, a gesture, a moment across time.
The artists want to know, can a gesture make a connection?
Can bodies and voices link three points that are normally so distant on the map?
Since 2020 they have collaborated as a way to share solidarities, empathies and reflect on isolation in quarantine.
In 2021, for RM Gallery, this connection written in clouds and code takes on a physical form in an artwork that has travelled through continents and oceans to land in Tamaki Makaurau as a proof of the possibility to cross physical and political frontiers.

Shivanjani Lal is an Indo Fijian Australian artist based in London, England.
Amol K Patil is an Indian artist based in Bombay, India.
Niccolò Moscatelli is an Italian artist based in Marseille, France.

They have been friends since 2017 when they met in Bombay, India.









51 28 37 0 02 23

19 00 32 72 50 40

43 16 115 24 38



Learning from the clouds that have no nation, falling

to touch all-below-the-sky,

walking a body of air and water

impervious to gravity, leaving no trace.

From far away seeing three

distant peaks as one

everything is so small, everything

is cared for, everything

is feathered.

Someday the lightest dune will pass by,

bringing us to the same island.

51 28 37 0 02 23

19 00 32 72 50 40

43 16 11 5 24 38

constellation of the land

three stones roll down the delta:

the sea is a little deeper.

Kate van der Drift, Teresa Peters, Shelley Simpson, Kathryn Tulloch : From things flow

7-31st July 2021
Kate van der Drift, Teresa Peters, Shelley Simpson, Kathryn Tulloch
From things flow

From things flow is a collection of works, unravellings, experiences and events that query the concept of agency both within and without our bodies.

Kate van der Drift, Teresa Peters, Shelley Simpson and Kathryn Tulloch are artists working with materiality, processes and temporality. Using an expanded notion of the gallery space which reflects the RM kaupapa of ‘the potentials of an empty room – a space to gather, to think, to talk, to make, to share…’,  the work itself will be created in or evolve within the gallery. In this lively, activated space-come-lab, the artists will bring in elements of transition, evolution and participation both within the material concerns informing their practices, and with people in the space participating in formal and informal happenings. 

Kate van der Drift’s time based and cameraless works are created by submerging film (sheet and super 8) in lightproof holders to the waters and sediment of the Piako River.  A durational accretion created by the action of water and reaction with the sensitive filmic substrate.  Forming and unforming lumen prints will be exposed to light and continue to develop over the course of the show.

Teresa’s rhizomic installations and pseudo archives are made up of small curious earth-born entities in clay and ceramic. She explores ceramics as an alchemical matrix, extending naturally to geomorphic evolution and rupture as the mother of revolution. From corals to volcanoes to the quartz in your mobile phone. Her earth bodies and digital archive will evolve during the show – breaking ground and exploring entropic transformations.

Shelley’s exploration of iron continues her investigation of the alive-ness of metal and the ways in which materials are dense with stories. By co-opting the industrial process of electroforming and of scientific imaging, she asks how we can shift our anthropocentric position to one that considers the liveliness of others.

Kathryn uses processes and materials involved in painting and cooking as a means to re-connect to ecological layers between our experience of earthly material presence and human production. Remnants and ephemera from the opening events activity will be present for the duration of the show.

The Killing – Nuisance

9 June – July 3

The Killing

Nuisance ; a thing, person or situation that is annoying or causes trouble or problems.

But at whose and what expense? Under whose regime, does this ‘culprit’ cause ‘trouble’ toward? This “Nuisance” demonstrates a conjoined, concrete and fluid approach to body making, presentation of body, and self determination.

The Killing is composed of bodies that align themselves with principles of self determination, self authoring, and liberation; from the current regimes of dominance, that historically have attempted to designate subjectivities and construct bodies; including our own.

JA Kennedy – Structure Signalling (Logical Structure or Relating to Something That Happened)

Jonathan Alexander Kennedy
Structure Signalling (Logical Structure or Relating to Something That Happened)

9 June – July 3

Looking for Signal 

Looking for Escobedo 

Where is Elena?

A conversation with interrupted events

The language of interruptions

I lose signal four times every work day. The first time is when the Southern Line train goes through the tunnel before Parnell. The second time is when the train enters Britomart Train Station. Then reverse when I catch the train home. The signal loss is barely noticeable. It just suspends events in time. If I’m on a phone call, the line doesn’t cut but neither person can hear each other for a minute or so. If I click a link on my phone, the page takes a little longer to load. 

The Encyclopaedia Britannica defines “signal” in a communication context as “an interruption in a field of constant energy transfer.” For example, “dots and dashes that open and close the electromagnetic field of a telegraph circuit,” the “tapping of a pencil in a silent room,” or “puffs of smoke rising from a mountaintop.” It describes the changes in a single environmental factor as “interruptions.” It is the interruptions that give meaning to the event that is being interrupted. It is a series of interrupted events that creates a language. 

Signals is the name of the late Mexican artist Helen Escobedo’s sculpture installed at the Fred Ambler Lookout. In 1971, Escobedo was one of four international sculptors flown to Aotearoa to participate in an international symposium commemorating Auckland City’s centennial. In an interview for a National Film Unit production about the four sculptors, Escobedo said when she visited the lookout for the first time she “realised it was such a beautiful sight, there was no point in interfering with it — I had to, rather, enhance it. In other words, one had to see through this thing.”(1) Escobedo worked with steel beams and aluminum tubes fabricated in Aotearoa to create the four forms that look like cross-sections of scaffolding.

When Signals was first installed it may have appeared as interruptions or interventions on the periphery of the city. Each form defines the world that surrounds it. The nature that fills the garden, once a neutral backdrop to the lives of those who passed through it, becomes active and material, no longer “pristine and external to modern urban life.”(2) Together the four forms that make up Signals and the world in between create a language — the interpretation of which depends on the actions of the audience that views it. 

Over time language can be lost. After half a century the sculpture has become so integrated into its surrounding environment, like the nature it was intended to reactivate, we may have learned to unsee it. Deeply immersed in our routines, the runner runs, the walker walks. Onwards and onwards. Repeat and repeat. Only a lone seagull understands. It perches on one of the rungs of the sculpture for a brief, contemplative break.

As the Southern Line train leaves Parnell and enters the tunnel, just down the hill from the sculpture my signal drops out. However, a signal lost will return again, it’s just a matter of time.

By Eloise Callister-Baker



Miranda Bellamy & Amanda Fauteux – A Wardian Case

Miranda Bellamy & Amanda Fauteux
A Wardian Case
12 May – 5 June 2021

A Wardian Case introduces the flora of Kawau Island, home to Sir George Grey from 1862 to 1888. Grey’s shadow remains through the exotic plants and animals he introduced in pursuit of imperial prestige and prosperity. In quiet collaboration with the plants that endure, plant cell signals are sonified in chorus and cacophony. In hearing them, Kawau Island’s botanical transformation is traced and Grey’s legacy is unsettled.

A Wardian Case is accompanied by a text by Bruce E. Phillips which will be available online and in the gallery.

This work is made possible through the generous support of Creative New Zealand and The New Brunswick Arts Board.

Miranda Bellamy and Amanda Fauteux are partners and artistic collaborators who extend the stories of wild plants through site-specific research and experimentation. Working through ideas of reciprocity, animacy, and the personhood of non-humans is central to their practice. By listening to plants and responding through interdisciplinary projects, they queer the constructs that separate human beings from non-human beings and make space for the critical revision of human histories.

Bellamy holds a BFA from the Dunedin School of Art and Fauteux holds an MFA from Concordia University in Montréal. Since their collaborative practice began in 2019 they have attended artist residencies in New York and Vermont, USA, and have exhibited their work in Aotearoa, Canada, and the USA. In June 2020 they were digital artists-in-residence with Artspace Aotearoa. They live in Ōtepoti.

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