Category: 2024 Exhibition

Amanda Mackenzie : Threads

Amanda Mackenzie

15 May – 8 June 2024

Amanda Mackenzie

Threads considers the material trajectories of things. With the performativity of the materials guiding their construction, the elements of this installation indicate the process of their making and their past life.

Threading, knotting, and twisting of fibres were among the oldest of human arts from which the technologies of both textiles and building are derived. A network of flexible lines, these things we live with, catch and reflect our stories.

How does each independent strand interact with the others to become this whole entity? Where does each bit come from? How did it get there? Who put it together? Tracing these fibres back to what they were like before they were joined up and joined with the stuff that makes them a thing is to acknowledge them as dynamic and ever changing.

Images by Ardit Hoxha

Louisa Afoa : Pineapple Pie On My Mind

Louisa Afoa
Pineapple Pie On My Mind

15 May – 8 June 2024

Pineapple Pie On My Mind
Louisa Afoa

“From the beginning of my art practice I have always been interested in the idea of adding to the archive, memory and the everyday. Holding onto a piece of time through photography so it wasn’t forgotten was important to me, because who is going to document our community if we don’t? I often think of the words of Bell Hooks in relation to the beauty of the everyday, when she said “Beauty can be and it’s present in our lives irrespective of our class status. Learning to see and appreciate the presence of Beauty is an act of resistance in a culture of domination that recognises the production of pervasive feeling of lack, both material and spiritual, as a useful colonisation strategy.”

As I’ve aged and witnessed cherished leaders of our aiga pass away, I’ve become hyper aware of my own mothers health problems and what would be lost if we were to lose her suddenly. The kitchen has always been her domain and although I would be there with her peeling ingredients, laughing with siblings during the hustle and bustle of family get togethers, I never retained the knowledge of how to make the recipes because I never imagined a life without my mum. My mum has always showed her love by cooking. As a Pakeha woman who raised Samoan children, she was taught how to make staple island food by my great Aunt and Uncle who sponsored my dad to come live in Aotearoa in the 70s.”

Images by Ardit Hoxha

Beth Dawson, Charlotte Parallel and val smith : Invisible Neighbours

Beth Dawson, Charlotte Parallel and val smith
Invisible Neighbours

10 April – 4 May 2024

Invisible Neighbours Beth Dawson, Charlotte Parallel and val smith

Invisible Neighbours is an installation of drawings, text and sound objects that focus on the generative nature of feedback. As a collaboration the artists are working with feedback as a sonic material that they create and respond to, through drawing, electromagnetism, pedals, amps, keyboard, bodies, conversations and listening to special places.

Speakers, like twisters, reach down and up. Yet still, spitting asteroids in all directions. The exteriors of buildings, one such direction. Wirings under table another, connecting drawings where once they previously laid.

The wafting crunch of touch to ear hole; a sudden folding to re-amplify. An oceanic moment. Summons little laps against legs. This lullaby of noise haunts so softly. Or, a feminist killjoy conjuring1.

An eyelash sticks to the sound, touching like a tissue paper zine. No staples. Listening to the forces of place, a soft mapping. Sensors recharge all efforts, and incline time to Tiriti-based transformations.

val smith

1 The Feminist Killjoy Handbook, Sara Ahmed

Images by Ardit Hoxha

Natalie Cooper, Delaney Sturrock and C Miers : Navigate

Natalie Cooper, Delaney Sturrock and C Miers

10 April – 4 May 2024

Navigate explores relationships between the route that is mapped, the route that is traversed, and the route that is constructed or directed.

Natalie Cooper, Delaney Sturrock, and C Miers each use a sense of navigation to form their distinct practices. Each artist explores the literal navigation of the urban infrastructure and the abstract navigation of ideas that underlie this environment. These explorations are presented through material realities, aiming to prompt the viewer’s navigation of this material within a gallery context.

Iterations of grid, line, and industrialism can be seen across the wide range of media presented. This shared visual language alludes to how each artist incorporates the idea of ‘navigation’; seen literally through Natalie’s walks to RM to collect data, audio and discarded objects, indicated through Delaney’s sculptures inspired by architectural structures and embodied through C’s methodology around the painting process.

The ongoing changes in infrastructure surrounding RM bring a new material reality with implications on navigation through the immediate surroundings and the wider structure of Tāmaki Makaurau.

Images by Ardit Hoxha

Benjamin Ord, Salome Tanuvasa, and Uniform : A Dance But No Figure

Benjamin Ord, Salome Tanuvasa, and Uniform
A Dance But No Figure

6 March – 30 March 2024

Featuring a new film combining Super 8 and 4K digital footage by Benjamin Ord, Bathing Solo (1, 2, 3) re-stages a three part dance solo inside a steam room, allowing the heat and humidity inside the bathhouse to damage the film stock and obscure the view of the dance. The film probes the limits of the camera’s ability to capture a live body, where the fleeting, impermanent nature of steam stands in opposition to the camera’s ability to capture it. In evoking what is seen and unseen, choreographic form is both partially erased by and embedded within the materiality of the film itself. As it moves fluidly through temporal states of past, present and future, the work is simultaneously a document, performance and score.

The opening night of the exhibition features a live sound performance by Uniform in response to the film. The recording of this improvised act is later installed into the gallery space and left as an intermittent looping presence throughout the exhibition. Salome Tanuvasa simultaneously performs the making of a series of gestural drawings that respond to the audience as they are submerged in the soundscape of Uniform’s performance and the visual field of the film. These drawings act as recordings of liveness which are abandoned and left to remain in the space for the following weeks of the exhibition. Holding space as both objects for now, and scores for future iterations, the live event and choreography are contained within a constant process of rematerialisation across multiple forms.

Stemming from research into the global resurgence of public bathing, the exhibition explores ideas of communal embodiment inherent to these radical democratic practices of anti-competition, anti-hierarchy, and anti-privatisation. By taking choreography as a tool for self-enactment, where the creative act relates to a group as opposed to the self-contained individual, the exhibition aims to consider art making as an activity rather than a finality or production line. In perpetual slippages between abstraction and representation, the internal and external, body and object, A Dance But No Figure stages artworks which are continually lost, held and reformed in subtle gestures towards futurity.

Images by Ardit Hoxha

Tarika Sabherwal : Ragini and her nine wives

Tarika Sabherwal
Ragini and her nine wives

6 March – 30 March 2024

Ragini is an unexplored part of the self, the protagonist and the voyeur of her own existence. She is the fantasy and the reality, she’s a reimagined past and a reincarnated future. Exploring moments that just don’t seem like they would be associated with Ragini but why not?

Traditionally Ragini is understood as the feminine counterpart to the masculine Raga, often intertwined with the world of music and melody. This connection extends to the Ragamala miniature painting series, where a visual narrative is weaved around musical elements.

In an alternate reality where collective memory is rewritten, Ragini exists as a soft dyke, reincarnated alongside her nine wives as they live out their nine lives. It is the channelling of dyke, what would that version of Ragini look like?

The exhibition follows these manifested alter egos in their search of love, lust, learning, longing, liberation and healing.

Images by Ardit Hoxha

Daniel Chong : The silence between echoes

Daniel Chong
The silence between echoes

31 January – 24 February 2024

Sometimes I wonder if I’m a product of my state. Is subtlety fear?

Is it better not to rock the boat, to live in the familiar – to hide. Or is subtlety a form of oppression? Am I living a conditioned lie? But yet I find such comfort in its language. As a gay man in conservative Asia, nuance and subtlety is a language I learned to survive. It is a lexicon that has bled into my practice in ways that I can never understand.

I wonder if subtlety is the language of the othered. In a world where so often we find success in mere speaking, literally breaking from being silenced. We often communicate in coded gestures folded between speech. Those moments, within the cracks of conversations represent those background conversations, guarded yet ongoing they exist in the silence between echoes.

The exhibition is one chapter of my ongoing exploration of subtlety and queerness. Expressed in traces, rot, and tension, it cuts across a range of materials hoping to express itself in a unified affective landscape. It invites audiences to dwell, listen and more importantly, find and hold space for these subtleties to reverberate and be heard.

Images by Ardit Hoxha

Wesley John Fourie : HYPERBALLAD

Wesley John Fourie

31 January – 24 February 2024

Part cathartic rambling, part karaoke goodness, in the Hyperballad series Wesley John Fourie takes on the role of the jester, the popstar seeking their two minutes of fame, the performer.

In a series of works straddling voyeurism and confessional modes of expression, the artist invites us into a manufactured world of vulnerability and Tumblr Girl style confessionalism, set against a pop music beat.

Wesley John Fourie is a multi award winning artist based in Aotearoa New Zealand.

Their work processes experiences of love, loss, and queer sexuality, often in relation to the natural environment.

Their work has been presented in artist run spaces, commercial galleries, and public institutions across Aotearoa, Asia, and Europe.

Images by Ardit Hoxha

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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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