ART à la mode ♡
The Art Paper online bulletin
Notes On: Casting On
Connie Brown on Peata Larkin and Alexis Neal’s exhibition Whakamata, Mangere Arts Centre, 23 July – 10 September 2022.
Kezia Whakamoe, HĀUKATI
Ahuriri Contemporary, 08 – 31 JULY 2022
Print archive: Imperial Vegetables, Lachlan Taylor on Ayesha Green’s I thought I heard you crying in the forest
“It’s a painting about power, and the ways that power is gained, maintained, coveted, stolen, and mourned through systems of representation.”
“One strand of flax is easy to break, but many strands together will stand strong.”
Robbie Handcock speaks to Wai Ching Chan and Tessa Ma’auga about their current collaborative exhibition Kāpuia ngā aho 單絲不綫 at The Physics Room, Christchurch.
Tricksters & Mischief Makers
Jessicoco Hansell writes on being tricky and traversing different realms, in the context of Mischief Makers, an exhibition curated by Ioana Gordon-Smith at Pātaka Art + Museum.
Aroha Gossage’s matrilineal landscapes
Emil Scheffmann speaks to Aroha Gossage’s gallerists Grace Alty and Libby Storey at ARTIS about Gossage’s latest series of atmospheric paintings that look toward her home environment of Pakiri.
Sandy Adsett, Toi Koru
Pātaka Art+Museum, 31 JULY – 07 NOV 2021
Kelcy Taratoa, Te Āio
Bartley & Company Art, 12 AUG – 25 SEPT 2021
WATCH: Hana Pera Aoake, a euology to love
Hana Pera Aoake writes on a euology to love, a video made in 2019 based around a poem of the same name.
Hana Pera Aoake in conversation with Wesley John Fourie
All is Full of Love is a group exhibition at Broker in Queenstown. Here, curator Wesley John Fourie speaks to artist Hana Pera Aoake about her contribution and wider visual artistic practice.
Jeremy Leatinu’u's monumental materiality
An in-depth look at Jeremy Leatinu’u's Building monuments and folding forts upon a slippery ocean and a moving sky, currently on view at Gus Fisher Gallery, in conversation with gallery public programmes & engagement officer Robbie Handcock.
Te Hā o te Marama: Simon Kaan and Wi Taepa
Becky Hemus reflects on Simon Kaan and Wi Taepa's exhibition Te Hā o te Marama at Sanderson.
“Māori control over Māori things”: Elisapeta Hinemoa Heta on Te Ao Māori Exhibition Making
Alanna O’Riley interviews kaihoahoa whare (architectural designer) Elisapeta Hinemoa Heta (Ngātiwai, Waikato Tainui) on the importance of place, community, and agency, on the occasion of her recent exhibition Pouwātū: Active Presence with John Miller (Ngāpuhi) at Objectspace.
Kia whakatōmuri te haere whakamua (I walk backwards into the future with my eyes fixed on my past)
Israel Randell reflects on Jamie Berry's video installation Whakapapa / Algorithms, exhibited at the Audio Foundation in Tāmaki Makaurau.
“Mapping objects within a space”: Bedrock at The Physics Room
In conversation with Becky Hemus, Emerita Baik, Maia McDonald, and Nââwié Tutugoro discuss their recent exhibition Bedrock at The Physics Room, Ōtautahi/Christchurch, curated by Abby Cunnane.
Shane Cotton, interviewed by Kim Meredith
Kim Meredith speaks to Shane Cotton (Ngāti Rangi, Ngāti Hine, Te Uri Taniwha) about Te Puawai, his recent artwork included within the landmark exhibition Toi Tū Toi Ora at the Auckland Art Gallery Toi o Tāmaki, and the vessels that guide us forward.
On a bright green island: an interview with Emily Karaka
Emily Karaka’s new exhibition, Rāhui, at Visions in Tāmaki Makaurau was produced during her time living and working at Parehuia, Titirangi, as the first McCahon House Artist in Residence of 2021. Francis McWhannell, curatorial adviser to Visions, visited towards the end of her stay and spoke with Karaka about the residency and resulting exhibition.
Andrew Clark on Susan Te Kahurangi King
Andrew Clark reflects on Susan Te Kahurangi King's practice, and her recent presentation at the Auckland Art Fair with Auckland Print Studio.
We visit the Raumati Toi Sculpture Symposium
On until 28 March at Takaparawhau/Bastion Point, Hapimana St, Orakei, Tāmaki Makaurau.
In print: George Watson on Robyn Kahukiwa
“Robyn Kahukiwa’s mahi toi is direct and bold, her paintings simultaneously embrace the warmth and richness of Te Ao Māori, of our values, spirituality, and practices whilst also depicting the fraught social realities for many Māori living in colonised Aotearoa,” writes George Watson in Issue 00.