Somewhere Between Nothing and Nowhere is a collection of new collaborative work by Phoebe Hinchliff and Luke Shaw.
Blue Oyster and E-Kare are opening the doors for you to come play a few rounds in our cheerily dystopian casino.
Featuring a Reserve Bank, bar, and fantastic gaming facilities, we warmly welcome everyone as VIP high rollers. By disassembling our relationship with capital in the bright flashing lights of a casino, let's dissect our relationships with money, gambling, chance, and love.
Like the perceptual process, windows are transparent; seen through, out of or into, invisible membranes which impact and frame how we understand, interpret and interact with the world.
In “high semiotic traffic”, image, meaning and content are slippery and, at times, collapse entirely. Yolunda Hickman’s Shoaling aims to test both the macro and micro possibilities of image and visual communication.
DUIRVIAS contains works derived from transmissions received in the presence of two memorials in Tāmaki Makaurau dedicated to those who passed of AIDS-related illnesses: Memorial Tree and The Circle of Friends.
Drawing on personal experiences as a field ranger in nature reserves, Bouquet presents new sculptures and photographs that recollect first-hand encounters, traces of human interaction and ecological findings.
Te kete rokiroki is a venue for sharing and discussion through the collaborative maintenance of the māra kumara, which provides us with fertile ground and stable footing with which to grow our own narratives to take forward.
Console Whispers brings together the work of three Ōtepoti Dunedin based practitioners, Nick Austin, Campbell Patterson and Ed Ritchie.
When a poor man eats a chicken, one of them is sick (but we sing, we still sing) Casey Larkin Mazer Carsel
Using the framework of the Talmud, When a poor man eats a chicken, one of them is sick (but we sing, we still sing) interweaves various writings and re-writings of how to be Jewish and what it means to be Jewish today. With the script of Fiddler on the Roof acting as a contemporary iteration of Mishnah, the exhibition stands as both a critical investigation into and a love letter to contemporary Jewish culture.