Her and Keane take the phrase ‘have you eaten rice yet?’ as a departure point for this collaborative project. Common across many Asian languages and often used in passing as a greeting, ‘have you eaten rice yet?’ holds multiple associations with care: it is an inquiry into well-being as much as being a literal question about eating and food. Within this project, the expression offers a means of engaging with the slippages between written and spoken language.
SPECIAL TIME (Ehara i te tī) presents new work by Te Whanganui-a-Tara based practitioner Turumeke Harrington. Navigating concepts of taonga, time travel, whānau and whakapapa SPECIAL TIME (Ehara i te tī) explores new mediums and collaborative partnerships in an immersive sculptural installation. Developed with support from the Ngāi Tahu Fund.
radiata, a sculpture and sound installation, queers the constructs that have led to the othering of nature, of separating humans from non-human beings.
distance rewoven from the roots to the stem presents new work by Tāmaki Makaurau based practitioner Arielle Walker. Beginning with the relationship between storytelling and traditional crafts passed down over generations, the work references lines of her tūpuna wāhine and looks towards her ancestral homelands, particularly Taranaki, Scotland, and Ireland.
GLOSSY LEAF kiss is a collaborative, interdisciplinary art project by Louie Zalk-Neale and Connor Fitzgerald.
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.