Under the guise of a double agent, working as Bookings Coordinator/Official Artist in Residence at a luxury car dealership, Elisabeth Pointon’s practice investigates how shared spaces are becoming sites for communal isolation.
Formations, presented as a series of glazed experiments with local rocks and materials applied to fired pottery, has been developed according to the movement of water relating to the land and landscapes of Ōtepoti.
Māori Girl is a new solo exhibition by recently relocated Ōtepoti-based artist, Ayesha Green, and looks to a wider understanding of relationships in our contemporary context, asking specifically, what does whanaungatanga mean in a bicultural nation?
Trace Music invites six contemporary sound makers from throughout Aotearoa NZ present their individual interpretations of trace as it relates to their musical/theoretical/sonic/artistic practices.
This week, between exhibitions and events, Blue Oyster staff will be undertaking an internal organisational ‘audit’ with the aim of better understanding our exhibition programme, events, workshops and publishing as resources and educational tools.
Erin Broughton, Caitlin Clarke, Nina Oberg Humphries, Metiria Turei and Nadai Wilson
We invite a celebration and reflection on women’s achievements and perspectives across generations and cultures, acknowledging the past to navigate the future.
Katie Breckon, Dana Carter, Scott Flanagan, Jenny Gillam, Hope Ginsburg, Eugene Hansen, Motoko Kikkawa, Geoff Martyn, Melissa Martyn, Raewyn Martyn, William Henry Meung, Murdabike, Anet Neutze, Aroha Novak, Maria O’Toole, Charlotte Parallel, Kim Pieters, Deano Shirriffs and Jemma Woolmore.
Energy sustains live order through a kind of agitation, a little faster and a little hotter. Lack or loss of new energy leads to breakdown of order; perhaps into a collapse, or static equilibrium.
Constructed over the course of three years using footage from various alpine regions throughout Australia and Aotearoa New Zealand, this exhibition brings together Melbourne-based artist Beth Caird's continuation of a focus on grief processes and life-after-death experiences. The exhibition features a prologue by Canadian-based, New Zealand artist Faith Wilson, developed during her time of relocation, from Te Whanganui-a-Tara Wellington to Fernie, Canada, on the land of the Ktunaxa people, one place of remoteness to another.
The activities in the rooms may feel like training, or just pointless. Some of them are practiced by professional sports people, others are made up.