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. 

Anthony Antonellis, Hana Pera Aoake, Emma Fitts, Miranda Parkes, Maddy Plimmer, Sorawit Songsataya

Bright Cave is an exhibition about the materiality of art making in a time of socio-ecological crisis. 

Sir Frederic Truby King (1858-1938) was a scientist, farmer, gardener, doctor, educator, and a key figure in New Zealand healthcare reform during the first half of the twentieth century. From 1889, he was the Medical Superintendent at Seacliff Lunatic Asylum, before establishing the Society for the Health of Women and Children at Karitane in 1907 – later named the Plunket Society.  Over the course of his life he worked tirelessly to promote mothercraft, breastfeeding, and the training of women asnurses, campaigned against the dangers of over-education in women, contributed to the literature of the eugenics movement, and developed a complete food for infants known as “humanized” milk.

Looking to his immediate environment while following a psychogeographical model, Jay Hutchinson’s new exhibition two cups and a Jimmy’s mince and cheese pie wrapper explores the familiar streets of Ōtepoti Dunedin, and in particular, the central industrial area of the Otago Habour.

Fāgogo in Sāmoan refers to fables that are told to people in a shared context. The receiver of a fāgogo is vested with an expectation to pass on the story, making it their own and then passing it on. This oral tradition is sustained from generation to generation and acts as a transmission tool for ideology but also as a genealogical archive for shared historical and cultural context. A fāgogo can mirror the real world in ways that transcend contemporary life, through cultural imperatives that pre-date Western beliefs and value systems. Often considered a place where heritage and tradition fall away from colonial distortions, and, in some instances, from linear narrative conventions, a fāgogo can build our perceptions of the world while simultaneously presenting us with perspectives that are ethereal.

NEW GOLD MOUNTAIN, a new installation by Mark Schroder, repurposes Blue Oyster Art Project Space as a foyer-dairy-bank to present, in sculptural form, disparate elements drawn from a broad investigation of the intersection between art and finance, and modern notions of success and failure.

Rituals comprises of a suite of actions and perceptions, removed from the idea of a singular, finished work to a purposeful ritual of collection and making within an integrated, material-oriented practice.

Inside The Fish Tank, The Exquisite Crone is a new work by Phoebe Lysbeth Kay Mackenzie, situated in the window of Blue Oyster Art Project Space over the summer of 2017/2018.