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.

Hikalu Clarke’s practice engages with relationships between governing bodies and its citizenry, focusing upon Counter Terrorism architectural philosophies and Unpleasant Design.

Slow Jamz Till Midnight is a new exhibition by Tāmaki Makaurau-based artist, Christina Pataialii. Presenting a suite of paintings, Pataialii uses codes to offer a language which destabilises traditional dominances within the field of abstraction in a humorous and playful manner.

In The Flesh by Tāmaki Makaurau-based artist and writer, Natasha Matila-Smith, examines societies understanding and expectations of intimacy, lust and romance, and societies assertion of these expectations onto the self.