A rind, a cloth, chain, a stone, water... Who Opens the Door returns to Annie Mackenzie and Dave Marshall’s backgrounds in textiles and ceramics, informed by their many temporary homes, portable collections and environments.
Work & Play, a Blue Oyster Performance Series curated by Samin Son in association with the 2014 Dunedin Fringe Festival. ‘Work & Play’ brings nine practicing artists from Dunedin and around New Zealand across four central locations.
Based on drawings for a previous series of works, Cat Auburn’s When your neighbours’ problems become your own returns to the notion of sculptural form within narrative. Tall, elegant steel armatures resembling what could be real or mythical creatures populate the central gallery space, quivering with the smallest automated touch to reveal moments of fragility, or even anxiety.
Zac Langdon-Pole’s work frequently traces the relationships between the unseen or unknown and the concrete or tautological. His exhibitions often combine close and careful attention with dramatically constructed scenes, to reveal meeting points of material, history, fiction and narrative.
Seldom is the retrospective employed in a manner that aids the artist’s continuing development. Stud Flight is an analysis of an artist whose research is praxis; it is a study of changing contexts, disciplines, and situations.
Beachcoma explores the fictions surrounding Beach Boys impresario, Brian Wilson and his withdrawal from the music scene due to the onset of a number of mental health issues. Thomas spent part of this year participating in a residency at BCA Gallery in Rarotonga, and has incorporated certain elements of his experiences on the island in Beachcoma.
Marion Wassenaar, Nina van der Voorn, Charlotte Parallel, Clare Fleming, Cath Cocker. The map of the Dunedin Botanic Garden points to Foucault’s theory of Heterotopias via the diverse nature of the sites contained within the garden as a whole.
Dual<>Jewel transplaces two 'galleries' and attempts to shift ideas of convention by inverting interior and exterior spaces. The project questions three social interactions within the sphere of art production: the role of the artist as entertainer, the role of the gallery as a public space, and the role of the audience as public.
Comprised of 240 painted Delft 'tiles' on paper, the installation playfully disrupts ideas of decoration, painting, and craft. Mass produced and hand painted, What If, Abel Tasman touches on cultural colonisation, and perhaps more pragmatically, the colonisation of the working painter's studio by wet works waiting to dry.