New Artists SHOW 2008

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					Level 1, 300 Karangahape Rd,
Newton, Auckland, New Zealand//Aotearoa
+64 9 303 4965,

New Artists
SHOW 2008
            Ash Kilmartin

           Richard Frater
         Simon Lawrence

        Rangituhia Hollis
Tuafale Tanoa’i (Linda T.)

  Alexandra Savtchenko


2. FOLD aw
          ay from you
14June – 19July 2008

INTRO-                     The annual ARTSPACE new artists exhibition highlights
                           contemporary art practice in New Zealand that is new and

                           vital. In Architecture for the Nation six artists are offered the
                           opportunity to realize their work in a larger context.

                           It is a problematic premise seeking the new, as the question
                           always arises ‘what is new?’ and the assumption exists that
                           the new is always better. Therefore, this selection of artists is
                           less about the new and more of a glimpse at the dynamism
                           and momentum of contemporary art in New Zealand at present.

                           Yet, in allowing a glimpse of this moment in time, Architecture
                           for the Nation also recognizes an impulse to frame and organise
                           our viewing. Both a broad conception of architecture and the
                           premise of the nation state are inherently artificial systems that
                           shape our lives. This exhibition takes as a starting point the way
                           these artists manage and challenge such systems of ordering.
                           Working within and around a climate of strategy, they shift and
                           play with the structuring of material frameworks.

                           Architecture has little to do with the construction of a shelter or
                           dwelling, it is an arrangement of social thoughts. In that it abides
                           by an agenda, it seems there is a similarity between architecture
                           and ideas of nationhood or national identity. It is the setting
                           forth of organizational formations and schema, which determine
                           a desired behaviour. Art moves beyond that, it questions those
                           core ideas and hopefully opens up more diverse and divergent
                           paths to move along.


low-tech sculptures and time-      THE UNSUSPECTED EXISTENCE
based works exploring the          (Notes from Buckminster Fuller)
imaginative potential of simple    262.10 We do not have two Universes: this world and the next world. Death
material fabrications. Both the    is only the as-yet-unexperienced, superlow frequencies. Both death and life
wit and the artifice of mystical   are complementary functions of our electromagnetic experience (See Secs.
tricks and paranormal setups       526.25 and 531.10.) disastrously misleading to human thought.
play a prominent part in his       986.302 The explorer gains assurance by discovering the relevant minimum-
practice. Simon has exhibited      maximum limit cases—the min-max limits of the variables—of the system
in solo and group shows            under consideration.
around New Zealand including       1050.31 Stones may be broken into ever smaller stones, but they cannot be
Break: Construct, Govett-          broken into no stones. They may be broken into gravel and the gravel into
Brewster Art Gallery, New          dust and the dust separated into crystals that are too small to be seen except
Plymouth (2006); Telecom           through a lensed microscope; or they may be further broken apart into atoms
                                   that can be seen only through electron field microscopes. But the stones
Prospect, Wellington (2007);       cannot be broken into nothingnesses—only into somethings. And somethings
Path of the Path, The Physics      are always systems.
Room, Christchurch (2007);
                                   1052.66 The metaphysical is comprehensively generalizable. The physical is
and Another Destination,
                                   always realized only as special case experience. The metaphysical reorders the
Christchurch Art Gallery           disorderly-prone physical. The metaphysical continually seeks to comprehend,
(2007/08). He holds a BFA          master, harness, and cohere the physical. The metaphysical comprehends and
from Ilam School of Fine Arts,     reorders. Humans oscillate between the pushes of their physical incarnation
                                   and the tensing of their metaphysical propensities. This ubiquitous push-pulling
University of Canterbury.
                                   propagates cosmic regenerativity.

                                   Simon Lawrence intended to include more than the two pictures from the
                                   original volumes than eventually became the background that informs these
                                   newer works. Those that remained play a central and expository role in
                                   Lawrence’s practice. The discussion surrounding them describes their dynamic
                                   or transformational aspects. When eternal principals become “time-size
                                   realized” as in work of this kind, the pushes and pulls of real world forces and
                                   cosmic life forces enter the picture. His workings have become very much
                                   about these tensions.

                                   ROBERT HOOD


                                  Tuafale Tanoa’i

                                  Linda T.
known as Linda T. Her practice    ARCHITECTURE FOR THE NATION
is motivated by a desire to       Written by & for Linda T
share narratives, entertain,      When I think about the term ‘New Artist’ I imagine the artist inside a very large
and to draw attention to          egg. At a specific time and date, the artist will then break through the egg’s
issues that concern the           shell and slowly hatch-out into the scene.
communities who occupy her
                                  Don’t ask me why I like art.
installation spaces. An avid      I don’t like art; I just think about it, engage with it everyday.
collector of media, she creates   It helps me to build and complete works by engaging with different media.
environments and refashions       It gives me methods to tell stories in a multitude of ways.
                                  I don’t like art; I love it.
the viewing and producing of
media through intercepting        Tuafale Tanoa’i (or to most of us - Linda T) is one who doesn’t really fit into this
the interview, documentary        category as a ‘New Artist’ breaking into the local art scene. She is the scene
and live performance forms.       and she’s been gigging it for a while.
She has been selected to          Don’t ask me why I question western methodologies.
attend and exhibit at the 10th    I don’t like it but I question western methodologies everyday, in angry ways.
South Pacific Arts Festival,      It enables me to address a ‘politics of difference and otherness’ (hooks, 1990)
                                  It highlights imperialism, critiques notions of ‘identity for oppressed groups’
Pago Pago, American Samoa
                                  (hooks, 1990).
in July 2008. Linda T. will be    It forces me to look at my ancestral knowledge and my numerous roles in the
completing a Master of Art        present and future.
and Design in Visual Arts at      I don’t like to question western methodologies; it creates more work for me,
                                  I dislike that intensely.
AUT in 2008.
                                  Stomping the local grounds from Kingsland to Karangahape, the architecture
                                  is all too familiar and at the same time different as the nation moves with time.
                                  All of which have been fuel for Linda’s practice of ‘telling stories’ that bridge
                                  between the past and present.

                                  Don’t ask me why I like to tell stories.
                                  I don’t like to tell stories; I just think about it everyday, in different ways.
                                  To help create histories that link the past to the present.
                                  To help to re-address colonial issues and to feed into decolonising minds
                                  I don’t like to tell stories; I love it.

                                  Don’t ask me why I look at notions of identity, class, gender and sex.
                                  They are everyday issues.
                                  Having the power to define these issues produces social power in our present
                                  world (Smith:2006)
                                  Also because I can and I feel like I have to.

                                  Her contribution to the Architecture for the Nation exhibition will speak of these
                                  things through live performance, Video Installation and overall occupancy of the
                                  gallery space as a public ‘hangout’ for whanau, friends and the local community
                                  to engage with.

                                  Don’t ask me why I use performance installation art.
                                  I find it exciting and interactive.
                                  It’s painful and pleasurable.
                                  It is inclusive and exclusive.
                                  For me it is a realm that is ‘instantaneously planned spontaneity’.
                                  It’s unique and only happens once.

                                  TUAFALE TANOA’I (artist known as LINDA T).
                                  The Auto Interview July 2007

                                  JANET LILO (LINDA T’s GP)
                                  Kaikorero June 2008

Tuafale Tanoa’i
Linda T.


ASH KILMARTIN’s drawing-
based practice is concerned           Building plans do not disclose the processes by which they were formed, nor
with the way the values and           do they disclose the processes by which they will be realised. A plan presents
                                      its information with simple factualness, but as a concept closed and turned
structures of institutions            in upon itself: the context of the design’s creation and the day-to-day realities
are made visible, and how             of the structure’s use are hidden from view, deflecting attention from the oh-
statements are made through           so-human contingencies these represent. Yet obviously a plan also speaks
the design of buildings.              directly to real things: mediating between an architect’s intention and a finished,
                                      inhabited structure, the plan oversees the transition from the abstract to the
She was a finalist in the             concrete, and seeks to maintain the transparency of this transition.
2007 Tunbridge Scholarship
watercolour competition, and          As a cultural artefact, the relative significance of a modernist plan to a modernist
her work has been shown at            building is minor, and even a photograph of the building stimulates more general
                                      interest than a ‘mere’ working document. But, if it is an understanding of the
the Engine Room, Wellington           International Style’s most essential impulse that we are seeking, the idealism
and at rm103 in Auckland.             at its core, it is surely not an experience of the machine for living in that will
She is also the Onsite Curator        guide us there, for in Le Corbusiers’ way of thinking (and that of his peers)
and writer for Window, at the         there is an abstraction of what it means to be human, a social rationalism that
                                      shrinks from the messy reality of lived experience. Indeed, it’s the special way
University of Auckland and            in which conceptualisation was abstracted from material reality by such modern
is the visual arts reporter for       thought that creates the resemblance between its ordered boxes and the naïve
95bFM. Ash is completing              perfection of the structures children make from building blocks; a similar sense
a Bachelor of Arts/Bachelor           of real people not figuring high in considerations. As it turns out, the soul of
                                      modern architecture exists somewhere in the vicinity of the plan.
of Fine Arts with Honours at
the Elam School of Fine Arts,         I say ‘somewhere in the vicinity’ because it is difficult for the plan to hold
The University of Auckland.           its ground, since it’s existence is defined as the in-between, the transparent
                                      vehicle, despite the fact that it so accurately expresses modernism’s closed
                                      perfection. And this kind of slipperiness is precisely what Ash addresses with
                                      her drawings. These are not more intermediaries, but results. Plans here are
                                      given an autonomous life; they become a point of resolution in a practice, thus
                                      allowing attention to focus on the ideologies inherent in them.

                                      The drawings don’t derive from existing plans: they are the products of extensive
                                      research into and around two Auckland buildings (which were never fully
                                      realised), working backwards from points where the impetus behind the design
                                      has been most highly mediated – photographs, illustrations, information, all
                                      post-construction – in an attempt to uncover those values present at the start,
                                      values whose abstract existence has since been merged with their concrete
                                      realisation. But the way these values manifest themselves in the drawings is not
                                      immediately visible, since the subtlety of the pencil lines means one cannot take
                                      in the whole at once, just as one cannot experience the whole building at once,
                                      nor experience the architect’s original intentions realised. Rather, their presence
                                      is implied by the process of research, as an accumulation of understanding and
                                      a will to discover.

                                      This will lays a foundation for Ash’s practice: the desire for a project that one
                                      could believe in, for ideals that transcend their implementation. For is it not
                                      more beautiful to strive and fail gloriously than to let cynicism reign? To transfer
                                      modernist ideals from their hangover presence in public space to the limited
                                      sphere of an artist’s practice yields a useful recognition: for an individual, great
                                      ambitions needn’t be absolutely achievable, because unlike in the exemplar
                                      structures Ash has selected to draw, one’s practice exercises little direct
                                      influence on, and certainly no control over how others live their lives. The
                                      capacity to act in such way, regardless of one’s success, is the artist’s freedom.

                                      SAM ROUNTREE-WILLIA



works across a range                Ω
of disciplines, primarily
                                    Recently I found myself at a café, drinking a hot beverage, chatting to an inquisitive
installation and photography,       stranger, who drank a cool one. Pierre - a Parisian, as I found out - had arrived in
to articulate the possibility       the country a day or two prior to our encounter and was enthusiastic to engage
of space without time and           people he met. A few minutes into the conversation however, it became clear that
a language of abstraction.          Pierre and I would have trouble in communicating more than rudimentary concepts,
                                    as his English was mostly utilitarian, and my French close to non-existent.
Alexandra is on the board
of the Auckland artist-run          In astronomy, the symbol Ω – Omega – is used as a hypothetical variable to
Newcall Gallery. Recent             express the possible density of the universe. The ramifications of the value
                                    of this density parameter inside of these equations are vast. Assuming a zero
shows include This Much
                                    vacuum energy density, if Omega is larger than unity, the geometry is closed;
is Certain at George Fraser         the universe will eventually stop expanding, then collapse. If Omega is less than
Gallery and Blue as Silver          unity, it is open; and the universe expands forever.
as Gold at Newcall Gallery.
                                    We are all fluent with our own thoughts, but to express them so that others can
Alexandra completed her BFA         hear what you mean it is always necessary to mediate your ideas through a system
at Elam School of Fine Arts,        of universalised abstraction – language. In my conversation with Pierre, our ideas
The University of Auckland          and opinions and all the things we sought to express had to be conveyed using
in 2007.                            much simpler words than we would usually use. Using simpler words reduced the
                                    space between what I meant, and what he heard, and vice-versa.

                                    In her work ‘Ω’ Sasha has made a gesture of abstraction. She has removed
                                    a letter from the middle of two identical signs. She has placed these objects
                                    inside a gallery. One of these signs – sans ‘C’ - can be seen from the office of
                                    the gallery. The other sign is also without the cipher and can be seen by many
                                    others, as it faces away from the gallery.

                                    Having been tempted by the cool beverage Pierre had been drinking, and having
                                    finished my coffee, I decided to buy myself a beer. It turned out that Pierre had been
                                    similarly influenced, as he returned to the table a short while after with a coffee.

                                    In communicating with Pierre, I had tried to reduce the space of concepts by
                                    fitting them into less complex words, so that they became compact, concrete, and
                                    could travel between us with a lesser risk of misinterpretation. In communicating
                                    with us through her artwork however, Sasha has done the exact opposite, she has
                                    purposefully exaggerated the distance between a sign and it’s meaning.

                                    Importantly however, Sasha has not used this gesture as way to destabilize the
                                    weight of either the sign on the building, or the sign in the gallery – each sign is
                                    read as complete. The meaning of the signs and of the gesture hover between
                                    an under-standing of form and an understanding of content, the act of the artist
                                    becoming something with a hypothetical value. What the artist seems to be doing
                                    is presenting us with a chance to each decide on a value for Omega, a theoretical
                                    concept based upon ideas about material reality and with ramifications that
                                    encompass the universe.

                                    JOHN WARD-KNOX



considers how we inhabit                                                    ˉ
                                 When introducing yourself in a formal Maori environment, your name is not
and engage with social and       important. Instead your identity is defined according to a matrix of geographic
                                 and geneological signifiers. Referred to as a pepeha (or tribal maxim), it goes
architectural structures.        something like: “this is my mountain, this is my river, this is my whare, these
He is concerned with how         are my people”. Any listener worth their mettle will know instantly who you are,
“we make meaning through         where you belong and most importantly, what they should expect from you as
our banal activities in real     a person. Within this framework, the deeds of your ancestors walk before you
                                 with the unknown future behind (‘kia mua/ki muri’). This concept of collective
spaces”. Rangituhia’s moving-                              ˉ
                                 identity is formative to Maori psyche and in conflict with the narcissist pursuit of
image works develop from                                                                            ˉ
                                 self, promoted throughout the western world. This is why any Maori who begin
the combination of gaming,       their mihi with ‘Ko [name] taku ingoa’ are treated with suspicion.
architecture, home video and
                                 de_kapua is the pepeha of Rangituhia Hollis delivered in a visual language
animation formats. In April      and lays out a matrix within which his identity is constructed. His four-screen
2008 he took part in a new       projection alternates between family home videos and virtual spaces. Each
international project entitled   demonstrates impacts of urban drift while retaining an assuredness about the
Cityscapers: By the Throat at                       ˉ
                                 core values of Maori identity. The videos depict family gatherings held outside
                                 the customary site of the marae and document celebrations of whakapapa,
Edinburgh University thanks to   togetherness and collective identity. This appropriation of new sites for the
a British Council scholarship.   continued practice of whanaungatanga and manaakitanga is an assertion of
Rangituhia is currently                   ˉ
                                 core Maori values in the face of displacement through urban drift. The videos
completing a Post-Graduate       are contrasted with virtual animations of geographic sites that iterate the
                                 tribal (collective) and individual (urban) identity of the artist. These include
Diploma of Fine Arts at Elam     reconstructions of the Waipiro Trading Company (est. 1886) and the artist’s first
School of Fine Arts, The         student flat in South Auckland. It is between an expanding nexus of geographic
University of Auckland.                                                                  ˉ
                                 poles that the artist negotiates his contemporary Maori identity.

                                 Through the contrast of the real and virtual, the romantic and realist, de_kapua
                                 creates a ‘third space’ in which linear concepts of time and space are collapsed.
                                 Within these dichotomies, western notions of self (and self portraiture) are
                                 deconstructed to assert an inter-generational kin-based identity. The space at
                                 the centre of this work creates what Michel Foucault describes as a heterotopia:
                                 an “enacted utopia in which… all the other real sites which can be found within
                                 the culture, are simultaneously represented, contested and inverted”. In essence,
                                 de_kapua not only accords with Maori protocols of identity but also accounts for
                                 the shifting ground of hybrid identity construction and gives some indication of
                                 the nebulous nature of being Maori in the 21st century.

                                 ANNA-MARIE WHITE
                                 Te Atiawa



across several disciplines        RICHARD FRATER – MAKING STUFF UP
in his art practice, engaging
                                  \\\\\\\\\\\\\\\\\\\\\\\\\ Shot in the Dark
drawing as a guiding
principal. He is interested in    A while ago Richard showed me some pictures. He shot them in the backyard
ephemeral architecture and        and, because it’s at night, the flash is everything. So he’s throwing a green
                                  garden hose into the air off the back porch, holding the camera in one hand
experiential sculpture, framing
                                  and the hose in the other. As you can imagine it’s kinda tricky so they’re always
an exchange between the           a little bit wonky, but you get the picture. It’s great because hose-shadows are
activation of materials and       cast over white sheets hanging on the clothesline, kinda like the bass-line in
the viewer. He is a founding      Billy-Jean sort of, though I don’t think that’s what he was going for.
member of the Auckland            Anyway the thing that is really happening is the hose throwing, imagine lassoes
artist-run space A Centre         or something. In one really great one’ a bit of hose rests in mid-flight on the
for Art. In 2007 Richard          porch’s white handrail while the rest arcs up into the air. The hose’s shiny
completed significant projects    greenness catches the flash and really stands out, but of course because
                                  pictures have no movement this all appears a bit fake, like a bad collage. There’s
at ST PAUL ST and Blue            a delicate way these lines create shapes loosely flung onto the picture plane,
Oyster Gallery and will be        and with the flatness of the flash if you think about it too much it doesn’t really
participating in an exhibition    seem to make any sense.
at Enjoy Public Art Gallery in
                                  ///////////////////////// Fake and Good
June 2008. Richard graduated
with a Post-Graduate Diploma      There’s this great song from Taken by Trees. It starts like this. First a two-two
of Fine Arts from Elam School     base line for a few bars. Then the woman’s voice singing a love song at an even
                                  tempo, a little bored. After a few more bars the beat kicks in. Awesome. The
of Fine Arts, The University of   beat’s constructed entirely of two interweaving handclaps. These handclaps are
Auckland in 2006.                 beyond me somehow. Sometimes I think they’re identical beats arranged slightly
                                  off time from each other, at other times I wonder if they’re mirror images. As the
                                  beats move around each other I feel they have a particular logic, a logic that
                                  holds the sentiment of the song subtly but more aptly than the lyrics or other
                                  aspects of the arrangement.

                                  MARTYN REYNOLDS


14June – 19July 2008

ACKNOW-                     Curated by Brian Butler and Kate Brettkelly-Chalmers

LEDGEMENTS                  Catalogue designed by Tiga Seagar and Sarah Gladwell

                            ARTSPACE wishes to thank our patrons and sponsors: ASB
                            Community Trust, Beck’s, Langham Hotel Auckland, Caffe
                            L’affare, and Aalto Colour for their continued generosity and
                            support. We also greatly appreciate the involvement of Studio
                            Art Supplies and Brayco Floor Coverings in supplying materials
                            for this exhibition. As always, we are indebted to our team of
                            volunteers for helping us install this show, in particular Martyn
                            Reynolds, Judith Carnaby, Teva Chonon, Matthew Crookes and
                            Mary Whaley.

                            Image credit: Sam Hartnett

                            ARTSPACE receives major public
                            funding from Creative New Zealand.


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