Join us at 5:30 pm on Wednesday 2 October for an open reading group with Sorawit Songsataya, held alongside our current exhibition Offspring of rain, an installation by Sorawit in collaboration with composer Antonia Barnett-McIntosh.
Sorawit and Hōhua Thompson will lead a collaborative discussion of Ursula Le Guin’s text “The Carrier Bag Theory of Fiction,” which reflects upon language, storytelling and technology; arguing for a narrative mode which redefines science and technology as a “cultural carrier bag rather than weapon of domination.”
See It Like This is an exhibition of drawing, ceramics, video and textiles by Wellington-based artist Greta Menzies. Working in an intuitive, stream-of-consciousness state, Greta meditates on belief and meaning-making. Exploring a push and pull between a deep scepticism and romantic fascination with the power of rituals, symbols and belief, Greta draws on a variety of influences from cults, sects and faith healers, to quantum woo, conspiracy theories, the absurd and the amplification of ideas in digital echo chambers.
Join artist Jeremy Leatinu’u and Enjoy’s Toi Māori education and audience intern Hōhua Thompson for an open discussion in response to Matavai Taulangau’s moving image installation Ma’u Pe Kai, on at Enjoy until 7 September.
Taulangau takes notice, observes and explores the value of different kinds of work through his lens-based practice. His video work and photography strives to highlight forms of labour and knowledge that are often overlooked, emphasising the value of people and their experiences.
Our ongoing lunchtime talk series recommences next week as Professor Geoffrey Batchen presents a distilled version of his essay in the Adam’s forthcoming catalogue: On the Last Afternoon: Disrupted Ecologies and the Work of Joyce Campbell. Batchen is no stranger to Joyce Campbell’s photography, having included an example in Emanations, a 2016 exhibition for Govett-Brewster devoted entirely to cameraless photographs.
"Kaikohe is a small town located in Northland, a town that reflects the village culture my fāmili (family) were accustomed to back in Tonga. My ongo mātu'a (parents) made the decision to raise our fāmili in Kaikohe. They left their fonua in exchange for the whenua in Aotearoa. As my father had said, “To’uanga fiemalie pe, he teu ave koe ki Nusila mo fanau”, God had brought us here. My parents’ migration brought about a shift in perception, towards the idea that value was only obtained through Western knowledge.
The Button knot: holding what was separated together
The ‘Caisson’ knot: establishing connection to the ‘world’ and us
The Endless knot: Typically seen as the ‘good luck knot’; ultimate, eternal blessings, friendship and connection
Wishing Well is part of an ongoing research project by artist Wai Ching Chan that takes Chinese Knots 中国结 as a starting point to explore relationships between tauiwi and Tangata Whenua in Aotearoa New Zealand.
How do we use history to tell our own stories? How do we use our own stories to talk about history?
Where do we site the act of witnessing? What is the role of the individual in observing, accessing, or interpreting historical events? When we reach out to the past, how do we account for the place we are standing?
When we make work about the past, what is our responsibility to the truth? What are the truths we choose?
Curated by Anna Rankin and Selina Ershadi
Wednesday 24–Saturday 27 April
Please join us for Home Movies, a series of screenings of films by Jonas Mekas, Chantal Akerman, Moyra Davey and Agnès Varda from Wednesday 24– Saturday 27 April.
Home Movies includes works by experimental filmmakers which belong, in part, to a lineage and mode of home movies, film diaries and personal documentary. Each of these works reach beyond and toward each other, crossing time and threading evocations of memory, family, displacement and loss.