June 29, 2009

Adam Art Gallery Image

11 July – 30 August 2009

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In the building: Fiona Connor, William Hsu, Daniel Malone, Kate Newby,

Martyn Reynolds, Peter Trevelyan

Online: Amit Charan, Narrow Gauge, Kelvin Soh

Opening and website launch: Friday 10 July, 6pm

 

The Adam Art Gallery has invited nine New Zealand

artists, designers and writers to produce new works

that respond to our uncertain times.

 

Using the unique architectural structures of the Adam

Art Gallery – situated at Victoria University’s Kelburn

campus – and the online space of the gallery’s website,

the artists have been asked to produce works that

speculate the future – in the context of the political

realities of our contemporary world.

 

Exhibition curator Laura Preston says the exhibition

will showcase innovative ideas from nine young artists,

each responding in their own way to the current sociopolitical

climate.

 

“The artists’ projects will act as a series of propositions for

embracing this time of uncertainty, where structures and

systems that we have come to know are being brought

into focus and redefined—from the mechanisms of the

capitalist system and the imminent risks to the environment,

to the modernist idea of progress,” she says.

 

She says the exhibition will consider the potential of both

the gallery and the web to act as sites that reflect on the shape

of power, and to consider alternatives to present institutions.

 

“The exhibition will also respond to the university as a site

for research and critical thinking, and as a forum for the

revisioning of art histories,” says Preston.

 

Accompanied by a public programme of night talks, a work-

shop and sound event, the Adam Art Gallery will become

an active site of discussion and a resource for the future.

June 28, 2009

kerry prendergast and regan gentry

Image: Wellington Mayor Kerry Prendergast unveils Regan Gentry’s latest ‘public’ work

 

Is Regan Gentry being used purely as propaganda?

First published on artbash by Flake 12 Feb 2009

 

Regan Gentry is certainly an industrious individual making

his way. In my experience no one makes their way unless

they are of some use to another (higher up the food chain, )

to politically make a point. This is ever more prevalent

with public art. Public art are public signs, the Warehouse

is a huge sign a big deal, if we are passive to it’s domination

it is so by design. Can Money pay for anything other than

a picture of it’s own glorious reflection?

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Talk to someone in small business near a Warehouse and

you will hear the impact of this entity, financially but also

socially. These monoliths change the very fabric of social

identity the patterns and interactions we have with one

another are shifted to a scale where one is alienated ( ever

hung out long in an aisle, on purpose? ) and encouraged

to keep quite move along. We should ask what does Regan’s

Sculpture mean, and if we don’t like it we should make this

opinion seen. If this industrious artisan is the establishments

flavor of the month (though given his politics I can’t ever

see him going out of style) whose vision of social civil community life is Regan serving.

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To start with we have the lovely addition to the row of

cocks, The Chalice, the Westpac logo thingy and now

‘flour power’ perfectly drawing the only diagonal amongst

chch’s locked down gird. This diagonal strip, is mostly made

up of pedestrian areas, finally linking up with an educational

facility, ensuring a stead flow of walking traffic, which has

the annoying habit of congregating in some areas and not

buying anything, even worse distracting others from buying things.

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The very site of Regan’s “flour Power” was where an existing

sculpture with strikingly social values was removed to make

way. A fountain of some kind with I think tiles of children’s hands

or what not.. was decidedly the spot where relatively large

numbers of youths would hang out. In fact all along this stretch

of city was a mall with a few surviving grass areas popular with

the young mostly but some old, to hang out on, eat and watch

the shoppers shop.

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Regans new sculpture, the day after it was moved in i noticed

it was tagged, a few stickers went up… it’s tripod tyranny so

obvious it warranted little other protest.. since an energetic

and organized campaign from these youths failed to protect the

spot from being opened up to values that undermined their

rights to live in a way they saw fit. Now I believe the plan is to

open the mall to cars and the removal of these areas where

they felt safe and encouraged to socialized will be completed.

Why was this happening. The alley way of Cocks was here.

But what for?

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To understand this you have to do your home work and

I am as sure as an ad break that you will not. You could

spend half a day on 3 or 4 dvd’s and get the picture so

sharp you’d be left with moral out rage and a position not

unlike oppressed people all over the world. WHY WOULD YOU WANT THAT.

Let’s just keep the way things are to those that have to make

the decisions an hope that stuff doesn’t get in our way, not

that it’s likely to being white educated in massive dept,

I ‘ll do what ever it takes just to get by.

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NOw regan is to build a new sculpture for us in wellington.

A group of right wing capitalists (they can dispute the name

i don’t know what else to call them, they’re not my friends)

have empowered regan to make a sculpture on Karo drive.

NOw Karo drive is the name they came up with to call the suc-

cessfully completed road that bisects a community that for

30 years had actively opposed it’s creation. This is art people…

this is the true art of our times, not the little painting or trinkets

you see loitering in the fine shops around the country. Art is

Politics and it is no joke they are creating the world we live in

with their bad innuendos, puns jokes and material excesses…

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The road displaced a lot of historical look buildings which were

moved around to reform a service of shopping and even housing

only fro some reason they have stood empty for what years? as the

bad Karma over them grows and their micky mouse fun park aura

leaves a stench of arson in the air… Good natured Regan is to build

a facade resembling these empty buildings just up the road on Karo

drive for such and such reasons….

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In case you are not up to speed but need a clue, you will have to

get use to the ideas that the USA is an empire on collapse, the 70’s

was the implementation of a new world order from the USA to

service their debt, Rogernomics, Pol pot, are the same plan…

and the implementers of the empires world order all have invested

shares so you GOT to know they have not given up, HELL it’s a

NAtional GOVERMENT they’ve got the time !.

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Empires have slaves… and slave owners..

even nazi Germany had a ministry of Culture.

Is Regan Gentry being used purely as propaganda?

WE DO NOT NEED CULTURE

WE NEED A FEW ARTISTS

if you see Regan Gentry (or myself for that matter.. ) ask him what does he think he is doing?

 

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June 25, 2009

ppow

Image Search

Curated by Jamie Sterns at P.P.O.W. Gallery

June 25 – July 31, 2009

Aids-3D/ Colleen Asper / Aleksandra Domanovic / Christoph Draeger/ Daniel Everett/ Oliver Laric/ Jason Lazarus/ Abigail Lloyd/ Lucky Dragons/ Jill Magid/ James Shaeffer/ Suzanne Treister/ Conrad Ventur 

 

The internet has transformed the way we communicate,

interact and perceive ourselves and others. Image Search

presents the work of thirteen artists who use the internet as

the primary source for reference and research in their

image-making process. Open source information and

images are being used by these artists to create work that

addresses issues of identity, psychology, politics, the

environment and history. Our collective visual culture

is being transformed by the internet and artists as

image-makers are not only using it as a new medium,

they are transcending and subverting its potential.

Often treated as a living organism, the internet’s evolution

is constant and its impact immeasurable. These artists

harness and exploit the nature of this new technology,

which has become in a matter of a few decades, central to the way we interact.

  

Click HERE to continue reading press release

P.P.O.W Gallery 511 West 25th Street, Room 301, New York, NY 10001 212.647.1044  VIEW MAP

 
 

June 25, 2009

World at Gunpoint

   Or, what’s wrong with the simplicity movement

by Derrick Jensen

 

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Published in the May/June 2009 issue of Orion magazine

A FEW MONTHS AGO at a gathering of activist friends someone

asked, “If our world is really looking down the barrel of environ-

mental catastrophe, how do I live my life right now?”

 

The question stuck with me for a few reasons. The first is that

it’s the world, not our world. The notion that the world

belongs to us—instead of us belonging to the world—is a

good part of the problem.

 

The second is that this is pretty much the only question

that’s asked in mainstream media (and even among some

environmentalists) about the state of the world and our

response to it. The phrase “green living” brings up

7,250,000 Google hits, or more than Mick Jagger and Keith

Richards combined (or, to look at it another way, more

than a thousand times more than the crucial environmental

philosophers John A. Livingston and Neil Evernden combined).

If you click on the websites that come up, you find just

what you’d expect, stuff like “The Green Guide: Shop,

Save, Conserve,” “Personal Solutions for All of Us,”

and “Tissue Paper Guide for Consumers.”

 

The third and most important reason the question stuck

with me is that it’s precisely the wrong question.

By looking at how it’s the wrong question, we can

start looking for some of the right questions. This

is terribly important, because coming up with right

answers to wrong questions isn’t particularly helpful.

 

So, part of the problem is that “looking down the

barrel of environmental catastrophe” makes it seem

as though environmental catastrophe is the problem.

But it’s not. It’s a symptom—an effect, not a cause.

Think about global warming and attempts to “solve”

or “stop” or “mitigate” it. Global warming (or

global climate catastrophe, as some rightly call

it), as terrifying as it is, isn’t first and

foremost a threat. It’s a consequence. I’m not

saying pikas aren’t going extinct, or the ice

caps aren’t melting, or weather patterns aren’t

changing, but to blame global warming for those

disasters is like blaming the lead projectile

for the death of someone who got shot. I’m also

not saying we shouldn’t work to solve, stop,

or mitigate global climate catastrophe; I’m

merely saying we’ll have a better chance of

succeeding if we recognize it as a predictable

(at this point) result of burning oil and gas,

of deforestation, of dam construction, of industrial agriculture,

and so on. The real threat is all of these.

 

Read the rest at http://www.orionmagazine.org/index.php/articles/article/4697/

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June 10, 2009

semiotexte

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The Revolution of Desire Screenings and Performances

 

Please join us in celebrating the closing of the show Screwball

Asses at the Company in Chinatown featuring artworks by Gene

Barnes AKA Portia Manson, Sheyla Baykal, Gary Lee Boas,

Robert Alan Hyde, Hedi El Kholti, Matt Fishbeck, Mark Flores,

Paul Gellman, David Jones, William E. Jones, Brian Kenny,

Slava Mogutin, and Donnie & Travis; and the upcoming release

by Semiotext(e) of Guy Hocquenghem’s pamphlet, The

Screwball Asses. Perfomances at The Company at 7:30 PM

by Tall Paul + Mare, and Alex Black + Samuel Vasquez.

 
The Company
946 Yale Street, Los Angeles, Ca, 90012
http://www.thecompanyart.com/pages/home/
 
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Screening at the Mountain Bar at 8:30 PM of  The Revolution of Desire

by Alessandro Avellis & Gabriele Ferluga, 2006 (52 mn).

 

The Revolution of Desire explores the nebulous post-’68

circumstances that birthed the sexual liberation movement

in France, and interrogates its transformation from a

grassroots rebellion to an effort to normalize homosexuals.

Referencing the work of impassioned activists and intriguingly

titled essays ­ Le rapport contre la normalité (“A Report Against

Normalcy”) and Trois milliards de pervers (“Three Billion

Perverts”) ­, the film sketches the lives of Guy Hocquenghem

and Françoise d’Eaubonne, brilliant intellectuals and un-

conditional supporters of the “revolution of desire.”

We meet philosopher René Schérer, MLF photographer

Catherine Deudon, militant filmmaker Carole Roussopoulos,

Guy’s brother Joani Hocquenghem, historian Marie-Jo

Bonnet, the Panthères roses and numerous other key players.

The Revolution of Desire is a rare and valuable document

that explores the past but more importantly questions the

present.

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May 27, 2009

littleeyepart1colour

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Pecha Kucha at Wellington Overseas Terminal

comic by Tim Bollinger

 

Dear Pecha Kucha Fans,

 

First of all a big thank you to all of you for supporting our

Pecha Kucha Nights in Wellington and for telling all your

friends about the one coming up!

 

I am delighted to announce the current line-up for our next

Pecha Kucha Night at the wonderful Overseas Terminal venue

on 9 June. We will start at 7.30 pm sharp with the first

presentation so come early to grab a seat. There will be a great

bar, a brilliant wood burner and some food too. Door sales cash

only, $9.

 

The line up so far confirmed is:

Ralph Johns // landscape architect // about new sea land

Stacey Childs // about discounderworld

Sam Trubridge // Director & Designer // about Sleep/Wake

Mervin Singham // Artist // about his inspiration for his work

Edward Lynden-Bell // Writer & Filmmaker // about the Drake Equation

Tim Bollinger // Cartoonist // about his cartoons

Joshua Judkins // about playing “The Lost Ring” and Ponoko

Jared Forbes // Creative Director // Lumen Digital Ltd

Emma Knight // Experience Design Consultant/Snowboarder

Luke Pittar // on travel sketching as an educational experience

Chris Jackson // industrial designer // 2000 years in 20 chairs

Maurice Bennett // the toastman//

Tao Wells // unemployed

 

 

http://pechakucha.co.nz/
 
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March 22, 2009

issue-10-cover1

White Fungus Issue 10

Includes a short story by Duncan Sarkies, Sewer Rat

Debacle, an in-depth history article by Tim Bollinger,

The Bone Collectors: Walter Mantel and the early days

of New Zealand zoological discovery, a colour comic

by Auckland artist Barry Linton, a reflection on the

life of Diogenes by Richard Meros,  classic artworks

by Auckland iconoclastic feminist Judy Darragh, work

by Nick Austin and Tao Wells, articles on Brisbane artist Richard

Bell, Berlin-based Marcin Cienski and Hong Kong artist

Lee Kit, work by Andrew McLeod accompanied by two

stories by Chris Cudby, music features on Detroit Noise

group Wolf Eyes, New York ‘hyperrealist’ composer

Noah Creshevsky, interviews with musician Cristian

Amigo and Australian sound artist Jodi Rose and

Te Kupu of Upper Hutt Posse 20 years on from pro-

ducing the first-ever Rap record in New Zealand, E Tu,

in 1988, Simon Wickham-Smith writing about Mongolia’s

most subversive poet, Baatarin Galsansuh plus poems

by Cyril Wong, winner of the 2006 Singapore Literature

Prize and the epic Jena: An Other Cartography by enig-

matic Washington DC poet Francis Raven.

 

White Fungus Issue 10:  US$15

Price includes postage and handling

January 22, 2008

 issue-9-cover

White Fungus Issue 9

Features new work by Richard Killeen, Yao Jui-Chung,

Hye Rim Lee and Tao Wells, a colour comic, Noah,

by Tim Bollinger, an article by Juan Santos on the

coming emergencies of Global Warming and resource

wars in the 21st Century, Jane Janesly returns to

write about the incredible story of 19th century Chinese

migrant Chew Chong who kick-started the Taranaki

dairy industy in the 1860s, Auckland writer and

curator Andrew Clifford interviews Sydney artist

Justice Yeldham about his knife-edge sound perform-

ances involving amplified glass. Wellington musician

and composer Daniel Beban interviews New York-based

New Zealand sound artist Annea Lockwood. Steve

Snatch’s in-depth article on the Dead C plus writing

on Greg Malcolm, John Wiese, Leslie Rice, Manuel

Gottsching, and Terrence McKenna, new poems by Iain

Britton (Auckland), Gu Xie (Guangzhou) and Anne

Cammon (New York) and pages from Sheba William’s

Shanghai Sheba.

 

White Fungus Issue 9:  US$15

Price includes postage and handling

January 22, 2006

issue-8-cover

White Fungus Issue 8

Includes a history article on early 20th Century

radical Maori prophet Rua Kenana who created his

own community in the heart of Ureweras, resisting

European domination, until the peaceful community

was violently broken up by the State in 1916, an

in-depth article on Portland experimentalists Smegma

- featuring interviews with Dr ID, Ju Suk Reet Meate

and Oblivia – writing on Auckland artists Rohan

Wealleans and Richard Orjis and the esoteric instal-

lations or sculptures of Sydney artist Mikala Dwyer.

The issue includes new photography by Taipei artist

Isa Ho (何孟娟), an interview conducted by Singapore

poet Cyril Wong with sound artist Ang Song Ming,

a report on Alastair Galbraith and Antony Milton’s

performance at Adam Art Gallery, new poems by

Vivienne Plumb, Harry McNaughton and Lina ramona

Vitkauskas (co-editor of Milk). German writer and

co-editor of Tokafi Tobias Fischer writes on the

music of early minimalist Hans Otte, plus an interview

with leading New Zealand investigative journalist

Nicky Hager whose groundbreaking 2006 book The

Hollow Men led to the resignation of then Conservative

leader Don Brash and exposed in unpresidented detail

the inner-workings and manipulations of a modern

cynical political campaign.

 

White Fungus Issue 8:  US $15

Price includes postage and handling

December 22, 2005

 issue-7-cover

White Fungus Issue 7

The bright red issue includes articles on New Zealand

artist Yvonne Todd, Australian artist Hany Armanious,

Korean artist Choi Jeong Hwa, Japanese Noise pioneer

Merzbow plus an interview with LA writer and filmmaker

Chris Kraus talking about her  novel Torpor and grow-

ing up in Wellington in the 1970s. There are drawings

by Peter Robinson, a short story by Wellington writer

Hamish Low, an in-depth history article by Tim Bollinger:

Strange Days on Lake Rotomahana: The End of the Pink

and White Terraces, an idiosnynctatic essay, Symols

and Mysticism by Ernie Kozar, provocative quasi

ponorgraphic work by Hye Rim Lee, photography by

Yao Jui-Chung, critical coverage of mediocre Christ-

church arts bienale Scape 2006, A New Fundamentalism

Emerges by Rob Garrett, coverage of Fiona Connor’s

reconstruction of Enjoy Gallery and Dunedin’s ex-

perimental music festival Lines of Flight.

 

White Fungus Issue 7:  US $15

Price includes postage and handling