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Media Release: June, 2006. 

The Stokes Valley roundabout, The Reserve Bank, The Beehive tapestry…Guy Ngan is an unsung master. His abstract public sculptures are peppered through cities and towns all over New Zealand; seen every day by thousands of people, often with little recognition of who they are by and how significant a practice they represent. He has been making sculptures, paintings, drawings and prints for the last sixty years.

Ngan, self-dubbed as ‘Pacific Chinese’, is passionate about New Zealand. He has lived at his family home, rich with history, in Stokes Valley for over fifty years. He poignantly tributes early settlers to NZ: ‘I have much pleasure in showing some of my works that pay homage to the early Pacific people. Courageously, they discovered so many islands that we unhesitatingly call paradise.’

When Ngan was approached by City Gallery Wellington to mount a solo exhibition (his first in a public gallery since 1979), he was adamant that at eighty he was ‘too young for a retrospective’. Instead, he wanted to develop Journey: Aluminium Panel, Tiki Hands and Anchor Stones, a project where a body of sculpture and a series of paintings never previously exhibited alongside one another could be brought together to explore his long-held fascination in the history of early settlement in the Pacific.

The works in this tightly focused exhibition, curated by City Gallery’s Heather Galbraith, represent Ngan’s exploration through history, image and form of his place in the Pacific and in Aotearoa in particular. The ‘Tiki Hand’ paintings such as the moving Tiki Hands Encompassing Immense Space and jewel-like ‘Anchor Stone’ sculptures are Ngan’s homage to early navigators. Around 3500 years ago they traversed great ocean distances from mainland and Island Southeast Asia through Polynesia. The idea of the journey has been extended with the inclusion of a large public work, the Newton Post Office Mural (1973) which brings form, among other things, to the complex transporting of mail. (City Gallery’s Reading Room visually documents some of Ngan’s other signature works.)

Ngan pioneered a dynamic vision for a new kind of public building. In a 1952 Evening Post interview (the journalist hailed his brilliant future), he argued the importance of integrating artworks within the fabric of architecture: ‘The visual sense of decoration has been lost in buildings, but it is coming back in modern architecture… Up to now, sculpture and carving have usually been put in buildings as an after-thought, but they should have a unity with the building and be part of the whole artistic structure’.

After a twenty year Gallery hiatus, Ngan’s work remains as fresh, vibrant and provocative as ever. The overwhelming sensation these snazzy works emit is a fluidity of form and a sensitivity to the potential of their materials.

At eighty years of age Guy is still working, having recently unveiled a large stainless steel work Millennium Tree in the Auckland Domain. Along with people who have followed his work across the disciplines of architecture, design and visual art from the 1960s onwards, he is attracting a new, younger audience. His practice has always drawn upon his Chinese heritage as well as European and Polynesian culture, and maintains a strong investigation of New Zealand as a Pacific nation.

Guy Ngan is a major, underrated contributor to New Zealand’s visual culture. Time is right for a resurgence of interest in his work; this exhibition and the publication that accompany it aim to be a catalyst for further, expanded study of his practice.

City Gallery Wellington Director Paula Savage says: “We are most grateful to Guy Ngan for opening his home and archive to us; it has been a revelation to hear about and digest his adventures, and his take on the world. City Gallery Wellington is proud to bring Ngan’s work the public attention it so deserves.“

Guy Ngan

Journey: Aluminium Panel, Tiki Hands and Anchor Stones

City Gallery Wellington, 18 June – 24 September 2006

Biography: Guy Ngan was born in Wellington in 1926 to Chinese parents. He spent a large chunk of his early childhood in China. After tertiary study in London, he returned to New Zealand to become a public art works consultant at the Architectural Division, Ministry of Works in 1956. Guy Ngan has had a long-term involvement with the NZ Academy of Fine Arts, including ten years (1976-1986) as Director.

Media Release: June, 2006. 

Luncheon Under the Ash Tree: The Ian and Elespie Prior Collection, currently on at City Gallery, presents the superb art collection of Wellingtonian Dr Ian Prior and his late wife Elespie. ‘Dr Prior has several projects on the go, all aimed at enriching the lives of New Zealanders, most of whom will never known the full extent of this unassuming man’s generosity to the arts,’ The Dominion Post hailed the exhibition’s opening.

Now in his eighties, Dr Ian Prior is still a very active supporter of the arts in Wellington and throughout New Zealand. Frontseat, like many others, rates him as one of New Zealand’s top five arts patrons. Among lots of other endeavours, this arts lover is a founding member of the Wellington Sculpture Trust, which recently unveiled Len Lye’s terrific Water Whirler. Prior also serves the National Library, the Lilburn Residence Trust and the Sounz Centre for Contemporary Music.

Prior is an eminent epidemiologist, known for his work here and in Polynesia. He is also noted as an anti-nuclear activist and for his work as an advocate for Maori and Maori culture. He has worked particularly with Tuhoe. ‘The Bible says “to whom much is given much is expected”. I don't know if anyone reads the bible these days but that's quite a good truism,’ Prior says.

Elespie and Ian, Memoir of a Marriage was recently published by Steele Roberts. The book is one look at how together the Priors’ amassed this special, deeply personal art collection, arising from their support, knowledge and passion for New Zealand art.

Some of the magic of the collection is the way it reflects the friendships the Priors enjoyed with major artists as diverse as Evelyn Page, Colin McCahon, Toss Woollaston and Ralph Hotere.

‘Good art opens your eyes,’ Prior says, adding that art can transcend ‘some tough problems.’ Whether involved in commissioning McCahon to paint the Urewera Mural or, more recently, supporting the building of Aratoi in Masterton, he has always upheld art to be an essential component in the life of individuals and their communities. All this is reflected in Luncheon Under the Ash Tree.

City Gallery Wellington Director Paula Savage says: ‘The Priors expect art to engage with the human condition—indeed the exhibition is an unfolding essay on the human condition. The works range from the sumptuous oil paintings of Elespie by Evelyn Page to the rigorous abstractions of John Drawbridge. The Priors always believed art should not only edify, it should challenge viewers. We’re proud to be showcasing this unmissable Wellington collection.’

Luncheon Under the Ash Tree: The Ian and Elespie Prior Collection

City Gallery Wellington, 18 June – 24 September 2006

Luncheon Under the Ash Tree: The Ian and Elespie Prior Collection is developed and toured by Aratoi – Wairarapa Museum of Art and History. With the support of BWX, Masterton District Council, Masterton Lands Trust and Willi Fels Foundation.

Media Release: June, 2006. 

“I called the exhibition 'Mrs Amituanai' because when I got married in August last year, I became the first Mrs Amituanai in my husband’s household since his mother passed away fourteen years ago.”— Edith Amituanai (nee Sagapolu).

Amituanai’s intimate, moving photos reference death and weddings. Since graduating in 2005, she has already attracted significant attention. Amituanai was a finalist in the 2004 Trust Waikato National Contemporary Art Award. She is the youngest of the twenty top photographers selected for inclusion in the recent major publication Contemporary New Zealand Photography, a finalist in the prestigious Montana New Zealand Book Awards. An exhibition of highlights from the book showed in Porirua, Auckland and Arrowtown. She had work in the noted group exhibition Break Shift at Taranaki’s Govett Brewster. Four of her works were recently acquired by Auckland Art Gallery.

The first generation, New Zealand- born Samoan’s photos celebrate New Zealand Samoan weddings and families. In Mrs Amituanai, the tradition of photography itself is paid homage to, most notably in the frequent inclusion of framed family portraits in the backgrounds of her photographs. Amituanai says most Samoan viewers will understand the questions she is asking about cultural mores. “What I want to show is an intimate and particular view.”

City Gallery Wellington is pleased to present 2 x 2 Contemporary Projects, a series of two exhibitions, each showcasing two contemporary artists’ solo exhibitions –Amituanai and painter Kelcy Taratoa in the first and multi-media artist Lonnie Hutchinson and Trust Waikato National Contemporary Art Award winner Sriwhana Spong in the second. Fresh and innovative, these artworks and artists are at the forefront of contemporary practices.

Whilst these are four distinct exhibitions, each with their own sets of agendas and concerns, they have been carefully selected by curator Emma Bugden to speak to each other, to generate dialogue. They create a conversation about the complexity of personal and cultural identity in today’s urban and global environment.

Edith Amituanai

2 x 2 Contemporary Projects:

Edith Amituanai/ Kelcy Taratoa

City Gallery Wellington, 18 June– 30 July 2006

Media Release: June, 2006. 

Exciting Young Artist on Show at City Gallery

Following Kelcy Taratoa’s acclaimed exhibitions Who Am I? episodes at Lower Hutt’s Dowse Art Museum and Palmerston North’s Te Manawa last year, City Gallery Wellington is proudly exhibiting Back to Mine: Urban Realities from June 18.

Hailed as one of New Zealand’s most exciting young artists, Taratoa’s paintings investigate the forces that shape personal and cultural identity in contemporary New Zealand. The artist is present in every work looking out from the canvas, engaging and provoking the viewer.

Like Who Am I? , Back to Mine: Urban Realities is grounded in Taratoa’s experience. Taratoa describes Who Am I? as “Extremely empowering; I knew how history had been created and written; how my social-situation was a by-product of a system that had dominated, controlled and ultimately chewed up and spat out people of ethnic difference; a system that had judged and marginalised Maori. In spite of this, I no longer felt disconnected or isolated – I was now grounded and located, self-aware and educated. No longer was a wave of the sea, driven by the wind and tossed.”

Back to Mine further develops themes from Who Am I? Still concerned primarily with identity the paintings are hard-edged and more assertive. Whereas in the earlier work, we saw a child figure looking back through the past, in these paintings a confident, urban Maori man strides forward: “I am now secure in who I am and what I identify with.”

In exploring the links between history, social situation and identity formation, Taratoa describes a journey of self-creation and a deconstructing of the mind, reconstructing himself and his experience. There are no explicitly Maori images in the paintings apart from Taratoa; that absence makes a statement that speaks to many urban Maori raised away from their iwi, language and culture.

In work produced specially for City Gallery Wellington, we see the artist standing in an urban environment dotted with references to the New Zealand urban landscape immediately familiar to all New Zealanders— a 4 Square, McDonalds, street signs, state houses, supermarkets. Entering this world are superheroes of comics, film and TV – Spiderman, Batman, the Hulk and the Silver Surfer. The paintings, with their rich collision of iconic images, construct a complex topography which charts the impact of colonisation and globalisation on local cultures.

Taratoa says that comics and these superheroes were an important part of the culture and period in which he grew up. “The characters depicted confront internal identity struggles—internal identity struggles confront indigenous people.” They also reflect on the condition of modern society and make a statement about the global prevalence of American popular culture.

Back to Mine: Urban Realities forms part of 2 x 2 Contemporary Projects, a series of two exhibitions, each showcasing two contemporary artists’ solo exhibitions – photographer Edith Amituanai and Taratoa in the first and multi-media artist Lonnie Hutchinson and Trust Waikato National Contemporary Art Award Sriwhana Spong in the second. Fresh and innovative, these artworks and artists are at the forefront of contemporary practices.

City Gallery Wellington presents Taratoa’s paintings in an installation: The gallery floor will have white vinyl road markings; and the paintings, combined with video and music on a large plasma screen, will create an environment rich in imagery and ideas, for the viewer to experience and navigate.

Kelcy Taratoa (Ngaiterangi and Ngati Raukawa) graduated with a Masters degree in Maori Visual Arts from Massey University in 2005. He lives in Palmerston North where he paints and lectures at UCOL.

Kelcy Taratoa

Back to Mine: Urban Realities

2 x 2 Contemporary Projects 

City Gallery Wellington, 18 June– 30 July 2006

Media Release: May, 2006. 

Depictions of the female face and body have played a major role in the history of western art. Since the rise of feminism in the 1970s, this depiction has been heavily politicised. The self-portrait and portrait genres continue to be a source of investigation for contemporary women artists, to tease out the underlying issues surrounding the role of the female artist and their position in society. The exhibition Painted Faces brings together four Wellington artists who explore portraiture.

The phrase ‘painted faces’ suggests a level of subterfuge and disguise. The information that we receive in the portraits and self-portraits is carefully considered and mediated; as much is concealed as it is revealed. These portraits also explore the realm of the fictional and the make-believe.

This exhibition is titled Painted Faces after a recent suite of paintings of real and imagined women by well-known New Zealand painter Séraphine Pick. A recent émigré to Wellington, Pick has long been mining the territory of the psychologically charged portrait. The paintings in this exhibition present a series of bizarre and usual scenarios: a hairy woman in green velvet amidst exotic flowers, a masked woman and dog, a bare-chested woman with ghostly pale eyes, and a matriarch with a background of shell forms.

Marnie Slater has created a mise-en-scene; as we enter the gallery space, we encounter a brightly coloured yellow faux satin curtain lit by a fluorescent tube suspended from the ceiling. In front of the curtained wall, there is a photograph of a young woman—local artist Jessica Reid—who beckons us to enter the space. Like a guide, she reappears mid-way through the exhibition, helping us to navigate our way around the works on show.

Louise Clifton’s photographs have a distinct gothic sensibility. In this suite of images, with shades of black gothic humour, disembodied heads are placed in unexpected domestic contexts such as a microwave alcove. Each face is noticeably cosmetically enhanced with painted eyebrows, full red lips and whitened skin.

Sarah Jane Parton, who featured in Telecom Prospect 2004 at City Gallery Wellington, explores the self-portrait. She often takes on the persona of the ingénue and there are frequent references to her childhood and adolescence. Her videos are frequently accompanied by soundtracks adapted from the music of the 1980s—Madison’s Lament features a keyboard interpretation of Belinda Carlisle’s 80s hit Heaven is a place on earth.

The Michael Hirschfeld Gallery is City Gallery’s space devoted to the work of Wellington artists and designers.

PAINTED FACES

Louise Clifton

Sarah-Jane Parton

Séraphine Pick

Marnie Slater

Jessica Reid

Michael Hirschfeld Gallery, City Gallery Wellington

26 May – 25 June 2006

Media Release: April, 2006. 

Daniel du Bern’s Protection expands out from the Michael Hirschfeld Gallery, colonising other parts of City Gallery including the SQUARE2 video monitors in the gallery entrance and the gallery rooftop flagpoles—City Gallery will be waving black flags.

The range of references in the Wellington-based artist’s exhibition are broad and often subversive: including the Russian Supremacist painter Kasmir Malevich, punk and skate culture, the 1981 Springbok tour, Tourism New Zealand advertising campaigns, nationalism, bicultural politics, and anarchist movements.

The black flags atop Wellington’s municipal gallery is a provocative gesture, but one that is timely given current debate about a new design for New Zealand’s national flag. Du Burn argues: ‘the meaning of the black flag can be interpreted in numerous ways. Within a global context the black flag is commonly seen as being representative of Anarchist movements. Yet in New Zealand, with black being recognised as our national colour, the perceived meaning of a black flag—read All Black flag—is as much about this as anything else.’ There is also a connection to art history and the work of artists Kasmir Malevich, Ad Reinhardt and, more locally, Ralph Hotere.

Alongside objects and images that relate more generally to New Zealand’s visual culture,

Protection contains a self-portrait and items of personal significance, such as a video work, which plays on one screen as part of the SQUARE2 video programme.

Daniel du Bern, an exciting young artist, is a direct descendant of William Williams, the first Bishop of Waiapu. He featured in the 2004 exhibitions Milky Way Bar: New Wellington Artists at the Michael Hirschfeld Gallery and The Bed You Lie In at Artspace. His work has also been exhibited in Australia and the United States, highlights include Melbourne’s Next Wave Festival and Festival Melbourne2006, the 2006 Commonwealth Games Cultural Festival. He was a finalist in the 2005 Waikato Arts Trust National Contemporary Art Award. He is guest editor of the current issue of the New Zealand Journal of Photography.

The Michael Hirschfeld Gallery, which will feature an exhibition by outsider artist Martin Thompson mid-October to mid-November, is City Gallery’s space devoted to the work of Wellington artists.

Daniel du Bern-Protection

21 April—21 May 2006

Michael Hirschfeld Gallery, City Gallery Wellington

Media Release: March, 2007. 

Smoke Signal  brings together the work of three Wellington artists: mixed media artist Terry Urbahn, recent Massey graduate Murray Hewitt and photographer Gavin Hipkins.

The exhibition explores the great outdoors; mystical meanderings and boys’ own adventures with quirky, theatrical and sinister undertones.

Murray Hewitt’s installation Burnings (2005) displays the documentation and remnants of ritualistic suburban fire play. It’s not the typical garden burn offs or Guy Fawkes celebrations. In Hewitt’s work goal posts are set alight by a figure wearing a white hooded gown that is part Ku Klux Klan attire, part child’s homemade ghost costume. Hewitt says ‘This work aims to create discussion about ‘media rugby’ and its associated culture, touching on religious passion, propaganda and distraction… The ideas are presented with a ‘westie’ or ‘bogan’ aesthetic, humorous but at the same time unsettling.’

‘When we think of the New Age, aromatic wafts of smoke from burning incense tingle our nostrils.’ So Gavin Hipkins begins the essay accompanying his suite of photographs published in Landfall (208, November 2004). Hipkins, a finalist for the 2002 Walters Prize, is currently taking part in The International Studio and Curatorial Programme in New York. Smoke Signal contains a small selection of photographs from this New Age series (1992-2003). These moody, landscape photographs are overlaid with a ghostly trace of curling lace and strings of beads. Is it perhaps a visual imprint of the spirit of the place, mysteriously caught on film?

Terry Urbahn’s Twin Peaks (2005) is a conglomeration of white lumpy plaster forms and twigs. Standing like the remnants of some craft project gone amuck, they also possess a kind of mysticism. Have these trees, mountains and forms been constructed in abeyance to some supernatural being? Does the photograph present us with an idol or a devout follower? Urbahn conjures up a Blair Witch-type experience with a DIY approach that is as wilfully shonky as it is scary.

The Michael Hirschfeld Gallery is devoted to the work of Wellington artists.

Smoke signal: Murray Hewitt, Gavin Hipkins and Terry Urbahn

17 March—17 April 2006

Michael Hirschfeld Gallery, City Gallery Wellington

Media Release: February, 2006. 

Open your eyes and mind at City Gallery Wellington this Festival season with the challenging and provocative, yet humorous and touching work of Patricia Piccinini, one of Australia’s most exciting contemporary artists.

Patricia Piccinini – In Another Life will be City Gallery Wellington’s major contribution to the New Zealand International Arts Festival.

Piccinini is internationally recognised for the fresh and personal perspective she brings to some of the biggest issues humanity currently faces: the rapid environmental changes that humans are both causing and coping with, and the increasingly blurred boundaries between human, animal, and machine.

Piccinini is renowned for her hyper-real sculptural works and mesmerising photographic and moving image pieces. Her exhibition for City Gallery Wellington will bring together a selection of new and recent work.

The centrepiece of the exhibition is Piccinini’s new series of sculptures, Nature’s Little Helpers. In these works, Piccinini concocts a group of surrogate creatures to support and nurture endangered indigenous Australian animals and birds including a bodyguard (equipped with fangs and claws) to defend the territory and food supply of the Golden Helmeted Honeyeater and a surrogate breeder for the Northern Hairy-Nosed Wombat, that assists this slow-breeding animal by mass-producing infant wombats in pods that runs down either side of its spine.

Piccinini describes these works as being about the seductive idea that we can find simple short-term solutions for complex environmental problems: the kind of thinking, for example, that lead to the introduction of the cane toad to Australia to control pests that infested sugar cane crops: the cane toad in turn is now seen as an invasive species. It’s about the danger, as Piccinini says, of 'doing the right things for the wrong reasons'.

Also showing at City Gallery Wellington during the New Zealand International Arts Festival:

Michael Smither – The Wonder Years

19 February – 6 June 2006

A touring exhibition from the Auckland Art Gallery Toi o Tamaki

Raewyn Atkinson – Designs on Antarctica

3 February – 12 March 2006, in the Michael Hirschfeld Gallery

Entry to all three exhibitions is free

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ARTIST BIOGRAPHY

Patricia Piccinini was born in Freetown, Sierra Leone in 1965 and moved to Australia in 1975. Since completing a Bachelor of Arts (Painting) at the Victorian College of the Arts, Melbourne in 1989 Piccinini has exhibited extensively both throguhout Australia and internationally, with exhibitions in New York, Liverpool, Germany, Tokyo, Lima, and Italy. Piccinini’s exhibition ‘We Are Family’ was the Australian contribution to the 2003 Venice Biennale: Piccinini was one of the youngest artists to ever represent Australia at this prestigious event.

Patricia Piccinini lives and works in Melbourne.

Media Release: February, 2006. 

City Gallery Wellington is proud to present this major survey exhibition by Michael Smither, one of New Zealand’s most important living artists. This show is his most comprehensive exhibition to date and will be a rare opportunity to experience some of the most brilliant examples of this esteemed artist’s work.

Michael Smither has followed a personal vision which has formed his own particular way of looking at life in New Zealand. The Wonder Years focuses on his time in New Plymouth, when he created many significant realist images; dealing with family relationships, issues of landscape, ecology and conservation, and the persistence of faith.

For Michael Smither art is much like a map directed towards the people he knows. His art shows where he has lived and how he feels about it. He wants to celebrate the journeys from childhood to adulthood in his New Plymouth paintings of his family. He cites his longtime commitment to ecology and the sea, to each specific landscape’s own unique climate inside an emotional authenticity. Looking at Smither’s paintings of the 1960s and 1970s one can comprehend the relevance of his 1975 remark: ‘You can’t just be a painter. I’m intensely interested in what human beings are. They are an incredible phenomena.’

Smither notes: ‘… none of the paintings I made were pretty paintings, they were uncompromising things and I think … they were good paintings and they were really accurate in lots of ways – before women’s lib got off the ground in New Zealand they were paintings for women’s libbers because they were about the tensions that exist between mothers and children – the difficulty of being a mother and a child. I always saw that aspect of it rather than the pretty child lying down on the rug, the way that everybody liked to see the child.’

This major exhibition of Michael Smither’s work comes to Wellington for the New Zealand International Arts Festival following a successful season at the Auckland Art Gallery Toi o Tāmaki. Principal Sponsor Ernst & Young has once again partnered with City Gallery Wellington to continue to bring the best in contemporary New Zealand art to Wellington.

City Gallery Wellington Director, Paula Savage says, ‘City Gallery Wellington is delighted to be exhibiting the work of Michael Smither for Wellington audiences. Michael Smither is one of the most significant and much loved New Zealand artists of our time. His works depict humble domestic settings and landscapes we are all so familiar with, but Smither teases from these subjects moving and elucidating truths. There is no doubt that this will be one of the most rewarding exhibitions of 2006 that audiences will love.’

The exhibition will be accompanied by a catalogue and DVD of the artist, which will include a recording of Smither’s composition 21 Piano Pieces, performed by one of New Zealand’s leading pianists David Guerin.

Also showing at City Gallery Wellington during the New Zealand International Arts Festival:

Patricia Piccinini – In Another Life

19 February – 11 June 2006

Raewyn Atkinson – Designs on Antarctica

3 February – 12 March 2006, in the Michael Hirschfeld Gallery

Entry to all three exhibitions is free

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ARTIST BIOGRAPHY

Michael Smither was born in New Plymouth in 1939. He studied at the Elam School of Fine Arts at the University of Auckland in 1958, before moving back to New Plymouth in 1959. Smither’s first solo exhibition was held in 1961. Since then he has exhibited widely around New Zealand. The first major solo exhibition of Smither’s work, ‘Michael Smither—an introduction’, was curated by Jim and Mary Barr as a touring exhibition for the Govett-Brewster Art Gallery, New Plymouth in 1984. Smither currently lives and works in the Coromandel, on Otama beach.

In 2004 Michael Smither was made a Companion of the New Zealand Order of Merit for his services to the arts. Most recently, Ron Sang’s substantial publication Michael Smither Painter was nominated for this year’s Montana Book Award.

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Principal Sponsor: Ernst & Young

An Auckland Art Gallery Toi o Tāmaki touring exhibition.

Media Release: December, 2005. 

Every summer, the Michael Hirschfeld Gallery presents a group exhibition featuring new and exciting work by emerging Wellington artists.

This year curator Emma Bugden has brought together a group of artists connected by their interest in the realm of the social: the relationships between people, and the negotiations these relationships often require.

Emma Bugden says: "How To Be A Friend doesn’t offer a quick fix or manual for community living. Instead, these artists are actively exploring the complexity of living alongside others, and the intricate networks that connect us as individuals to the wider world."

Works in the show include Tim Armstrong’s investigation of Father Christmas’s origins in Saturn, the ancient god of fertility and harvest; a collaborative project by Elizabeth Allan and her grandmother Dorothy Irvine, who worked together to remove a barbed wire barricade that had separated Irvine’s house from neighbouring Housing New Zealand flats; and Sandy Gibbs’s video work Gloria, drawn from a series of works in which Gibbs advertised in the Dominion Post for women who would talk about their relationships on film.

A special feature of the exhibition will be two live performances by Sarah Stevens in December. Stevens will take over the front entrance to City Gallery Wellington, inviting members of the public to learn how to make candyfloss on a portable machine. In perfect agreement with the social theme of How To Be A Friend, Stevens says "I like the idea of giving something – not something grand, just a small gesture". Keep an eye on this website for performance dates and times. 

How To Be A Friend features work by:

Elizabeth Allan & Dorothy Irvine 

Jemma Woolmore 

Tim Armstrong 

Sandy Gibbs 

Caroline Johnston 

Rebecca Pilcher

Kyly Ashman, Mike Marsh & Chantelle Waring 

Sarah Stevens

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