Sat: 5 March, 11 a.m.
Booking is necessary - book here
Catalogue launch with refreshments
RSVP: before 3pm, Fr 4 March.
A vaccine pass is required to enter the gallery
A few copies will be for sale for $7 each. Most have been pre-ordered. The launch will be outdoors.
5 March, 12-1:30 p.m., The 3RD One Hour International Short Film Festival (OHISFF)
Booking is necessary - book here
RSVP: before 3pm, Fr 4 March.
See the Programme of 27 short films
. See the 2018 edition or 2021 edition
Still from Mons Pays (My Country) by Diek Grobler, South Africa
2 Colouring in pages - in response to lockdowns, Sonja made two pages based on artworks in the exhibiton you can colour in at home
The Chair and kōtare (kingfisher) refer to Emma + Pascal's
work and the other to Nawruz, Lissy and Rudi
Some of the Artist projects
Robert and Bev | Nawruz and Lissy + Rudi | Lloyd, Shaeron, Robert, Xiaojie, Nawruz and Yllwbro | Jumaadi and Brenda | Jessy and Prabhjyot + Lipika | Pieterje and Phil | Chiara and Cathy
Martin and others | Shaeron and Ashleigh | Masud and Ursula | Emma and Pascal | Aodhan, Sen, and others | Xiaojie, Cle + Sonja
Ancillary projects: Selfies from the Other Side | Postcards from the Other Side |
Robert Hamilton, Ontario, Canada
Bev Goodwin, Auckland | Tāmaki-makau-rau
The footage for the video, Global Pandemic
, shot by Robert Hamilton and Bev Goodwin over the same weekend, shows Robert's city neighbourhood in winter lockdown, contrasted against Auckland's Mission Bay beach - Bev's neighbourhood. View the 1 minute 34 second video here: https://vimeo.com/507342846
(1962, Canada) robert-hamilton.ca
Robert Hamilton is a Full Professor of Multimedia at McMaster University, Canada. He has a Master of Fine Arts from the School of the Art Institute of Chicago and a second MFA from the Jan Van Eyck Academie, Maastricht, The Netherlands.
His research primarily involves digital video, animation and interactive gallery installations. He has been the recipient of ten Canada Council Grants and two Ontario Arts Council grants. Since 1986 Robert Hamilton’s artwork has been presented in numerous international festival, galleries and museums. His work has been exhibited in such venues as Hilversum Museum, The Netherlands 2008, Museum of Contemporary Art in Castello, Spain 2005 and Transmediale in Berlin 2004. His video work has won awards such as the German Video Art Prize and The Chicago Film Festival Silver Hugo Award.
Robert is also one of the five artists participating in: Yllwbro's project
Bev Goodwin instagram.com/bevgoodwinartist
Auckland-based Bev Goodwin gained her Diploma in Fine Arts in Italy and furthered her studies in Design at Unitec, Auckland. Her works have been included in the Bondi Beach, Sculpture by the Sea (Australia), three times in the Auckland Botanic Gardens' Sculpture in the Gardens exhibition, where once this was a collaboration with Jeff Thomson; Kaipara Coast Sculpture Gardens; Outside the Square; NZ Sculpture OnShore (Devonport) and the Brick Bay Sculpture Park.
She focusses on sculpture and installations in wire, hosing, and other low tech, and recycled materials and often makes work for a specific location. For this exhibition she will make a site specific work as part of The Green Line
"While using unusual and recycled materials that mimic nature, I am asking the question: how fine is the line between the natural and the artificial? I hope to extend the imagination and possibilities in new found solutions."
She has work in national and international collections.
About her 2016 'girl' buoys
in the Auckland Botanical Gardens. Her 'girl' buoys drew on buoys she saw on the sea from Sicily, looking like women dancing on the waves, and named each after a Greek or Roman goddess.
Global Pandemic II
: For the Papakura exhibition Robert made a second video with footage by:
Ashleigh Taupaki, Brenda Liddiard, Mark Laurent, Sonja van Kerkhoff and Ursula Christel contrasting the lockdown in Aotearoa | New Zealand with late summer Canada.
Still from Global Pandemic II by Robert Hamilton.
Manila, The Philippines
Lissy and Rudi Robinson-Cole,
Auckland | Tāmaki-makau-rau
Lissy and Rudi Robinson-cole crocheted a sculptural 'frame' in response to the hand imagery in Naruw's animation, My Journey to BLISS
and then Nawruz edited this animation to includes elements of Lissy and Rudi's own work. BLISS is the name of the low income suburb, where Nawruz has lived for 10 years, close to the University of the Philippines.
(1985, Cagayan de Oro, southern Philippines) linkedin.com/in/nawruzpaguidopon
Nawruz moved from Cagayan de Oro to Manila in 2002 and completed a 4 year degree in Fine Arts from the University of the Philippines (UP) in 2007. Currently he works at the UP Film Institute in Manila.
Still from "A Butterfly Taboo" (2010), by Nawruz Paguidopon.
In 2009, his first short feature documentary, "Rhose, Where Do Your Dreams Go?"
, was funded by the National Commission for Culture and the Arts.
In 2010 he participated in two production and mentoring workshops for his short documentary, "A Butterfly Taboo"
. This film chronicles the Ladlad Party during the 2010 Philippine National Elections in a personal poetic animation-documentary that illustrates how the Lesbian Gay Bisexual and Transgender community struggle for representation despite the notion of "acceptance" in contemporary Philippines. It won 3rd prize in the documentary category at the 23rd Gawad Alternatibo
(Established in 1987 facebook.com/gawadalternatibo
), a prestigious award giving body for alternative films in the Philippines.
In 2014, for the film "God BLISS Our Home"
he attended mentoring programmes funded by the Goethe-Institut Philippinen, Philippinen, Alliance Française de Manille, UP Film Institute, Independent Filmmakers Cooperative, and De La Salle College of St. Benilde School of Design and Arts. God BLISS Our Home
was also the result of a mentoring session at the Hanoi DocLab Southeast Asia summer workshop with the Dutch filmmaker Leonard Retel Helmrich. Short versions of this film were shown at the film festivals, NHK World Japan
and National Geographic Korea
In 2014, he finished his first full-length documentary A Journey to Haifa
. Nawruz was raised in a Bahai family and the International centre for the Bahai Faith is in Haifa. This film is a poetic social-political documentary of a journey with his parents and sister as a gay man. It was selected as one of the ten finalist films for Cinetotoo: Philippine Documentary Film Festival
"God BLISS our Home"
(2017) 74 minutes (54 minutes), produced in Korea and The Philippines
: BLISS (Bagong Lipunan Improvement of Sites and Services) is 1970s a government housing project in various locations around Manila. For decades, the BLISS site near the University of the Philippines Diliman campus, the country's premier state university, has become a shelter for local migrants, city workers, and college students — due to its relatively cheap rent. Filipino filmmaker and animator, Nawruz Paguidopon has been living here for 10 years. He struggles on intermittent freelance design and animation work, sells beauty products, joins a community lending scheme, and thinks of renting a whole flat in BLISS, to lease its rooms to others to earn and save money.
One day, his mother calls and asks him to come home. She is worried about his financial troubles and offers to help. Reluctantly, he agrees, and uses this opportunity to connect again with his family, especially with his mother whose values have always been old-fashioned.
"God BLISS our Home"
is Nawruz’s self-portrait documenting his struggles to survive in Manila, his passion to pursue his dreams and continue making films, and his efforts to position himself in the vast socio-economic and political sphere of a fast-paced city. Set in a period when the Philippines is said to be regaining its strength after years of economic setbacks and poised to become one of Asia’s promising economies, "God BLISS our Home"
follows Nawruz as he tries to hold onto his big dreams. Touching on various subjects such as poverty, politics, and history, it presents the hardships of a young Filipino wanting to find fulfillment personally and professionally. But it is also his personal letter to his mother, an attempt to make her understand his sexuality and his priorities in life.
"Toro Mai Tō Ringa" (Take My Hand), 2021 by Nawruz Paguidopon and Lissy & Rudi Robinson-Cole.
Custom-made wool, 13 minute projection with voice, singing and music.
Lissy writes Nawruz's name for the exhibition at artHAUS.
"Te Ara ki Rangihoua: The Way to Rangihoua" by Yllwbro
This work by Yllwbro consists of scallop shells bearing moko kauae (Māori chin tattoo) along with a text referencing the Camino de Santiago - The Way of Saint James
- a network of walking tracks in Northwestern Spain, the Hīkoi Rangihoua
, the pilgrimage way initiative being developed by Te Hāhi Mihinare - the Anglican Church in New Zealand that returns to the site of the mission
station established at Rangihoua in the Bay of Islands, where
the Reverend Samuel Marsden celebrated the first Anglican service on Christmas Day in 1814 and the story of Tarore, the 12 year old daughter of Ngāti Hauā chief Ngakuku who attended the Mission School in Matamata and learned to read in Māori. At
that time one of the few books available in the Māori language was
a recently published translation of the Gospel of Luke. Tarore wore this text in a purpose-made kete (container) on a cord around her neck.
For these exhibitions each shell is hung at the heart height of the first five overseas artists that participated in the "Take Care" zoom sessions. Each of their names,
Lloyd, Shaeron, Robert, Xiaojie and Nawruz
is pencilled onto the wall by their NZ partner.
Hung at the heart height of each of the artists: Lloyd, Shaeron, Nawruz, Robert, and Xiaojie
Photo: Ursula Christel.
Still from Diary of Dust (2016) featuring Jummadi's, 2014, 7 metre (23 foot) drawing
made during his residency at the Halsey Institute of Contemporary Art,
College of Charleston School of the Arts, South Carolina, U.S.A.
Animated, Produced, and Directed by: Dave Brown
The Halsey Institute commissioned San Francisco-based filmmaker Dave Brown
to create a video animation with original gamelan music composed and performed by Nathan Koci.
For more information on Jumaadi's 2014 exhibition Forgive Me Not To Miss You Not: halsey.cofc.edu
Courtesy of the Halsey Institute of Contemporary Art, College of Charleston, USA
Jumaadi, Sydney, Australia
/ Yogyakarta, Indonesia
Auckland | Tāmaki-makau-rau
Brenda's free-form cloudscapes are juxtaposed with three images of Jummadi's work in his studio in Yogyakarta where due to covid, he has not been able to visit, since January 2020. Brenda's cloud forms were inspired by the views from her high story apartment during lockdown.
An animation of Jummadi's drawings is also in the exhibition.
"Roaring Twenties" (2020) by Jessy Rahman
Jessy Rahman, The Hague, The Netherlands
Lipika Sen, Auckland | Tāmaki-makau-rau,
Prabhjyot Majithia, New Delhi, India
They responded one of Jessy's portrait photographs, the Roaring Twenties.
(1961, Suriname) jessyrahman.nl
The Surinamese lyrics: "boesi bari wo wo jo wo wo jo, a no bari wo wo jo wo wo jo," loosely translated as: "the bush is crying out in excitement, and yes indeed it is no ordinary sound." reflects Jessy's mixed heritage formed by customs and manners of the plantation owners, slaves and contract workers who came from many different parts of the world. His playful interactions with audiences, with adults, children, animals and/or plant life, are based on this rich cultural background.
He has curated and co-curated many exhibitions in the artist run Quartair gallery quartair.nl
of which he is a co-founder, as well as and other galleries around Europe. He participated in long term artist residencies were in Suriname (1994) and India (1997) and he has participated in short term art projects in Switzerland, Italy, Bosnia-Herzegovina, South Korea, Sweden the U.K. and Canada. In 2015 he participated in "Jump into the Unknown," at the 56th Venice Biennale. quartair.nl/jump-into-the-unknown/
Lipika Sen and Prabhjyot Majithia
They have worked collaboratively for 18 years on multi-dimensional works that include sculpture, acrylic on canvas, digital drawings, words, sound, music and film. A few of these are: the 6 meter high public art work: "The Firkee Wala - In My Heart Of Eternal Childhood" in New Plymouth; "Tricky Box 5 - The Curious Indian Water Well," shown at the NZ Sculpture on Shore 10th Biennale (2014) and then acquired by Tauranga Sculpture Park where it is permanently installed. They featured in the Ted X Tauranga 2015 and have shown in galleries across New Zealand including the Whakatane Museum 2015, the National Fieldays No. 8 Wire Art Awards 2014 - Waikato Museum, the Tauranga Arts Festival 2015, Hamilton Garden Arts Festival 2016 and in 2015 were commissioned to make a mural by the Tauranga City Council. The 4.5 meter high "Tricky Box Tree of Giving" commissioned for Tauranga's Christmas in the Park, features (in collaboration) Tiki Tane's song "No place like home" (See this youtube clip
They were awarded the Asia New Zealand Foundation Grant for the Belgadia Palace Art Residency in Mayurbhanj
, Odisha, India, resulting in an exhibition at Studio One Toi Tu, Auckland (Dec 2020 - Jan 2021) - asianz.org.nz
Their corten steel and timber outdoor sculpture "Gubbare Wala - the Balloon seller" remains on show in the Kaipara Sculpture Gardens until November 2021: kaiparacoast.co.nz
They also have an outdoor work in the 2021 Splore Music Festival : www.splore.net
Colour Wheel (2021), acrylic on board by Pietertje van Splunter
Pietertje van Splunter, The Hague, The Netherlands
Phil Dadson, Auckland | Tāmaki-makau-rau
For the March exhibtion Phil's kinetic work was a response to this painting of Pietertje's posted from the Netherlands.
Other works will be shown in the Papakura exhibition.
E-Motion (Kinetic series #1), 2021, Phil Dadson. Acrylic paint on wood, motor/Arduino module, steel stand
Colour Wheel by Pietertje van Splunter. Photo: Ursula Christel
Detail, Metamorfosi, 2021. Archival pigment ink photographic print on Hahnemuhle photo rag 306gsm.
140 x 90 cm. This features Matera where Chiara lives.
Rigenerazione, 2021, Chiara Rubino and Cathy Carter
Archival pigment ink photographic print on Hahnemuhle photo rag 306gsm.
140cm x 90cm, $2500
Chiara Rubino, Matera, Southern Italy
Cathy Carter, Auckland | Tāmaki-makau-rau
Cathy created 3 photographic images combining her own and Chiara's photograhs. These mandala like images integrate Cathy's turbalent New Zealand waves with Chiara's Basilicata Italian city and landscape.
Excerpt from a E la RAI Basilicata (Basilicata Regional News), March 2021
From Matera to New Zealand: - Chiara Rubino's photographs will be exhibited in Auckland as a tribute to Matera, 'the city of stone.' Chiara Rubino is not a professional photographer but she certainly has the talent for it. The term seems appropriate now, as Chiara's photographic works have been selected to represent Italy in New Zealand, in the multicultural exhibition E Tiaki / Take Care, or 'let's take care.'
Igor Uboldi, Reporter for RAI 4
Chiara says, "I am very passionate about religious and traditional rites, and am inspired by the devotion and dedication that I found in our small communities. The Take Care project has allocated New Zealand artists to 'take care' of their counterparts in countries more affected by Covid - to combine their own art in some way, with their partner's concepts, from afar. Cathy blended her photos with mine, depicting the landscape, the tradition, and the territory of Matera - using her wave imagery as a symbol of both the physical and emotional weight experienced by the people of Matera."
... the artist Cathy Carter, fascinated by the beauty of the 'city of stone', chose Chiara's photos to reinterpret - to combine them with her personal interpretation. The exhibition will open in the second half of March with the hope that this impressive vision of the water over the stones (dei Sassi, is also a reference to the ancient stone city of Matera) will serve to 'wash away the virus', or at least the solitude of isolation will be reduced via this artistic bridge.
(Interview by Igor Uboldi, TGR Basilicata, Regional Public Broadcast for RAI 4)
Martin Wohlwend, Liechtenstein
Martin's Aus dem Gleichgewicht
(Out of Balance), 2016 project made in pre-COVID times, included a custom-constructed uneven floor, and 'dialogues' with meditations, workshops and concerts with the artist.
Martin R. Wohlwend
Martin lives and works in Liechtenstein, Switzerland and Istanbul. He studied art in the USA, China and Switzerland (Master of Fine Arts, Art in the Public Sphere) and teaches painting at the Kunstschule Liechtenstein (Liechtenstein School of Art). With a background in painting, these days his focus is working with the transformative power of participatory installations and interventions to throw light on the imbalances in society. More: https://martinwohlwend.kleio.com/
Detail of Aus dem Gleichgewicht Out of Balance by Martin Wohlwend, 11 mats and carpets.
For the March exhibition at ArtHAUS (see image on right), 11 mats and carpets were lent by other artists in the exhibition - leaving that area in their home exposed for 3 weeks.
These were re-arranged as a sculptural floor assemblage, several times during the exhibition, to acommodate the workshops and concerts also held in the same small gallery space. This suited Martin's relational aesthetics - art that is a result of diverse relationships and in this case his artwork here was influenced by the each of the NZ artists who lent carpets and mats and by those who made rearrangements.
For the Papakura Art Gallery exhibition mats and carpets lent from the community will be arranged in two different ways for the two galleries in line with our concept of creating a daytime and nighttime world in each gallery.
Visitors will be welcome to move the carpets or mats around in the front sunlight gallery while the arrangements in the second darkened gallery of projections will remain static during the exhibition. Auckland based Filipino artist Louie Bretana will arrange these to become the context by which visitors view Louie's suspended sculptures and reflect on the dialogue his work inspires.
Photograph on right
Above: Detail of photographic works by Cathy Carter and Chiara Rubino
Global Pandemic, video by Bev Goodwin and Robert Hamilton
Kete (basket) I by Shaeron Caton Rose and Ashleigh Taupaki
Lightbox by Cathy Carter.
Detail of "Aus dem Gleichgewicht" Out of Balance, 2021, by Martin Wohlwend, 11 mats and carpets.
Kete I (basket) and Kete II (2021) by Shaeron Caton Rose and Ashleigh Taupaki.
The feathers and the print made with these feathers, and ink created with local pigments
were presented in structures made by Ashleigh.
Shaeron Caton Rose, North Yorkshire, U.K.
Ashleigh Taupaki, Auckland | Tāmaki-makaurau
In light of their zoom discussions on caring and support, Ashleigh made 'waka huia' (vessel / container) structures to physically support Shaeron's work. The feathers she posted which she used to make the monoprint with pigments she made with earth from Yorkshire.
Shaeron Caton Rose
Shaeron has exhibited and worked as an artist for over 30 years. She has a Fine Art degree and MA. Her work is in installation and printmaking and she also works in Social Art and wellbeing and art practice, running retreats and community art projects across Yorkshire UK. She is also Workshop Leader in Print at Henshaws Arts & Crafts Centre for adults with a disability in her hometown of Knaresborough. She writes a weekly art meditation for Leeds Methodist Mission which can be found on her website blog. Her forthcoming book "Soul Art" provides a manual for delivering art and wellbeing retreats to the community (Wild Goose Publications September 2021). In 2020 she and fellow artist Linda Baines set up ReCreate, a charity delivering art and wellbeing retreats to communities in areas of deprivation. Links below for artist and charity websites.
Shaeron also has a work in the Postcards from the other side
(b. 1997, Waitakere, New Zealand, Ngāti Hako, Ngāti Rangitihi, Ngāti Kahungunu, Vailoa Faleata, Matautu Lefaga)
She lives and works in Tāmaki-makau-rau, Auckland, New Zealand and explores Māori connections to place through concepts of indigenous narrative and non-human agency. Working with hard materials, she creates sculptures that manifest ideas of kaitiakitanga (stewardship) and collaboration with natural resources. She depicts places that are significant to her own ancestral origins in Hauraki, New Zealand, and strives to revitalise the stories and knowledge of her people and lands.
Her recent exhibitions include "Where You From", Te Uru (2020), the "New Artists Show", Artspace Aotearoa (2020), "Matā", RM Gallery (2020) and has written for Mayfair Art Fair, and a number of independent zines. She has recently been awarded a Ngā Manu Pīrere Award from Creative New Zealand for her achievements as an emerging Māori artist. She has recently completed an MFA at Elam School of Fine Arts, The University of Auckland. teoreore.blogspot.com
There will be a new composition for the Papakura exhibition incorporating two prints by Shaeron.
The Wealth of the Nation (2021) by Masud Olufani and Ursula Christel,
March 2021, artHAUS, Auckland, Aotearoa New Zealand.
Repurposed birdcage, brass bell, 2 framed digital prints, NZ native timber,
cut and burned copy of
Adam Smith's A Wealth of Nations, twine, shellac. 50 x 200 cm.
Masud Olufani, Atlanta, USA
South Africa and Warkworth
The Wealth of the Nation (2019) by Masud Olufani.
Graphite on paper and burned copy of
Adam Smith's A Wealth of Nations. 24 x 36 inches.
See more here: www.masud-olufani.com
Ursula Christel reinterpreted of Masud Olufani's ""The Wealth of the Nation." A video in the exhibition gives an impression on how they worked together on this new work.
Masud Olufani is an Atlanta based actor, mixed media artist, and writer whose studio practice is rooted in the discipline of sculpture. He is a graduate of Morehouse College, and The Savannah College of Art and Design where he earned an M.F.A. in sculpture in 2013. www.masud-olufani.com
Olufani's 2019 work, "The Wealth of the Nation" (graphite on paper and burned copy of Scottish economist and moral philosopher, Adam Smith's, The Wealth of Nations, first published in 1776) is a framed installation. The drawing depicts a detailed portrait of an African American women, whose face bears the marks of time. Her anonymity suggests she represents many similar faces. Masud destroyed the book by sawing it in half and then burning it with a blowtorch. The charred remains were coated in resin and framed beneath the portrait.
Themes of colonialism, racism, and exploitation are also relevant in NZ - a country that is only now introducing a bi-cultural History curriculum, to be taught in schools from 2022.
is a multidisciplinary artist, tutor, writer and inclusion advocate for the disability sector. Born in South Africa, she studied Fine Art and Art History at the University of Kwazulu-Natal. She immigrated to NZ in 1996. After representing Yllwbro (an anonymous sibling duo) for the New Perspectives 2016 show at Artspace in Auckland, she became part of the Mokopōpaki whānau (wider family). Mokopōpaki is a unique art-promoting entity and gallery space, located in Karangahape Road, Auckland, New Zealand.
One of Ursula's 3 sons has Angelman syndrome. Due to a lack of resources and awareness on this rare disorder, she co-founded The Angelman Network in NZ in 2011
) and International Angelman Day in 2013 (www.angelmanday.info
She recently founded a new charity (RICI) in 2020, to promote a model for full inclusion in the local Rodney District community.
Ursula is particularly drawn to collaborative projects with fellow creatives and diverse communities.
Philoxenia (2021) by Emma Papadopoulos. Acrylic and pencil on paper, 24 x 30 cm.
Tūī (2021) by Pascal Atiga-Bridger. Acrylic on cardboard, 2021
Emma Papadopoulos, Athens, Greece
Pascal Atiga-Bridger, Tāmaki-makau-rau | Auckland
Pascal responds to Emma's series, Philoxenia
, five paintings, posted from Greece with beings who are not caught up in lockdown, our manu (birds).
Philoxenia is a word of Greek origin literally meaning
'friend to a stranger'. Philoxenia pertains to taking care of, looking after, being hospitable.
My tavern chairs, my cultural reference to Greek hospitality, are
empty right now due to lockdown. My chairs however, symbolise in this
instance how strangers become friends and take care of facilitating a
mutual cultural expression, that is, art.
Emma Papadopoulos is a British Cypriot painter born in the UK where
she studied Art & Design and Fine Art.
She has exhibited her artworks across Europe, most notably, the
Florence Biennale, The Athens Art Council, the Athens 2004 Cultural
Olympics and the Nicosia Municipal Arts Centre, among numerous others.
Her first artworks to be exhibited in a group show in Auckland, New
Zealand go on display at Arthaus Contemporary in March 2021.
In addition to exhibiting her paintings, Emma set up Outdoor Galleries
in 2019 where she organised and curated a group exhibition comprising
the works of international artists in a show entitled 'Urban Facelift',
whose aim is to enhance the urban landscape through displaying large
scale prints of original artworks outdoors. The exhibition concept was
the essence of a talk she gave at the Medea 2019 Symposium on Art,
Science and Technology held in Greece.
Emma also holds an MSc in Profound Learning Disabilities.
Emma also has a work in the Postcards from the other side
Māori - Samoan - European
(Tainui, Te Whānau-ā-Apanui)
Graduated at Manukau Institute Of Technology with a Bachelor's degree in Creative
Arts, Visual. A multidisciplinary artist from Papakura, South-Auckland who specialises in
painting. Atiga-Bridger enjoys collaborating with fellow artists,and community-focused
He is employed by Beautification Trust in a Community Support Work role and
Environmental Support Specialist.
Articles about some of Pascal's projects:
Nicosia Crossing (The Green Line) by Aodhán Floyd + Sen McGlinn
Nicosia Crossing (The Green Line)
Aodhan Floyd, County Cork, Ireland
Sen McGlinn, Kawakawa
with Emma Papadopoulos, Bev Goodwin + Sonja van Kerkhoff
A site specific installation incorporating Aodhan's drawing of his father standing in the UN buffer zone in Cyprus. Emma's thoughts as her father is a Cypriot. Reflections on Sonja's performance across the Nicosia green line, Bev's green seepage from above, and Sen's reflections and physical interventions, on the whole.
Xiaojie Zheng, San Francisco, U.S.A. / Wenzhou, China
Cle Tutuitonga, Otangaroa
Sonja van Kerkhoff, Kawakawa
China & San Francisco Pandemic stories
, two digital prints, by Xiaojie Zheng
Ngā Hononga | Connecting the two
, 2021, by Cle Tutuitonga
Two pieces of harakeke raranga (woven flax) with rope. One piece is dyed with local paru (swamp mud).
38 x 110 cm
Selfies from the Other Side
Selfie by Emma Papadopoulos,
12:25pm, 4th February 2021,
outside the Kaisariani post office, Athens, Greece.
She queued for 40 minutes to post her work for this exhibition.
Only 2 people are allowed inside at a time.
Selfie by Martin Wohlwend, 10:42, CET, 13.02.2021
Location: LAT 47.102461° N, 9.5223467° E LONG
Selfie by Robert Hamilton.
3 p.m., 13 February 2021, Hamilton, Ontario, Canada.
Selfie by Aodhán Floyd
5pm, 19th September 2020. Carrigdangan, Co. Cork, Ireland
This photo was taken for a public art project in Cork.
"We postered a mural wall on outside the art college on the main
thoroughfare of the city with selfies of members of the public along
with their messages of solidarity with the over 40,000 people who have
died since 2014 trying to cross the Mediterranean to start a new life
in Europe. I supplied a quote from the Bahai writings,
"The earth is one country, humankind its citizens".
The second part of the project was a memorial boy broadcasting the names
of those known to have died - although the actual number may be
Details of the project can be found here: https://croineamh.ie
Selfie by Ayaa Musuya (AyaaSpeaks),
7 September 2021, Lumasaaba,
Selfie by Jessy Rahman,
12:31 p.m., 13 February 2021
between The Hague, Leischendam en Zoetermeer, The Netherlands,
formerly farmland, now a nature park in development.
Selfie by Shaeron Caton Rose
13 Feb 2021, 12.30pm 0 degrees,
queueing at the butchers, Knaresborough, North Yorkshire, U.K.
(Selfie) by Masud Olufani.
2019 in the Mattress Factory Lofts in Atlanta, Georgia, U.S.A.
Photo by Dwayne Boyd
Selfie by Jumaadi.
16 February, 2021
(16 km north-east of the Sydney CBD), Australia
Selfie by Xiaojie Zheng, 25 January 2021
11:35 a.m., 25 January 2021,
25th Street in Potrero Hill district in San Francisco, U.S.A.
It was 11 Celsius and I was walking my dog in the neighborhood.
The two tents were set up for Covid testing and people were lined up.
This is new as it was not there the day before.
Selfie by Pietertje van Splunter,
8:45 a.m., 10 February 2021, outside the Peace Palace,
The Hague, The Netherlands, 500 metres from her home.
Selfie by Nawruz Paguidopon, 14 February 2021
Quezon City, Manila, The Philippines.
Selfie by Chiara Rubino,
15 November, 2020, Matera - Italy
Walking in the 3rd oldest city in the world
Time: last minute. Selfie by Lloyd Lawrence, 2021
ran out of digits
ran out of sky altogether
not a stitch on
st. valentine's day
minimum wage freak &
for chocolate for anything
just as sweet. Brooklyn
New York I love you.
Photograph by Nawruz Paguidopon, January 2021
Photograph by Emma Papadopoulos, January 2021
Postcards from the Other Side
by Aodhan, Nawruz, Emma, Shaeron, Xiaojie and Ursula
Postcards from the Other Side features images inserted into a birdcage wall installation. Five metal 'postcards' capture images taken in January 2021 - from Ireland, the Philippines, Greece, the UK and San Francisco.
Collated by Ursula Christel (as a follow-on from her work 'Essential Services/ Postcard Rack', 2020), the artists first connected via zoom, sharing their experiences of life in lockdown - the isolation, deprivation, loss, and the radical lifestyle changes they have had to make.
Traditionally, postcards are positive pictorial reminders of exciting sea and air travel, tourists, destinations, holidays and postal communication. But in the Covid-era, the travel sector has become severely restricted and, in many places, totally halted.
Instead, Covid-19 and its variants have become the tourists - continuing to 'travel' while abruptly changing the social environment of all our familiar landscapes, wherever it lands. These stark 'postcard' images remind us how much has changed and how much we all took for granted.
PR and links
Social media links
: Please share news of our show on your own social media in any manner you wish.
Take Care - Tiakina exhibition Facebook group Take Care Tiakina exhibition
Facebook event page: facebook.com/events
Sonja's instagram page: instagram.com/sonjavank
Documentation about the March version of Take Care | E Tiaki
Photos of the exhibition by Sait on: artsdiary.co.nz
Other photos: sonjavank.wordpress.com
The Take Care E Tiaki Facebook Page: https://www.facebook.com/TakeCareETiaki
Sonja's page about this show elsewhere on this website
Instagram page: instagram.com/takecare.etiaki
- managed by others
This page will be updated during the exhibition.