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Hana Pera Aoake

Title: Sex and the city but Maaori: Under southern skies
Year: 2019
Length: 05:11
Credits: Tēnā koutou to Calse Ross, George Watson, Alex Laurie, RNZ (You still don’t give a balanced or fair representation of Māori issues though, especially Ihumātao), Bindi Irwin, Nikki Webster, Kylie Minogue and Home and Away. Arohanui and kia kaha to the kaitiaki resisting colonial violence at Ihumātao, Djap Wurrung’s sacred birthing trees, Wet’suwet’en Nation and Mauna Kea. S/o’s to the Gadigal people of the Eora Nation, whose stolen land we now stand and show work on. Tino rangatiratanga! Ake! Ake Ake!


Kōwhai emerged from an exploration of the relationship – whakawhanaungatanga – between moving image, kapa haka and waiata. Kōwhai parallels the immersive experience of my ongoing commitment to learning Te Reo Māori, exemplifying the creation of Te Ao Māori – from nothing to something – passed down through generations via ngā momo kōrero or oral storytelling.
Thematic tags: Performance, narrative, body, abstraction, new media, technology, sound, spirituality, indigenous methodologies.

Title: Looking For Love
Year: 2017
Length: 01:32

Hana Pera Aoake (Ngaati Hinerangi, Ngaati Mahuta, Tainui/Waikato) is an artist, writer and teacher based in Te Wai Pounamu on Kai Tahu land. Hana co-founded Fresh and Fruity in 2014, and is now an editor at Tupuranga journal and Kei te pai press. Hana holds an MFA from Massey and recently completed the ISP programme at Maumaus des escola artes in Lisboa, Portugal. 

Keitepaipress.com 


Gillian Green

Title: ‘Untitled’, From the Same World series
Year: 2019
Length: 04:51
Format: Video projection of 16mm analogue film

‘Untitled’, from the From the Same World series uses in-camera double exposure on 16mm analogue film. This film seeks to remove any recognition of the exact whereabouts of the subject matter in order to facilitate a visual experience of nature that can’t be located in the natural world, but can still be recognised as nature in its combined effect. This recognition can only be located in internal feeling processes, by an internal embodied understanding of experience, our own slowing mind. This work explores a different experience of being with nature, and as a way to create the meditative state the artist uses as being part of her creative process.

Gillian Green is a photo-filmic artist based in Aotearoa New Zealand who completed her Master of Visual Arts degree in 2019. Her work investigates personal lived experience and the construction of identity through exploring photo-filmic methods both analogue and digital. Green uses her camera to both prompt and enable a disconnection from the noise of the world by providing a focus on the experience of the present. She is interested in the connection between the object, the camera, the film, the artist and the viewer, and the notions of temporality and chance that exist within these relationships. Her ongoing work project questions how photo-filmic processes, with their reliance on real-world material objects, can be used to explore the non-materiality of meditative engagement, memory, embodied experience and personal subjectivity. Her exploration of these processes and practices have also helped her to articulate the very bodily experiences and their benefit that manifest through transformation and change within both her art practice and her life, using it as a means to be in the world and contribute to that world.

https://www.youtube.com/channel/UCqKSp6Nsh7SvdQuOGTV9PfA Instagram: @gilliangreenart


Charlotte Parallel

Title: When do the trees sleep?
Year: 2017 Singapore
Length: 02:35
Credits: Asia New Zealand residency at A.I.R: Instinc Gallery Singapore. Videographer: Chin Wan Xuan

When do the trees sleep? is a poetic question that seeks to draw attention to the energetic forces that intersect within the streets of Singapore. When do the trees sleep? sound walk was part of a telematic performance with Jon He, held at INSTINC Gallery, 24th of March at 8pm. Singapore. Charlotte Parallel uses a DIY light-to-sound transducer/solar panel to amplifier, to play the ‘lumen noise’ as electrical networks in the block around Instinc Gallery.

Charlotte Parallel is a New Zealand artist based in Koputai Port Chalmers working in the fields of sculpture, sound, performance, collaboration and site responsive projects. Parallel completed her MFA at Otago School of Art Dunedin in 2016. She has exhibited throughout New Zealand and internationally since 2010.

Instagram: @charlotteparallel


Lila Bullens

Title: 2.5 Kilometre Mono Action for a Mirage
Year: 2011
Length: 03:29
Format: 35mm, Dolby 5.1 xfer to HD
Credits: Director: Alex Monteith
DOP: Duncan Cole
Sound Recordist: Jeffery Holdaway
Dolby Digital Mix: Park Road Post
35mm Print: Weta Digital
Artist Cinema Commissions
Mark Williams
In association with Creative New Zealand & The University of Auckland Elam School of Fine Arts

Flux, balance, illusion. A Moto-X rider pulls a continuous wheelie over 2.5 kilometres of coast-line north of Muriwai in Aotearoa New Zealand. The wheelie is one of the most delicately balanced longer durations stunts for a MX rider. The action was conceived specifically for the hazy atmospheric conditions of the Aotearoa coast and takes place on the hard sand revealed only at low tide.

Alex Monteith was born Belfast, Northern Ireland in 1977 and moved to Palmerston North, New Zealand in 1987 with family. She currently lives and works in Auckland. Monteith completed BFA in Photography in 2001, MFA in Intermedia and the time based arts and DocFA at the Elam School of Fine Arts, The University of Auckland. Between 1999 and 2012 Monteith was actively involved in art discourse through exhibition, panel discussions and gallery floor talks (art galleries, film festivals, TV and radio both nationally (NZ) and internationally).

Monteith also was a competitive surfer for 6 years, she was the Irish National Women’s champ in 2001 and represented Ireland in both the 2002 ISA world surfing games in Durban, S.A. and the European Surfing Championships in 2001 in addition to competing on the NZ national circuit.

www.alexmonteith.com


Yukari Kaihori

Title: Mono No Aware
Year: 2015
Length: 02:39
Format: Digital video

Mono no aware – is one of Japanese aesthetic value, an awareness of the impermanence and transience of life and the gentle sadness and wistfulness that comes with this knowledge – literally translates to “the pathos of things”. Mono no aware is universal that can be experienced by anyone though accepting life as it is relates to the core of the Zen practice. It teaches the mankind is not the centre of the world but in observing nature we see the life and death cycle and the mortality of being: everything with a beginning has an ending. This aesthetic put the emphasis on the ephemerality of mankind and insists that the we observes time and being. The present moment is the product of what has been done in the past. This work was made during the 3-months artist residency and exhibited at 30 Upstairs Art Space in Wellington in 2015 along with the series of paintings.
Thematic tags: Landscape, politics, environment/ecology, decoloniality, history, spirituality

Yukari Kaihori is a visual artist currently based in Tāmaki Makaurau. Kaihori is primarily a painter whose works change from project to project but a theme she often investigates is the “in- between-ness” of cultural and social values, the physicality of artworks, the Western and the Eastern, organic and mechanic, permanent and temporary, and nature and men. She has exhibited her work in both public and private spaces including we painted the wall with cracks (2020) play_station, This Land is All We Know (2019) Hastings City Art Gallery, Infinite Planes ( 2019) Parlour Project and Blue Fancy ( 2019) Milford Galleries. She was the recipient of Pollock Krasner Foundation Grant award in 2015 (NY), and was a Fellow at the Vermont Studio Center, Virginia Center for the Creative Arts and Oberpfälzer Künstlerhaus in Germany.

https://www.instagram.com/yukari.kaihori


Edwina Stevens

Title: The Material Thing is Vibrating Into the Emptiness
Year: 2019
Length: 24:12
Format: Single-channel video

The material thing vibrating into the emptiness is a video work considering the change encounter across various materialities. In this work, two phenomena of light, materiality, and time intersect. One element is comprised of winter light filters through a Eucalyptus tree, refracted through a warped 100-year-old windowpane onto the wall, on an oblique angle for a brief moment every day over a week, then it is gone. Another element is also of winter light, filtered through a different Eucalyptus, refracting through a glass on a shelf causing it to ‘bend’ around a corner and streak down the hallway wall. These moments were recorded every morning for the week and compiled together as visuals for live performance. In this production of this video, the visual was arranged to sound, and then in response, the performance is made to the visual, exploring the relationship between the two and the potential they carry in this relationship.
Thematic tags: Performance, abstraction, sound

Title: Lands Line
Year: 2015
Length: 11:09
Format: Single-channel video

This work was developed as a circular projection as visuals for live sound performance.Filmed from the back of the Taieri Gorge Train from Dunedin to Middlemarch, the video has been drawn out across frames to restrict the viewer focusing on any particular detail, prioritising the motion of moving through this valley only accessible for the train-line, time and space blurs past us. The work addresses the colonial lines we Pakeha make and follow on the landscape, following/exploiting water lines and indigenous Māori travel routes, while reflecting on the timelessness and remoteness of rural Southern Aotearoa.
Thematic tags: Landscape, environment/ecology, decoloniality, sound

Edwina Stevens (Dunedin, Aotearoa/Melbourne) is an audiovisual artist working across composition, installation and live performance focusing on synthesized sound, field recordings, found acoustic elements/instruments and obsolete media. Her work investigates audiovisual processes of engaging with places that are collaborative, improvisational and serendipitous, exploring entanglements of the temporal, material and experiential through chance encounters, tangential processes and unanticipated outcomes.

www.vimeo.com/eves
www.disrhythms.net
www.soundcloud.com/e_eves
eves.bandcamp.com


Lucy Aukafolau

Title: Invisible Territories
Year: 2013
Length: 08:55
Format: Single-channel video
Invisible Territories is a video work comprised of footage taken during Aukafolau’s first trip to Tonga with her father and uncle to their homeland in ‘O‘ua Ha‘apai. Adopting the role of an observer, her participation in the journey is guided not by personal way-finding intentions but rather attempts to situate and orient her experience of place within her father and uncle’s collective memory of ‘O‘ua. Throughout the installation there are glimpses of boat journeys at different times of the day capturing the activity at sea; the offload of goods and the boarding and disembarking of ferry passengers. The flurry of activity at sea brings to life the importance of the ocean as a means of travel and communication, evoking the prophetic visions of the late ‘Epeli Hauofa and his notion of a ‘Sea of Islands’ where Pacific islands are connected rather than separated by the sea.
– Epeli Hauofa. “Our Sea of Islands” in In A New Oceania: Rediscovering Our Sea of Islands, edited by Vijay Naidu, Eric Waddell, and Epeli Hau‘ofa. Suva: School of Social and Economic Development, The University of the South Pacific, Suva, 1993, 147–161.

Lucy Aukafolau (b.1991, Auckland, New Zealand) is a video artist currently based in Berlin. She completed a Bachelor of Fine Arts (Honours) at Elam School of Fine Arts at the University of Auckland. Her practice is concerned with the theory of psychogeography and its relationship to the physical actions of navigation, travel and negotiation of space that reveal new territories and experiences.

https://www.circuit.org.nz/artist/lucy-aukafolau


Sonja van Kerkhoff

Title: Wrapping for a Marginal Citizen
Year: 1994
Length: 13:26
Format: SVHS (undigitised)
Credits: Music: Michel Verheecke (Belgium)
Voice: Sonja van Kerkhoff
Actors: 6 children.

A quasi-self-portrait of an artist and mother of young children where I use my own art objects as as backdrops or elements to complement the narrative. The children’s actions extend the narrative. Two voices: a pessimist and optimist ‘converse’ as images of eggs played with, being forced into transparent egg-cups, being eaten and being broken merge between images of my art objects being played with by the children. The “Wrapping”, a long cloth bearing images of a baby with text directed at the viewer, occurs and reoccurs throughout the video, reminding us of the dichotomy of the spectatorship of art

Sonja van Kerkhoff is a New Zealand artist based in the Netherlands and Aotearoa. She uses diverse materials and media to produce lyrical work often with a conceptual edge.”My works are narratives as aesthetic experiences in sound or vision, whether in static, interactive or time-based media.”

www.sonjavank.com


Alex Monteith

Title: 2.5 Kilometre Mono Action for a Mirage
Year: 2011
Length: 03:29
Format: 35mm, Dolby 5.1 xfer to HD
Credits: Director: Alex Monteith
DOP: Duncan Cole
Sound Recordist: Jeffery Holdaway
Dolby Digital Mix: Park Road Post
35mm Print: Weta Digital
Artist Cinema Commissions
Mark Williams
In association with Creative New Zealand & The University of Auckland Elam School of Fine Arts

Flux, balance, illusion. A Moto-X rider pulls a continuous wheelie over 2.5 kilometres of coast-line north of Muriwai in Aotearoa New Zealand. The wheelie is one of the most delicately balanced longer durations stunts for a MX rider. The action was conceived specifically for the hazy atmospheric conditions of the Aotearoa coast and takes place on the hard sand revealed only at low tide.

Alex Monteith was born Belfast, Northern Ireland in 1977 and moved to Palmerston North, New Zealand in 1987 with family. She currently lives and works in Auckland. Monteith completed BFA in Photography in 2001, MFA in Intermedia and the time based arts and DocFA at the Elam School of Fine Arts, The University of Auckland. Between 1999 and 2012 Monteith was actively involved in art discourse through exhibition, panel discussions and gallery floor talks (art galleries, film festivals, TV and radio both nationally (NZ) and internationally).

Monteith also was a competitive surfer for 6 years, she was the Irish National Women’s champ in 2001 and represented Ireland in both the 2002 ISA world surfing games in Durban, S.A. and the European Surfing Championships in 2001 in addition to competing on the NZ national circuit.

www.alexmonteith.com


Sarah Callesen and Shelley Simpson

Title: The Entities
Year: 2018
Length: 15.00
Format: Two screen digital video
Credits: Audio: Sarah Callesen, video: Shelley Simpson
Our experience of the world around us is often mediated by technology, contributing to the idea that humans are separate from nature. In The Entities, artists Sarah Callesen and Shelley Simpson use visual and audio relationships between human and non-human, natural and artificial, culture and nature. All recording is subjective, mediated by both humans and technologies used in the process. The Entities considers the role of each player within the communication system, where each offers its own affect.

Simpson has created photographs of forest floor worlds in the temperate bush of Rakiura, Stewart Island – an intense, remote environment mostly devoid of human activity. We generally perceive events that occur at human scale, not too big, not too small. We can extend our perceptual range using technology. Scale shifts, time slows. The images are presented as a two-channel video work scaled up to an immersive size. Subtle animation augments the imagery, bringing attention to the sense of process, of visibility, of observer and of mediation.

In response to the macro imagery, Callesen presents an accompanying sound piece that considers change in sound at a qualitative scale other than loudness. Echo and reverb are tropes often used in film to exaggerate the sound of small things. Natural history documentaries often apply imagined sounds to visual footage, particularly for small fauna such as insects, which are too minute to capture with existing technology. Designed sound in film, television and now virtual environments, continue to fabricate what humans imagine unheard phenomena to sound like. Callesen has used designed planet atmospheres and other constructed sounds sourced from stock libraries, as well as manipulated field recordings taken by both artists.

Shelley Simpson’s images were created with the support of Creative New Zealand Toi Aotearoa and The Department of Conservation Te Papa Atawhai.

Thematic tags: Landscape, environment/ecology, sound, technology

Sarah Callesen holds a Postgraduate Diploma in Fine Arts (with distinction) and a Bachelor of Design. Her practice explores a relationship with technology, particularly the mediation of perceptual experience. She works predominantly in the mediums of drawing and sound. Her work has been exhibited as a Merit Award winner in the 2018 Parkin Drawing Prize, as well as a finalist in the 2016, 2015 prize exhibitions. A finalist in the Molly Morpeth Canaday Award (2017), and in the Wallace Art Awards winners and finalists travelling exhibition (2015). The artist had a site specific work in the 2018 Auckland Art Fair ‘Projects’ exhibition, the group show ‘I Understand If You Are Busy’ at RM gallery (2018), and group shows at the George Fraser and Projectspace galleries, Elam School of Fine Arts (2017, 2016).
www.sarahcallesen.com

Shelley Simpson’s multi-disciplinary art practice is concerned with exploring the porous boundaries between the binary concepts of nature/culture and human/non-human. She works with materials that reference ecology and materialism, with specific attention given to agency, affect, labour, transformation, cooperation and symbiosis. Her recent projects explore extractive mining practices as a vehicle for examining wider issues. She is the recipient of a Wild Creations grant from CNZ and DOC for 2018 which funded a project based on 19th century tin mining in Stewart Island. Shelley received an MFA (First class honours) from Elam in 2016. In September 2017 she attended the course Posthuman Ethics in the Anthropocene, with Prof. Rosi Braidotti at Utrecht University, The Netherlands.
www.art.shelleysimpson.co.nz


Moving Image Archive is a RM Gallery and Project Space project
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