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Yakuri 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

https://player.vimeo.com/video/363108574

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


Aliyah Winter

Title: hardening
Year: 2018
Length: 04:18
Format: HD Video
Credits: Camera: Laura Duffy
hardening is a work responding to the biography of Hjelmar Von Danneville, a carer at the Lahmann Health Home home, who then became a patient after suffering a nervous breakdown whilst interned on Matiu Island. Shot on the original site of the home, the work imagines healing methods of hardening and air bathing.
Thematic tags: Body, landscape, feminism, sex and sexuality, LGBTQ

Aliyah Winter is an artist based in Te Whanganui-a-Tara whose performative work extends across the media of photography, video and performance.

http://www.vimeo.com/aliyahwinter


Lara Lindsay-Parker

Title: Glitch
Year: 2018
Length: 02.05
Format: Part of a 3 channel video entitled Beach body
The following is an exercise in attempting to localise my train of thought. Often fragmented and linked in ways that aren’t immediately clear to the spectator, it serves to negotiate and navigate the fruits of my research, my body, my emotions, my subjectivity and my objectivity. Although it seems conceptually naïve at times, I think it’s important to understand the complexity and extent that our technological landscape is being covertly constructed to serve and perpetuate the social and political interests of the hegemony. Particularly in relation to ideas surrounding freedom from the body (planet earth) and freedom from the body (human form) and the push to frame this ‘freedom’ as the ultimate form of liberation.
Thematic tags: Performance, body, landscape, feminism, technology

Title: Sad @ the beach 
Year: 2017
Length: 03:00
Format: Digital video diptych 
Originally made in response to a home video from the 90’s and walking by an abandoned VHS on the side of the road left in the rain. I was overwhelmingly sad upon both watching the old home video and seeing the VHS all alone in the rain, thinking back to all the nostalgic currency the two things hold. The work comes from a desire to be reconnected with a previous version of self; an obsolete self. The female body contextualises technology within the realms of objectified flesh and contextualises flesh within the realms of objectified technology. Both remain indifferent to the encroaching tide and miserable weather.
Thematic tags: Performance, body, landscape, feminism, technology, sex and sexuality

Predominantly working in moving image and video, Lindsay-Parker aims to examine the ways in which female identity is constructed and represented through shifting technological interfaces. At varying degrees of depth and seriousness, her practice is built around the metaphorical premise that technological objects have the capacity to feel. Lindsay-Parker frequently return to nostalgia as a means to explore empathy, emotions, identity and ultimately, to disrupt a general sense of apathy towards our current techno-social condition.

https://www.circuit.org.nz/artist/lara-lindsay-parker
https://vimeo.com/userlaralp


Aydriannah Tuiali’i

Title: Kōwhai
Year: 2018
Length: 01:35
Credits: Performed and Edited by Aydriannah Tuiali’i
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.

Aydriannah Tuiali’i is a moving image and installation artist of Ngāpuhi and Samoan (Ngāti Hāmoa) descent. She is a recent graduate of Te Wānanga Aronui o Tāmaki Makaurau (AUT), receiving a Bachelor of Visual Art majoring in Sculpture with a minor in Interaction and UX Design in 2016, and a Bachelor of Art and Design with First Class Honours in 2018. Aydriannah’s debut as a Set Designer was designing the set and visuals for the show Maumahara Girlie, created by Mya Morrison-Middleton and produced by Vanessa Crofskey. Maumahara Girlie won Outstanding Emerging Company at the Auckland Theatre Awards in 2018. She also recently designed the set for Ngā Puke, directed by Cian Elyse White in July 2019. Since graduating Aydriannah has been actively involved in many projects including: -Delivering a 3-day rangatahi filmmaking workshop in Samoa as part of Through Our Lens, Māoriland Charitable Trust. -Facilitating rangatahi filmmaking workshops across Aotearoa with Māoriland as part of the E Tū Whānau Filmmaking Challenge. -Co-curating the Māoriland Rangatahi Film Festival Programme as a member of Ngā Pakiaka – a committee of rangatahi filmmakers. -Screening her moving image artwork Kōwhai as part of: Māoriland Film Festival 2019 Wairoa Māori Film Festival 2019 Ngā Tohu o Uenuku (Mangere Art Centre) Matariki Exhibition He Toa! He Wahine! 2018 The Glaistor Ennor Postgraduate Awards 2018 at Sanderson Contemporary Gallery. Arts Out East 2018 at Te Tahawai Marae, Edgewater College. CIRCUIT Artist Film and Video Aotearoa’s Mason’s Screen Project in Wellington, 2018. Aside from designing the set for Ngā Puke, Aydriannah is currently working as a Freelance Video Editor at Whakaata Māori (Māori Television), while studying Te Reo Māori online through Te Wānanga o Raukawa. She hopes to develop a new artwork by the end of the year.

https://vimeo.com/user67962464


Jasmine Tuia and Ashleigh Taupaki

Title: Vai i saanapu
Year: 2018
Length: 05:06
Format: HD Video
Credits: Narration: Lemalu Fa’ataumamatemalsoatau Filiga

Title: Siumu
Year: 2018
Length: 03:55
Format: HD Video
Credits: Narrated by Lemalu Fa’ataumamatemalsoatau Filiga, Lemalu Shirley Auvele

Jasmine Tuia and Ashleigh Taupaki explore Samoan and Maori concepts of body, space, place-making and the relationships that connect these. Through the use of indigenous Pacific narrative and recordings natural spaces of cultural and personal significance, the va (relational space) becomes evident.


Moving Image Archive is a RM Gallery and Project Space project
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