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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Originally made in response to a home video from the 90’s and walking by an abandoned VHS on the side of the road left in the rain.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.


Denise Batchelor

Title: Shipped
Year: 2013
Length: 03:38
Format: HD Video, ProRes 422
Shipped references the constant passages of container vessels plying the invisible highways of global commerce. Essential to international trade, these vessels carry bulk cargo in order to satisfy the ever-increasing populations need for goods.The sound of the foghorn elicits a warning, a metaphor perhaps for the danger in supporting a continuum in what has become unsustainable growth.

Thematic tags: Landscape, capitalism, environment/ecology, sound, ocean

Denise Batchelor is a visual artist based in the far north of New Zealand, where she works primarily in the mediums of video and photography. Through personal encounters within nature and the immediate world around her, Batchelor explores the subject of connection; those moments in time that evoke a sense of kinship and/or empathy. Capturing moments that simultaneously embrace the familiar, yet reflect the overlooked or unnoticed, Batchelor’s work invites contemplation.
“A visual artist since 2008, my methodology is initially driven by a strong sense of curiosity and a deep engagement with the environment and the biodiversity within it”.
Batchelor has exhibited widely in galleries, art centres and festivals, both nationally and internationally. The recipient of artist residencies and art awards, Batchelor graduated MFA (Hons) from Whitecliffe College of Arts & Design, Auckland (2010).

www.denisebatchelor.com
https://www.facebook.com/denisebatchelor.artist/
https://www.instagram.com/batchelordenise/


Matilda Fraser

Title: The Race Marches Forward on the Feet of Little Children
Year: 2018
Length: 08:37
Format: Single channel video
A film about Sir Frederic Truby King, the eccentric founder of Plunket Society in New Zealand in 1907. He worked to promote mothercraft, breastfeeding, and the training of women as nurses, campaigned against over-educating women, and contributed literature to the eugenics movement.
Thematic tags: Narrative, landscape, capitalism, politics, environment, feminism, work/labour,

Title: The Eight Hours Plan
Year: 2017
Length: 04:08
Format: single channel video
An ode to Samuel Duncan Parnell, a man instrumental to founding the eight hour working day in New Zealand in 1842.
Thematic tags: landscape, politics, capitalism, work/labour

Matilda Fraser (BFA Hons, 2012, Massey University; MFA 2016, Elam) is an artist and writer based in Wellington, New Zealand. Recent shows include The Race Marches Forward on the Feet of Little Children, Blue Oyster, 2018; I digress, Enjoy, 2017; The Eight Hours Plan, Mason’s Screen, 2017; New Perspectives, Artspace, 2016. She was the 2015 Writer-in-Residence at Blue Oyster Art Project Space, Dunedin, producing a series of nested texts entitled Against Efficiency about the nature of criticism.

http://www.lumiere.net.nz/against-efficiency/


Moving Image Archive is a RM Gallery and Project Space project
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We are  2 minutes walk from Artspace, Ivan Anthony and Michael Lett.

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