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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


Emily Parr

Title: Te Aroha
Year: 2017
Length: 04:45
Format: HD video
Credits:
During the occupation* of Niki’s house, weekly waiata** nights have been held to foster whanaungatanga***. The collective voices can be heard along Taniwha Street on a Thursday evening, travelling easily because of the empty spaces. The redevelopment is physically dismantling Glen Innes, through the removal of houses by truck or demolition (in this video, 69 Taniwha Street). But in their place stands a different form of community – one that is growing ever stronger. On the day of filming (23/03), Niki had again been under a direct threat of eviction. She closed Waiata Club with this: “This has been the hardest day of these last six years. But we’re still here. And we’re still singing.”
Ngā mihi Tāmaki Housing Group & Waiata Club.
facebook.com/thishomeisoccupied
** song
*** kinship, a relationship of shared experiences through working together that creates a sense of belonging
Thematic tags: documentary, capitalism, politics, decoloniality, sound, spirituality, indigenous methodologies, housing (Te Aroha)

Title: Te Wai Mokoia
Year: 2016
Length: 17:30
Format: HD video
Credits:
Te Wai Mokoia was the winner of Uxbridge’s 10th Estuary Art Awards. It is a unique single edition belonging to the Auckland Council.

This work considers ecology not only in relation to biology, but in relation to a wider understanding of ecology – that of the relationships between people, their whenua, and social and political frameworks. It is centred on a specific ecology, presented through a kōrero between a kuia and her whāngai daughter, both long term residents of Glen Innes. The health of Te Wai Mokoia cannot be separated from its people, a community that is fighting to stay in their homes. 

Tāmaki is currently undergoing “regeneration”, a process through which thousands of state housing tenants are being affected. Many residents are refusing to be moved away from their homes – a collective resistance that is taking a huge toll on the community’s hauora. Our people are made vulnerable by a colonial capitalist state, and our safety nets are being removed through governmental policy.

The work considers all that extends from a house – childhood memories, the garden we bury in and grow from, and the environment surrounding it. For residents of Glen Innes, the estuary is a site of resource gathering, of learning and exploration, and a place to foster interconnectedness with nature. Te Wai Mokoia flows through this community as wairua tapu.
Thematic tags: documentary, capitalism, politics, decoloniality, environment/ecology, landscape sound, spirituality, indigenous methodologies, housing (Te Wai Mokoia)

Emily Parr (Ngāi Te Rangi, Te Moananui a Kiwa, Pākehā) was born in Tāmaki Makaurau, Aotearoa. She holds a Bachelor of Fine Arts (First Class Honours) from Elam, and is currently undertaking a Master of Visual Arts at AUT. Parr makes video art centered around specific ecologies: the relationships between people, whenua, and social and political frameworks. She is particularly excited by imagining decolonial futures through film. Her artwork Te Wai Mokoia was the winner of the 2016 Tāmaki Estuary Art Awards. Parr is also a member of Accompany Collective, formed in 2014 to work and walk alongside activist groups. Over the past five years she has been making posters and recording actions with the Collective.

http://www.cargocollective.com/emilyparr


Raewyn Turner

Title: Fallible
Year: 2016
Length: 03:49
Format: HD video
Credits: Cinematography: Raewyn Turner & Brian HarrisEditing and green screen: Raewyn Turner

To detect the scent variations in flowers, unscented flowers rotate above a vase which holds a sensor. As the rotating flowers are passed over the smell sensor a computer fan draws their scent past a ceramic bead sensor and a microprocessor measures a voltage dependent on the scent concentration and type. The notes are synthesised in piano voice. The sound changes as the flowers wilt and die. Synopsis: The political and cultural interests of the 1700’s that sent out explorers to collect exotic and rare botanical specimens also created an aesthetic of beauty that embodied the precarious balance of life; one tilt out of balance, one degree of heat, one minute and its gone. 
We’re exploring the fragrance of contemporary existence, illusion, and sense-making in a largely visual culture. We’re interested in subliminal odours, airborne particles that affect minds and emotions.


Thematic tags: environment and ecology, technology, history, affect, sound, olfactory

Title: Lucky
Year: 2006
Length: 21:51
Format: Digital
Lucky is a documentary about the making of a fragrance to fortify the lower senses of the gambler playing with chance on pokie machines, which are essentially random number generators. Each perfume bottle is unique as there is a random number generator in the design.
Thematic tags: environment and ecology, technology, affect, olfactory

Title: Pick Up Styx
Year: 2008
Length: 01:04
Format: Interactive software
Credits:
The video interacts with the movements of the players playing a game of pick up sticks which were each fragranced with celebrity perfumes brought to market during the years ofthe war on terror 2001-2008
Thematic tags: politics, history, olfactory, technology, interactive

Raewyn Turner’s interdisciplinary work is concerned with cross-sensory perception and the uncharted territories of the senses. Her works have been shown in numerous national and international exhibitions including Museum of Contemporary Art, LA, Parque de las Ciencias, Granada, Spain, 11th Prague Quadrennial of Scenography and Theatre Architecture 2007,Prumyslovy Palace, Prague, Argentina, Georges Pompidou Center, Te Papa Museum, and Academy of Fine Arts, New Zealand. She has worked with olfaction since 1999 and in collaboration with Dr Richard Newcomb, molecular biologist, NZ. In 2011 she was recipient of a Fulbright Travel Grant for an artists residency at Monell Chemical Senses Center, Philadelphia. Her works include videos, interactive installations, performances, exhibitions and large scale international performance in theatres and stadiums, working as a concept and design artist and lighting designer in collaborations with musicians, orchestras and choreographers.

http://www.raewynturner.com


Becky Nunes

Title: This Air is a Material
Year: 2017
Length: 52:43
Format: HD video
Credits: Director/Producer: Becky Nunes
Ann Shelton left her hometown of Timaru in the 80’s on a mission. Her seminal project Redeye captured the zeitgeist of Auckland, New Zealand in the 90’s, and catapulted her to public notoriety. Ann has made many rich and complex bodies of work that unearth local mythologies, “ghosted” stories and characters and narratives previously written out of history. This Air is a Material deepens the understanding of this important artist & her work. With interviews, high quality footage of Ann’s artwork and archival imagery, the documentary not only illuminates her practice but also the small towns, urban myths and creative communities that shaped it. Artists, writers and curators speak with passion and insight about Ann’s work and its historical and contemporary contexts. Ann herself provides much of the guiding narration. The film explores the visual themes and motifs of Ann’s work, tracing its origins in the hostory and landscapes of Aotearoa/New Zealand.
Thematic tags: documentary, feminism, photography, fine art

Title: Open Home – a glimpse into Ann Shelton’s House Work.
Year: 2016
Length: 06:00
Format: HD video
Credits: Director/Producer: Becky Nunes
On December 5th and 6th of 2015 groups of curious guests were invited to attend an offsite event as part of Enjoy Gallery’s Enjoy Feminisms exhibition. This event took place in a house designed for Nancy Martin, a musician and educator, by immigrant architect Frederick Ost, in 1957. Artist Ann Shelton and her partner now live in this house, and in House Work Shelton and ghost-writer Pip Adam weave together past and present, archive and fiction. This film is a document of that event.
Thematic tags: performance, documentary, capitalism, politics, feminism, work/labour

Title: Pictures on Paper – The Photobook in New Zealand
Year: 2017
Length: 27:00
Format: HD video
Credits: Director: Becky Nunes & Anita Totha Producer: Becky Nunes. Sound: David Cowlard. Camera: Parisa Taghizadeh & David Cowlard. A Tangent Production
The photo-book has enjoyed a meteoric rise in recent years. Combined with on-demand publishing it now offers photographers unprecedented and unmediated access to audiences for their work. From a bespoke and limited edition artist book to a large print run showcasing the entire body of work of an artist, the photo-book has shifted from background to foreground for the attention of art fairs, libraries and collectors. This short documentary charts some of the key moments in the history of the photo book in Aotearoa/New Zealand. Interviews with early proponents of the form such as photographer/publisher Haru Sameshima and photographer David Cook give context. Harvey Benge talks about his long-term obsession with the photobook format, his own printed works and his extensive collection.Importantly, the film also foregrounds the now; a slice of contemporary bookmaking in the early 21st Century. Solomon Mortimer, David Cook & Ann Shelton are some of the important lens-based artists working in the medium today. This documentary has no claims on any encyclopedic qualities. Rather, it aims to intrigue, inspire and provoke debate around a medium that, in the South Pacific at least, is still in its teenage years. The photo book, like any art form linked intrinsically with technology as its means of production, is on the move. What this film portrays as the “now” of 2015 will be an important archival contribution to our collective imaging history in the turn of a page.
Thematic tags:Documentary, history of New Zealand photography

Becky Nunes is a lens-based artist and educator. Her images have been awarded, published & exhibited locally and internationally. Nunes is a founder member of Tangent Collective. She works at the nexus of fine art and documentary practice, most recently producing and directing the awarded documentary film This Air is a Material. Her primary field of research is the complex arena of site, subject and the co-authoring of representation. Her work articulates, via photographs, moving image and sound, some of the complex narratives of Aotearoa in the era of the Anthropocene.

http://www.facebook.com/sheltonfilm


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/


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