First artist announced for scape 20th anniversary season 2018
Collaboration enables presentation of Tony Cragg's Mixed Feelings for New Zealand
British sculptor Tony Cragg, widely recognised as one of the most acclaimed artists of his generation, is announced as part of Our Braided Future the curated element of the SCAPE Public Art Season 2018.
The artwork is being shipped to Christchurch from Europe and will arrive ahead of the annual six-week SCAPE Season (Saturday 6 October – Saturday 17 November), but will remain in the city throughout summer. The large-scale 5.5m bronze sculpture will form part of the central city SCAPE Public Art Walkway. The art trail, and SCAPE’s wider programme of events, has become synonymous with Christchurch in spring – drawing large crowds both locally, nationally and internationally.
“We are absolutely delighted to bring Tony Cragg’s Mixed Feelings to Christchurch, his first large-scale presentation of public artwork in New Zealand. In our twentieth year the Season 2018 will be our most comprehensive presentation to date,” said Deborah McCormick, Executive Director of SCAPE Public Art.
“We are thrilled to have been able to collaborate with Gow Langsford Gallery and the Philipp Family Foundation to make this happen and be accessible to everyone. Tony Cragg’s sculptures are comparable to the works of Picasso in terms of reputation and reverence – he’s one of the great artists of his generation. This sculpture will inspire and provide prestige when it comes to Christchurch. An education package accompanying the piece will be delivered in our new Education Zone which has found its home within Tūranga (the new Central Library).”
Mixed Feelings, 2012 will be in residence at Christ’s College Quadrangle, a grass canvas that has become familiar to the annual presentations of SCAPE. The piece is an immense glowing monument, formed by two intertwining bronze towers, pushing together and pulling apart as they spiral towards the sky. As the viewer circles the piece, human profiles come into and out of focus. Each tower of feeling exerts a gravitational pull on the other, creating a unique, pulsating form of energy.
Previously exhibited in London, Prague and Amsterdam amongst others, the artwork is on loan to SCAPE Public Art courtesy of the Gow Langsford Gallery in Auckland who have built a relationship with the artist over many years. A crucial piece to the success of this project was the vision and dedication of one of the Founding Directors Gary Langsford MNZM, to bring the artwork to Christchurch.
“It is wonderful to have the opportunity to work with SCAPE in its 20th year. They’ve been pioneering and ambitious in bringing world-class public art to Christchurch,” said Gary Langsford MNZM, Founding Director of Gow Langsford Gallery.
“Our organisations have enjoyed a long and mutually beneficial relationship, and the 20th anniversary of SCAPE provided the perfect opportunity to bring a monumental work by Tony Cragg to New Zealand,” Langsford said.
“Tony has previously exhibited at the City Gallery in Wellington (1998) and several times at Gow Langsford Gallery in Auckland since 2005. Although these exhibitions featured a number of significant works by Tony, reflecting his varied sculptural practice, none of the works were of the scale of Mixed Feelings. The challenges of bringing such a large-scale work from Europe to New Zealand are many, and Gow Langsford Gallery are delighted to partner with SCAPE and the Philipp Family Foundation to make this a reality.”
The Philipp Family Foundation are also responsible for funding towards the cost of freight, insurance, exhibition and an associated education resource which will bring many children into the city centre to visit, interact and enjoy the artwork.
Peter Sherwin from the Philipp Family Foundation said, “The arts have had a transformative power in Christchurch, touching people’s lives as a modern city is rebuilt, and we are proud to have been, and continue to be, a part of that. We are particularly excited to also be able to support the associated Mixed Feelings children’s education programme. SCAPE’s programme will enable children to visit the site, view the sculpture and undertake art making activities. The children will experience the benefits of the relationship between Arts, Health and Wellbeing.”
The Philipp Family Foundation were also integral in securing Seung Yul Oh’s, Conduct Cumulus, 2017 for the South Quadrangle in the newly refurbished site within the Arts Centre.
In the third Season of her three-year curatorial tenure of SCAPE, Heather Galbraith (Professor of Fine Arts at Massey University) has taken the 20th anniversary of SCAPE Public Art as an opportunity to look back at the artworks that have been developed, commissioned, and sited in response to the central city of Ōtautahi, as well as to cast our minds to the possible futures facing the city and its peoples. The 2018 artworks respond to the theme of Our Braided Future.
E kore e taea e te whenu kotahi ki te raranga i te whāriki kia mōhio ki a tatou,
The tapestry of understanding cannot be woven by one thread alone.
- Kūkupu Tirikatene ONZM, Ngāi Tahu kaumatua
The selection will be on show in a range of spaces around Christchurch and are part of a broader six-week event for the city between Saturday 6 October – Saturday 17 November 2018.
Studio 125 Gallery
Studio 125 Gallery is a contemporary art gallery supporting public art in the city. Located at 125 Aikmans Road, Merivale, Christchurch.
Enjoy a new range of exclusive editions to mark our 20th anniversary from: Neil Dawson, Seung Yul Oh, Sarah Greig, Nina Oberg Humphries and Phil Price.
This exhibition will link to sculptures, paintings, photographs, ceramics and limited editions by artists associated with SCAPE.
23 March - 28 April 2018
Thursday & Friday 11-5pm, Saturday 10-4pm.
Or by appointment: firstname.lastname@example.org
Auckland and Seoul-based artist Seung Yul Oh presented Conduct Cumulus 2017 as part of Time in Space (territories and flow), to complete the curated element of the SCAPE Public Art Season 2017.
A community of oversize bubbles will drift across the lawn of the South Quadrangle in the newly refurbished site with a long, rich history of public use and cultural activity. Conduct Cumulus, with its light and playful tone, is the first public commission in the South Island by Oh. The artist has observed our enduring fascination with bubbles, such as during family time with children at play, and celebratory events such as children’s birthday parties. Bubbles also have interesting properties for those who see beyond beautiful floating spheres. No matter what shape it has initially, a bubble will try to become a sphere – the shape that maximises the surface area and requires the least energy to achieve. When one bubble meets another, the resulting union is always one of total sharing and compromise.
The Philipp Family Foundation are responsible for significant funding towards the cost of the public artwork and an associated education resource which will bring many children into the city centre to visit, interact and enjoy the artwork. Leighs Construction have significantly contributed to the installation, in keeping with the art and industry sponsorship model SCAPE has successfully developed over the last, almost, 20 years. Both align to the idea that public art lends itself well to strengthening community and public engagement in the evolving city of Christchurch. Leighs Construction is presently on site at the Arts Centre delivering the CE West Theatre Restoration project. Past public art projects Leighs Construction has installed for SCAPE include Neil Dawson’s Fanfare 2014/15 and David McCracken’s Diminish and Ascend 2014.
The artist wants the work to honour the extraordinary actions and energies of Christchurch citizens, working individually and collectively through self-determined groups and communities of interest to rebuild their city post-quakes. The ‘Conduct’ within the title of the work refers to the idea of an orchestra where individual parts are conducted to form a unified rhythm of units. ‘Cumulus’ refers to an accumulation of airborne particles that appear to be shaped and directed by forces such as wind. The location of Rutherford’s Den and the history of the Arts Centre as a haven for families and culture also found an echo with the conceptual development of this work.
SCAPE Public Art Director, Deborah McCormick commented, “Oh’s Conduct Cumulus sculpture sees SCAPE engaging the public in this beloved central city space offering another reason to visit the Arts Centre. For many it may be their first visit to the iconic, newly restored, cultural hub of Christchurch and even to the city centre itself. We are especially delighted to be joined by a new lead sponsor in the Philipp Family Foundation and to have partnered in the production of the work by Leighs Construction. Oh is to be congratulated on his colourful, fun and engaging sculptural elements that create a fresh contemporary environment within the South Quadrangle.”
In the second Season of her three-year curatorial tenure of SCAPE, Heather Galbraith has celebrated artworks which explore how different understandings of time (geological, cultural, cosmological), and alternative ways of recounting histories combine to shape a sense of place. The 2017 artworks have been shown in a range of spaces around Christchurch, with many remaining in place beyond the planned Season to be enjoyed in the city for early summer.
Born in Seoul, Korea in 1981, Seung Yul Oh moved to New Zealand 15 years ago and completed an MFA at Auckland University's Elam School of Fine Arts. He now divides his time between Auckland and Seoul.
Large-scale diatoms to inhabit Hagley Park and Canterbury Museum
First artists announced for SCAPE Season 2017
Christchurch-born artist Wayne Barrar and Auckland-based Anton Parsons are the first artists to be announced as part of Time in Space (territories and flow), the curated element of the SCAPE Public Art 2017 Season.
Wayne Barrar’s In/Visible Landscape 2017 drawn from his extensive series of photographs The Glass Archive, will feature on a large banner on the outside of the Canterbury Museum, and billboards at seven locations across Hagley Park, with further pieces displayed inside the Museum.
The Glass Archive is a large body of photographs exploring the extraction, arrangement and circulation of diatoms and other microfossils for scientific study. Diatoms are comprised of tiny silica skeletons, remnants of algae from millions of years ago and are often found as fossils in diatomite deposits. Glass slides of diatoms were sold to amateur Victorian microscopists, and have been photographed by Barrar through a microscope, enabling us to view the detailed forms and patterns not normally visible to the naked eye.
Seven-large billboard works in Hagley Park including of fossil marine diatoms photographed through a microscope compliment a large banner on the front of the Canterbury Museum, and a giant colour pigment print in the main foyer, both featuring arranged diatoms.
Continuing a long association with SCAPE Public Art, Anderson Lloyd are again involved in the Season, and are the major sponsor of Barrar’s work.
Anderson Lloyd Partner Ben Johnston said, “We are excited to be a sponsor of SCAPE's 2017 Season, and in particular helping to showcase Wayne Barrar's In/Visible Landscape in Christchurch. Associate Professor Barrar's body of work, which considers the way landscapes change and are re-defined through human interaction, has particular relevance for Christchurch in our rebuild environment.”
Anton Parsons work comprises two impressive sculptures forged from metal. Myopia and Acquiesce are in residence at Christ’s College Quadrangle.
Myopia 2017 explores ideas about distance (both physical and metaphorical) and perceptions of the world depending on where you see things from. The aluminium rounds are spaced out in braille to spell ‘myopia’ and ‘hyperopia’. These terms are often used to describe conditions of sight (myopia – shortsighted, hyperopia – longsighted), and the work invites us to consider different ways to perceive the world.
Acquiesce 2017 also features patterning that is in braille, but the meaning of the text is more ambiguous. It could be a highly sophisticated code, or pure decoration.
The form of Acquiesce is an abbreviated version of the seam of a tennis ball, a linear shape that Parsons has been working with since 2006. This seam is a clever geometrical solution to form a robust 3-D sphere from a 2-D surface. Here the form has less of a utilitarian role, and more a metaphorical one. It has no beginning or finishing point, it is endless. The application of braille to a 3-D four-sided profile further challenges a simple translation, and offers the viewer scope for interpretation.
Anton Parsons is a long-time collaborating artist with SCAPE. Passing Time, was created for the 6th SCAPE, and installed only a few days prior to the Christchurch earthquake on 22 February 2011.
In the second Season of her three-year curatorial tenure of SCAPE, Heather Galbraith is celebrating artworks which explore how different understandings of time (geological, cultural, cosmological), and alternative ways of recounting histories combine to shape a sense of place. The 2017 artworks will be on show in a range of spaces around Christchurch, with Canterbury Museum acting as the starting point for the exhibition’s Public Art Walkway. The works by Barrar and Parsons bring visual and symbolic impact to these pockets of the city, connecting to form an integral part of the SCAPE Season 2017 Public Art Walkway.
Wayne Barrar is an Associate Professor at Whiti o Rehua School of Art at Massey University, Wellington. His photography has been widely exhibited and published internationally since the 1980s, and his work is held in major national and metropolitan collections. Publications include the monographic books – Shifting Nature, University of Otago Press 2001, An Expanding Subterra, Dunedin Public Art Gallery 2010, Torbay tī kōuka: A New Zealand tree in the English Riviera, University of Plymouth Press 2011, and The Glass Archive: Photographs by Wayne Barrar, 2016.
Based in Auckland, Anton Parsons is one of New Zealand's leading sculptors. He graduated from the University of Canterbury School of Fine Arts in 1990. His work is held in public and private collections throughout New Zealand. Parsons’ practice has embraced a wide range of media and modes: industrial materials, readymade objects, photography and installation. His works engage physical space in profound, often unsettling ways through apparently simple means.
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