Thursday, March 17, 2005

The No.8 Wire - Issue 28

Gondwanaland Ministry of Culture
Artists' Information Bureau

An Electronic Alert for 738 of Wellington's Creative People
Tail-end Octo-numerical Interview: FIFI COLSTON

We open this edition of the No. 8 Wire with An obviously outdated passage from the 1966 Encyclopaedia of New Zealand…

Place of the Arts

Sport, then, is considered manly, and manliness wholly desirable. In the past, preoccupation with this principle led New Zealanders to despise aesthetic values, and their habit of doing so dies hard. Nevertheless, it is dying. Interest in the arts has grown at an increasing rate ever since the First World War ended, and local accomplishment has advanced steadily. From earliest times new surroundings and splendid scenery have proved an inspiration for landscape painters, and the visual arts have always flourished in some degree. In literature, the initial impulse came from novel conditions of living which begot books of experience. Poetry came later with the growing consciousness of individual nationhood, and the last few years have seen the publication of several novels of real merit. During the great slump of the early thirties theatrical companies from overseas ceased to visit New Zealand, with the result that theatrical entertainment was undertaken by amateur local enterprise. The movement led eventually to the founding of a professional company which had considerable success before succumbing to financial difficulties. A second attempt on the same lines is in process of being made. Music was the last of the arts in which New Zealanders were to win distinction or show a practical interest. Several composers of talent have appeared during the past decade and a half. A National Orchestra, subsidised by the State, has come into being and a chamber music society owes its origin and success to the work of individual enthusiasts.
The Philistines, however, are still powerful among us…
Read the rest at


Snippets from the recent Council paper…

Background Details

Council currently spends between $7 million and $12 million per annum supporting arts and cultural activities in Wellington. The majority (75%) of this funding is allocated to the Wellington Museums Trust, Te Papa and Wellington Convention Centre. Other key spending includes Arts and Culture community grants, the New Zealand International Arts Festival and the Wellington Arts Centre.

These institutions provide important infrastructure for arts and culture in Wellington but there is a need to ensure that current and future arts policy and activities consider the needs of all members of the local arts community and potential connections between arts initiatives across the city, to provide the greatest benefits and opportunities for Wellington.

The development and display of a civic art collection needs to sit within the wider context of the development, promotion and retention of Wellington’s arts and cultural sector – as a primary source of the city’s creativity and innovation. Artists and arts professionals (producers, curators, conservators, writers, lecturers, arts administrators) working and living in Wellington need to be supported and celebrated by the city…

…Council Agree to invest the Hancock Bequest (approximately
$1,478,000) and use a proportion of the interest generated to:

a) Purchase new works each year from emerging and mid-career artists that live in, or have a significant connection to Wellington City, to be included in the civic art collection displayed in publicly accessible spaces in Council buildings and facilities.

b) Develop a bi-annual exhibition of works acquired for the civic art collection from the Hancock Bequest to be installed at the Wellington Arts Centre Gallery.

Agree to retain the capital amount of the Hancock Bequest for future
potential cultural amenity development in Wellington City (referred to in
recommendation 7).

Agree to display the civic art collection in publicly accessible locations in
Council buildings and facilities such as libraries and recreation and service centres in central city and suburban Wellington.

Agree to maintain a non-collection policy at City Gallery Wellington but allow officers to explore the potential to develop the gallery in the future to allow Wellington to respond proactively to any significant art collections offered to the city.

Read the whole policy paper report here



Awards in Oral History

Oral history is growing in popularity as a way to record our stories and the Ministry for Culture and Heritage has funding available to assist history projects using oral resources.

The Ministry has around $75,000 to award to projects that improve our understanding of New Zealand and what has made us the country we are today.

Awards are not just for individuals, they can go to groups, communities or institutions involved in recording and preserving the stories of people and events using oral history methods.

Go to for more information on applying for funding, along with a list of previous award recipients.

Applications close 30 April 2005.



17 March - 15 April

Photospace Emerging Photographers' Showcase 2005, offers photographic graduates from Massey University an opportunity to promote themselves as exhibiting artists; providing a platform for their work and ideas. Photospace is the only gallery in Wellington that deals solely with photography. The showcase endeavours to utilise the space to its full potential,
exhibiting a group show with individual work of high standard. This particular showcase has been developed by Irish photographer Martin Cregg, who has been working with participants - helping to further ideas and resolve individual bodies of work. Martin Cregg has a BA degree in Fine Art from IADT, Dublin. As well as other related qualifications in photography, Martin has actively exhibited and worked with the medium since 2001. His current work deals with contested landscapes, particularly those found in rural Ireland.

Photospace Studio/Gallery
1st floor, 37 Courtenay Place
Wellington, New Zealand
Contact James:
382 9502 or 027 444 3899



Published in the New York Times, Critic’s Notebook: March 5, 2005…

The Short Film, an Art Deserving a Longer Life

We all know about those actors who emerge for one glorious night, bask in the glory of an Oscar, then sink back into semi-obscurity: Louise Fletcher, Cuba Gooding Jr., more supporting-actress winners than you care to count. This is hard enough for one person. Must an entire genre suffer the same fate?

I'm talking about short films. What other kind spurs us to channel-surf or order pizza when the Academy Award is about to be announced? We know there will be little or no chance to see the winner or the nominees, so why bother to find out who they are?

If the filmmakers are lucky, their shorts will make brief appearances on television. These films mostly play a closed circuit of (what else?) short-film festivals, hoping for prizes and exposure. It's as if short-story collections were sold only at book fairs and independent bookstores on special occasions.

Short films can be found in such high-quality, low-glamour places as human rights and children's film festivals. They also have brief, sometimes one-night-only runs in alternative movie theaters, libraries, museums and foreign cultural centers.

Lucky me. This year I got to see the 10 live-action and animated shorts nominated for Oscars. (I wish I'd seen the documentaries, too.) It was one of the best movie afternoons I've had in ages. So many full-length features dawdle, then pick up force, only to drift off again. With a good short - which runs from less than 5 to 20-something minutes - there's no time for all that. There's time only for that primal movie experience: absolute immersion in another world. And because it happens so quickly, it feels miraculous.

This year's nominees displayed an astonishing range of subjects: war ("Birthday Boy," "Little Terrorist"); farce and black comedy ("Guard Dog," "7:35 in The Morning"); kinetic colors ("Lorenzo"); luminous black-and-white ( "Two Cars, One Night" ). Nations, too: Spain, Australia, India, New Zealand, England, the United States.

And now, the envelope please. The animation winner was "Ryan," from Canada. It was the director Chris Landreth's tale of meeting Ryan Larkin, a pioneering animator whose bouts with cocaine and liquor have left him battling nightmares and mood swings in a homeless shelter. The emotions are raw; so is the way Mr. Landreth draws the human mind. Ryan's head looks like a botched medical experiment. Multicolored strings cross and twist; red spikes strike his glasses when he gets angry. Green rays hang in empty space. Clear thought has burned away.

Andrea Arnold's "WASP" was the live-action short film winner. Read that title with irony, please: "WASP" harks back to 1960's English working-class, slice-of-life films. We can't escape the intimate details of a single mother's life when she needs money for food, time for four young daughters and space for a love life. What worked best was the struggle between this desperation and the hopeful conventions of romantic comedy. What disappointed was the quick-fix ending.

New Zealand's "Two Cars, One Night," by contrast, handled this kind of bittersweet mix in a fresh, elliptical way. Three kids sit in a parking lot outside a scruffy bar, waiting for their parents and trying not to watch all the grown-ups swagger in and out, flirting and preening. We watch their rituals unfold: the childhood taunts, the exchange of secrets, the flickers of adolescent curiosity.

My choice, though, would have been "Everything in This Country Must," a tale of armies and families in Northern Ireland. It was alive with rhythmic contrasts and shifts in feeling: speeding tanks and the quick, loud voices of soldiers; a farmer's impotent fury and the muted sexuality of his daughter. The director Gary McKendry and the writer Colum McCann brought a fierce lyricism to it all.

Now who wouldn't take a good short over the dreary previews that fill movie screens?

Maybe the people who make and market short films should start calling them videos. Maybe that would make them seem more commercial, less alien. After all, huge numbers watch the live-action, short-subject musicals known as music videos every hour and every day.

In the meantime, you can plunder history. Kino International, for instance, is selling a four-disc DVD set called "Edison: The Invention of the Movies." Starting about 1890 and ending in 1918 during the First World War, it is virtually all shorts. And New Yorkers, at least, have even more options. Today and tomorrow the Harlem Film Festival is bringing an international roundup of mostly short films by and about women of color to Aaron Davis Hall. The New York International Children's Film Festival opened last night for three weekends of screenings. Next Saturday "The Animation Show," a shorts festival, opens at Cinema Village. BAMkids, another children's festival with shorts, is next weekend at the Brooklyn Academy of Music.

Gather ye short films while ye may.




Anybody who wants a free gmail account, just send me a message with your current email contact. I can invite 50 people, and am happy to do so, until the well dries up. A gmail account gives you 1GB of message storage, including photos and attachments, and is accessible like yahoo or hotmail (from any on-line browser). It is a free service from the folks at, who also provide you with free blog web pages

For more on gmail

For more on free weblogs




Wellington Arts Centre is in search of ten artists who can propose a mural design for the hoarding that will surround the Glover Park construction site. The commission for successful designs will be $1,000, and plywood and paints will be provided. Participating artists should be able to produce their murals off-site or in their own studios, but some workshop accommodation may be available at the new arts centre building in Abel Smith Street. There is no theme -- designs should reflect the work, ideas, styles, and aesthetics of the artist. Below are the basics for interested artists:

PROJECT: Glover Park Redevelopment Murals

DATES: Panels should be completed and ready-to-install by mid-June, and are expected to be in place for 6-9 months.

SIZE: Each mural surface is 4.8m x 1.8m (2 plywood panels); there will be ten or more surrounding the construction site.

COMMISSION: $1,000 payable upon completed mural installation and invoice

MATERIALS: Paints and plywood will be provided

INSTALLATION SITE: Glover Park, Wellington (between Ghuznee and Garrett Streets)

THEME: There is no project theme; artists are free to propose any design; finished murals should be suitable for public display and in keeping with the design proposal.

APPLICATION PROCESS: To submit a proposal, artists should provide a letter expressing interest in the Glover Park Mural Project, their CV or complete contact details, a design sketch or mock-up of their intended mural (A3 or larger), and any notes or description they would like to include about the design. Photos, slides, and samples of other artistic work are also encouraged as support material.

All proposals will be reviewed and responded to between April and June 2005. Primary consideration will be given to artists living and working in the Te Aro neighbourhood, Cuba Street area, and within proximity to the Glover Park site.

CONTACT: For additional details, please contact Eric Holowacz, Wellington Arts Centre on 385-1929 or



Sandra Schmidt
Opening Tuesday March 22 at 6pm
Artist Talk Thursday 31st March 6pm
23 March - 8 April

Sandra Schmidt continues to work with her signature plastic bead constructions in her solo exhibition, Soliloquy, at Enjoy. These meticulously constructed sculptures are produced by melting thousands of tiny plastic beads together to form pictorial objects. For Soliloquy, Schmidt will exhibit one large installation work; a model replica the suburb where she grew up in Zwickau, East Germany, constructed from memory. Schmidt describes the city as 'approximately the same size as Hamilton, incredibly boring and unspectacular'.
The work harks back to another time; the austerely uniform and industrial architecture of the Communist era. Mysteriously, all the buildings in Soliloquy are burning, perhaps as a symbolic exorcism of the past, freeing the suburb from its mundane existence. Soliloquy highlights the difference between the typically New Zealand childhood location; the suburbs, filled with free-standing houses and quarter-acre properties and the more urban setting of Schmidt's childhood. The banality of the buildings shows the irony of how the inner-city apartment in New Zealand is considered part of a luxury lifestyle. These sculptures mix a naïve craft aesthetic with a dark, unnerving content.
Enjoy Public Art Gallery
Level one, 174 Cuba Street
384 0174
The Enjoy on-line discussion forum is up and running again.
Go to to have your say.



Dear No. 8 Wire
You are warmly invited to the opening of " The Spirit of Matter" Recent works by Hannah Bremner.

Details: Opening - 4.30 - 6.30 Saturday the 19th of March, Thermostat Gallery, first floor 186-187 the Square, Palmerston North.
Please forward this invitation on to any one who you feel may be interested.

It would be lovely to see you there.

Kind regards
Hannah Bremner



Hi there

Application forms are now available for the next round of applications for Arts & Culture, Community Festival, Maori Arts and Creative Communities grants. Applications close on 29 April 2005.

Applications forms and instructions are available at

Seminars will be held on 22 March and 11 April from 1-3pm and 6-8pm. To book a place in a seminar please fill in the form on the website or call Barbara Franklin on 801 3595. If you can’t make it to a seminar but would like to discuss a possible application please feel free to contact myself or another member of the Grants Team.

Please pass this around your networks. If you would like to be notified about any upcoming grant rounds other than the Arts ones, let me know. Likewise, let me know if you wish to be removed from this distribution list.

Katharine Macann
Grants Assistant - Recreation Wellington
Wellington City Council
DDI: 04 801-3158
Fax: 04 801-3635



Matthew Barney's 'The Cremaster Cycle' will be screening over the weekend at The Paramount cinema. Entry is free for Film Society members, but non-members can see the complete series by taking out a '3-Film Sampler' for $25, or pay as you go for each session. Barney’s visually complex, often beautiful, films are rich in allegorical elements, the dissection of narrative, and shockingly potent beauty.
Visit the Wellington Film Society introductory page for more on this series at

And for more on Barney, and his five-part magnum opus



Tena Koe from Victoria University of Wellington,
The Indigenous Knowledges: Reconciling Academic Priorities With Indigenous Realities Conference will be held in Wellington 22-25 June 2005. The conference will be well attended by overseas researchers working in the indigenous GIS and Geography fields. Presentations include (amongst others):
Social Justice for Indigenous Peoples: GIS and Spatial Perspectives Laura Harjo (Cherokee Nation)
Hawaiian Place Names: Mnemonic Symbols in Hawaiian Performance Cartography Renee Louis (University of Hawaii).
Privatisation of Australia's Fresh Water Commons: Implications for Indigenous Water Culture Diana Day (University of Sydney)
Crop Science for Maori Huub Kerckhoffs and ECOP- Ngati Porou
Dual Naming: Recognising Landscape Identities within the Constraints of Government and Research Guidelines Laura Kostanski (University of Ballarat)
Peasantry-led Participatory Research on Validation of Traditional Meteorological Aphorism in Saurashtra: India P.R Kanani (Junagadh Agricultural University)
In addition, there will be presentations on development, social transformation, local governance and modernisation by delegates from Nigeria and Malaysia.
If you are interested in presenting a paper or attending the conference please contact us or visit our website
Day rates are available for those who do not wish to attend the full conference, and the Conference Committee is happy to accept a limited number of late abstracts.
I have selected your name for this message on advice from colleagues and friends working in your field. I would be very grateful if you would pass this on to your own colleagues. If you are not interested in this conference, please accept my apologies for sending you this unsolicited email.
Dr Joanna Kidman
He Parekereke
School of Educational Studies
Victoria University of Wellington
Tel (00 64 4) 463 5882


Kia ora koutou, Talofa lava, Hi everyone
Creative New Zealand is once again offering a residency at the International Studio & Curatorial Program (ISCP) in New York, USA in 2006. The residency is for a period of approximately four months (February-May) and is open to all New Zealand visual artists currently working or exhibiting in New Zealand.


The Creative New Zealand Visual Arts Residency in New York was established in 2000 by the Arts Board to provide a unique opportunity for a New Zealand visual artist, and was repeated again in 2002 and 2004. It is a biennial residency and applications are now being sought for the next residency, which will run for approximately four months from February to May 2006.


While it is hoped that the selected artist will have the opportunity to work on an approved project while in New York, the relatively short duration of the residency (four months) means that this will be quite challenging. As such, one of the primary aims will be for the artist to take advantage of the location and establish as many useful contacts as possible. In addition, transporting the artist to a different environment is expected to have many other benefits. These include:

Impact of a new physical environment upon the artist’s work
Cross fertilisation of ideas from mixing with residents of other cultures
Increased awareness in New York of New Zealand artists and New Zealand visual arts
Other Professional Development opportunities eg, invitations to exhibit elsewhere
Contribution to the development of New Zealand visual arts

International Studio & Curatorial Program

The ISCP’s purpose is to establish an international community of exemplary visual artists and curators to make their work visible in the New York art community. Governments, corporations, foundations, galleries and individuals sponsor the participating artists for periods from one month to two years. There are 22 studios plus five curators’ offices at their venue in the ‘Hell’s Kitchen’ area and it supports activities that give the participating artists access to New York’s resources and opportunities.

During the four-month residency at ISCP, each artist will be provided with: 24-hour access to a private studio, visits to the studio by at least six guest critics, one field trip outside of New York City and participation in one open-studio exhibition. The guest critic programme is proving to be very successful in introducing the artists work to the New York and international art communities. Approximately twice a month, a prominent curator, writer, gallery owner or artists meet privately with each artist for a 30-minute studio visit.

The open studio exhibitions are held twice a year and attract 400 to 500 visitors each time. These events are very effective in increasing the artists’ visibility. The open studio scheduled during the New Zealand residency takes place early in May.

To date, the programme has attracted international visitors from more than 45 countries – curators, gallery owners, journalists, writers, artists and personnel from foundations, residency programmes and government cultural agencies – all of whom are made available to the artists.

For more information about this organisation and its programmes, please refer to their website at

The closing date for applications is 5pm, Friday 24 June 2005.
Please note that this date differs from that listed in the 2004-2005 Funding Guide, but is the same date cited in the 2005-2006 Funding Guide.
Please find the guidelines attached, and circulate these to any colleagues or associates that you think may be interested in this opportunity. If you have any queries, don’t hesitate to contact
Elizabeth Caldwell, Visual Arts Adviser
498 0737
or Danielle Tolson
473 0184



Go here for a good list of performance and rehearsal venues in New Zealand’s towns and cities (Thanks DANZ!)…



Interesting itinerary of things to see, hear, do in Porirua…

2pm Sunday 3 April
Floortalk: COLLECTING PHOTOGRAPHY by PAUL McNAMARA An illustrated presentation and discussion on collecting original photography within a contemporary context, whilst addressing some of the history of collecting. Paul McNamara's gallery in Wanganui opened in January 2002 and is specializing in photographically-based art. McNAMARA GALLERY Photography -

2pm Sunday 10 April
Floortalk: PACIFIC ISLAND PHOTOGRAPHY by TONY WHINCUP In an illustrated talk Tony will discuss the importance and significance of photographically documenting the cultural artifacts of Kiribati. Using his exhibition work of eight large black and white images as examples he will describe the development of this ongoing project, his choice of large format equipment and black and white film and the problems of location photography in Kiribati. Tony Whincup is a Fellow of the NZ Institute of Professional Photographers and the Director of photography at Massey University.

2pm Sunday 17 April
Floortalk: THE POWER OF JEWELLERY by RHYS RICHARDS Freelance researcher and historian Rhys Richards will talk about the role, manufacture and symbolism of traditional jewellery in Melanesia. Richards has an extensive collection of Solomon Island jewellery and decorative arts to complement the POWER OF JEWELLERY exhibition which is now on at PATAKA. He has a wide knowledge of Polynesia and Melanesia, Rhys was New Zealand's High Commissioner to the Solomon Islands from 1996 to 1999. IMAGE: Police Chief (detail) , courtesy of Auckland Museum.

2pm Sunday 8 May
Floortalk - TRANSIT OF VENUS by Jo Torr
Contemporary artist Jo Torr talks about her exhibition Transit of Venus.
Jo's stunning traditionally inpsired gowns are infused with Pacific imagery, colour and decoration. Her work combines fabric and dress design to explore cultural exchange between Polynesian and non-Polynesian peoples. IMAGE: Te Arii Vahine - The Noble Woman by Jo Torr. Photography by Michael Hall and modelled by Kerry Marshall.

For details, contact
Marketing Coordinator
cnr norrie & parumoana St
porirua city
237 1546
237 1511




LONE/LITERARY JUSTICE,6109,1432483,00.html

A Novel Way to Keep the Peace is Offered in Mexico



Message from our friends at the Sacatar Foundation Artists Colony

Greetings from Bahia!

The Fundacao Sacatar reminds you that applications for 2005-2006 must be postmarked by April 11, 2005. The Fundacao Sacatar, based in Itaparica, Bahia, Brazil, provides selected artists airfare, studio space, room and board for periods of 6-12 weeks. For more information, please visit

…where you can download the application form, and learn more.



fringe t-shirt sale!!
That's right folks, we are selling off the last of the Fringe 05 Tees at a hot price - $20!!
These tees come in Khaki and Light Blue, have been designed by Creature ( and made by Billi Tees ( And ladies, if you tried to buy one during the Fringe and the sizings are too small, we have some new stock just arrived!
We are also selling the limited edition screenprinted A0 Fringe posters too - hope you've got the wallspace!!



Dear No. 8 Wire,
Two things coming up:
Together with five other Wellington photographers, I am having an exhibition opening at 5pm on Thursday March 17th.
Come to 37A Courtenay Place (upstairs above Sahara Café and near the Paramount cinema).  If you can’t make the opening, it runs till April 15th.
If there’s one thing in common, it’s all colour photography by emerging photographers who have graduated in recent years from Massey University – mine is pinhole photography shot in Paekakariki, just up the coast from Wellywood.
Hope you can make it!
On April 23 & 24th I will be running a two day workshop of Pinhole Photography for World Pinhole Day (  For those who don’t know, this is the simplest form of photography there is – we’ll make cameras from a boxes or tins and expose photographic paper directly to make images.  It’s an exciting process and one that absolutely anyone can do. 
This course is strictly limited to ten people so if you want to reserve your place book as soon as you can by calling Brooklyn Community Centre on 384 6799.  The cost is only $70 for two full days of fun!
Here’s an excerpt from the introduction on the World Pinhole Day Website:
Welcome to the 4th annual Worldwide Pinhole Photography Day exhibition, where you will discover 1512 images realized by as many different pinhole photographers from 43 countries!
All the photographs in this extraordinary collection share two common characteristics:
they are lensless photographs.
they were made on April 25, 2004.
They also share an additional and less formal characteristic: the sincere enthusiasm of their creators who, by participating in this collective event, shared individual visions and techniques. Hence the amazing diversity of subjects, cameras, techniques and photographic materials combined in this exhibit!
Worldwide Pinhole Photography Day was established to celebrate the joy of simple creativity using the medium of lensless photography. We want to show that, from a device as simple as a cardboard box with a tiny hole, you can create inspiring images. Minimal technology and cost: Maximum Passion and Sensitivity!

For details, contact
Alastair McAra Photography
mobile: +64   21  269 1127
land:     +64    4   388 3044



Information about the voice courses and workshop on offer at the new arts centre, starting in May 2005…

Next Voice Course Part 1: Intro to Voice
5 weeks: 4 May to 1 June, 6 – 7.30pm
$100.00 GST incl or $80.00 (PTL Holder)

For presenters/performers or anyone who wants to understand how the voice works, what to do, what not to do, and how to condition the voice for greater resonance, projection and clearer speech. Designed to enhance your communication skills this course balances theory and practice. Course notes are provided.

Next Voice Course Part 2: Vocal Expression
5 weeks: 8 June to 6 July 2005,
6 – 7.30pm
$100.00 GST incl or $80.00 (PTL Holder)

What you say – how you say it. This course is for presenters/performers or anyone who wants greater vocal expression to communicate more effectively. You will learn about the different features of vocal expression and experiment with prose, verse, dramatic lines or a speech. Course notes are provided.

Next Performance Course
10 Weeks: 4 May to 6 July 2005,
7.30 – 9pm
$200.00 GST incl or $180.00 (PTL Holder)

This course is for those of you who want to try out your newly acquired voice skills or your creativity in a performance context. Have fun playing in a group, learning skills from the performing arts and strategies to aid your performance. A structured group devised piece or solo pieces will be performed to family and friends at the end of term which will be videoed.

You will learn techniques from a qualified and experienced practitioner who draws upon the methods of internationally renowned voice & performance artists and teachers, as well as the Method Pilates in a supportive and fun environment.

Wednesday evenings
At the Wellington Arts Centre,
61-69 Abel Smith Street,

Please register your interest now
by return email to
Ph 4 385 2929 Mobile 021 237 9661
Diane Radford
Voice & Performance



CrossOver, the multicultural art exhibition celebrating Race Relations Day 2005, is set to raise the profile of many ethnic Wellington artists.

Opening this Friday and running through to 28 March at the New Zealand Academy of Fine Arts Galleries, CrossOver features a diverse range of arts and crafts. Organised by Wellington City Council, with support from Wellington Waterfront Limited, CrossOver will showcase the work of the nearly 100 artists selected to take part.

The works in CrossOver are by both emerging and more established artists, and reflect intercultural themes. Many of the artists, especially from refugee and migrant communities, have never exhibited before, and the chance to show their work alongside more experienced artists provides exposure and confidence.

Mayor Kerry Prendergast says that CrossOver is a chance for artists from the city's many ethnic communities to show their skills and people will be surprised at the depth and breadth of the artistic range of the city's ethnic communities.

"No one has brought them all together on this scale before. CrossOver is an amazing tribute to the abilities of the people who make up our city," she says.

The call for artists went out in October 2004, and over 200 artists and craftspeople indicated their interest. The exhibition was open to all ethnicities but work had to be representative of cross-cultural themes or show the ethnic or cultural inspiration behind the work.

People from many ethnicities took up the call but organisers soon realised that a more targeted approach was needed to ensure some communities, especially refugees and new migrants, were represented.
Meetings and workshops were held with groups such as refugee women, to increase their confidence and skills, and eventually participation.

As entries arrived, fascinating stories about the artists' lives and works emerged. Many had travelled around the world before arriving in Wellington, and for some, their art holds enormous significance for their wellbeing and integration into New Zealand life. For New Zealand-born artists, often their predecessors' journeys or the arrival of new people and influences has been equally significant.

Due to the high level of interest in taking part in CrossOver , and to ensure a consistent exhibition quality, a curation panel selected works for exhibition. The curation panel consisted of: Emma Bugden (Curator, City Gallery), Grant Corbishley (Lecturer, Visual Arts, Wellington Institute of Technology), Helen Kedgley (Art Exhibition Curator, Pataka, Porirua), Jonathan Mane-Wheoki (Director, Art and Visual Culture, Te Papa) and Judy Turner (Artist and Consultant, Asian textiles and craft). Weltech Interior Design tutor Tony de Goldi assisted with the physical design of the exhibition.

CrossOver is on 18-28 March at the New Zealand Academy of Fine Arts Galleries, Queens Wharf, Wellington. Opening hours are 10.00am - 5.00pm (including Easter) and entry is free.



Mini-Fest celebrates 18th Century Music
The music of 18th Century Europe will be explored and celebrated with a mini-festival of lectures, recitals and a performance of Bach’s St John Passion, this Sunday 20 March, organised by the New Zealand School of Music (NZSM), the Wellington Cathedral of St Paul and Wellington City Council.

Experts from England, the United States, Australia and New Zealand will give the audience a concentrated experience of 18th Century music, with lectures on musical aesthetics, editorial technique, print culture, and contexts of musical performance. The lectures will be complemented by performances from the Amici Ensemble, Douglas Mews, Diedre Irons, and the newly-formed NZSM Graduate Ensemble. The St John Passion features the New Zealand Baroque Soloists and Wellington Cathedral Choir, directed by Michael Fulcher.

The collaborative mini-fest has been designed to appeal to a variety of people, including musicians, scholars, and all music-lovers, according to Euan Murdoch, Interim Director of NZSM.

“The mini-fest will provide a unique opportunity to become completely immersed in 18th Century music, to enjoy this music and to find out more about it.

“Those attending will be able to learn about and listen to the celebrated works of the era, such as Bach’s St John Passion, as well as unknown gems, such as Dittersdorf’s Sonata for Fortepiano Four-Hands ‘Hercule en Dieu’, which will be performed by Douglas Mews and Diedre Irons. This is an exciting one-off event involving distinguished scholars and performers.”

The concert is part of an ongoing series of events organised by the NZSM (brochure of events is available at Since January 2005, Victoria University and Massey University have been operating the joint NZSM, a centre of musical excellence. A site adjacent to Civic Square in Wellington’s cultural precinct has been secured for a purpose-built building and fundraising for that building is underway. The Inaugural Director will be recruited during 2005 and the School will be fully established by 1 January 2006.

Mini-Fest of 18th Century Music – Sunday 20 March 2005
10 am – 3 pm: Ilott Concert Chamber, Wellington Town Hall (lectures, pre-concert talk, lunchtime concert, and round table discussion with integrated performance)
4 pm – 7 pm: Wellington Cathedral of St. Paul (pre-Passion talk at 4pm in the Loaves and Fishes, followed by St. John Passion)
8 pm – 10 pm: Ilott Concert Chamber (Centre for Eighteenth-Century Music Haydn Lecture, followed by a performance by The Amici Ensemble)

Guest speakers from overseas:
Dr Samantha Owens (University of Queensland). “On the concept of the ‘Kleine Cammer-Music’ in early eighteenth-century German court music”
Dr Dennis Monk (formerly University of Alabama). “The String Quartets of Franz Asplmayr”
Dr Robin Leaver (Westminster Choir College of Rider University, United States). Pre-Passion talk: “Bach’s St. John Passion: A Work in Progress?”
Dr W Dean Sutcliffe (St. Catharine’s College, Cambridge). Centre for 18th Century Music Haydn Lecture: “A Dying Art? Haydn and the Tempo di Menuetto Finale”

Cost: Events in the Ilott Concert Chamber are free (donation) but seating is limited. Tickets for the St John Passion are available from the Cathedral Choir members, cathedral gift shop, and on the door: $25, $20 (concessions), $10 (students with ID).

Enquiries to Debbie Rawnsley, Tel: 463-6050,



A LOW HUM is back. Just like disco.

This month sees two of the most difficult to pigeonhole bands in the country touring together. Coincidentally, they both rule as well.

The creation of Nick Harte, The Shocking Pinks live band takes upon many shapes and forms. Famous for their live shows being ground breakingly spectacular one moment and then insanely broken the next, they are the most mysterious band around. The current lineup of the Christchurch four piece is brilliant and totally un-missable. The second Shocking Pinks album “Mathematical Warfare” comes out through Flying Nun on Feb 28th, and this tour also doubles as the album release tour.

The chance that you could see The Shocking Pinks absolutely hit the disco nail on the head is reason alone that you do not miss this gig but make sure you bring your finest pair of strap on dancing shoes because otherwise co-headliners from Wellington, The Inkling will confuse your shoes right off your feet.

I used to just go to all their shows cause I felt so cool and sophisticated looking like a beatnik grooving to their warped jazz infused whatchamacallit in the tiny, smoky, packed rooms. Now I realize that The Inkling are basically the bees knees and that even in large, non-smoky, packed rooms they still make pop-rockers look like chumps. Their debut album is due out through the increasingly ace label Capital Recordings in April, see them before it comes out and you’ll be too cool for school.

This is a lineup not to be trifled with. If you enjoy getting your dance on and if you seriously want to see the two New Zealand bands that every overseas magazine this year is going to be champing at the bit over, then don’t miss this gig.

A LOW HUM and Jack Daniels present
The Shocking Pinks and The Inkling with guests
Thu 17th - Wellington, Happy
Fri 18th - Palmerston North, 85 Broadway
Sat 19th - Auckland, Edens Bar
Sun 20th - Leigh, Sawmill Café
Thu 24th - Nelson, Hot Momma's
Fri 25th - Christchurch, Creation
Sat 26th - Dunedin, Arc Café
Sun 27th - Queenstown, Dux De Lux

The #16/CD 8 “The” issue of A LOW HUM is absolutely choice as well. With a fantastic “the” compilation that features tracks from The Mint Chicks, The Dukes of Leisure, The Users, The Shocking Pinks, The Inkling, The Lahars and The Sentimental Plastic. As always, free with entry.

Thank God for Jack Daniels for making this actually happen and not just be a figment of my imagination, and respect to RDU, R1, Active, FleetFM, The Package and The Fix for making it happen in style.



You are invited to the opening of:

'DIVERSITY' a group exhibition of all Art Compass artists at:

Monday 21 March 2005 AT 5pm
91 Aro Street is open Tuesday to Sunday from 11am to 6pm,

91 Aro Street
a Community Gallery
Aro Street

and our popular T-shirts

creative process
free from cultural conditioning
it flows
art grows
they grow
challenging perceptions
of intellectual impairment labels

See you there,
Marcel Baaijens
Programme Director

Art Compass Studio-Gallery
supporting artists with intellectual disabilities Compassion Centre
132 Tory Street
New Zealand
Studio ph: (04) 385.9298



Kia ora koutou

From director Tony McCaffrey who brought the smash hit Disco Pigs to BATS in 2003, comes another Enda Walsh play Bedbound, starring Steven Ray and Amiria Grenell. Bedbound opens tonight for a two week season – not to be missed!

STAB 2005 expressions of interest close on Friday 18th - don't forget to contact us if you are interested in expressing your interest!

Next at BATS – Hate Crimes by Paul Rothwell, directed by David Lawrence. Opens on 31 March.

BOOK NOW to avoid disappointment - to book for any performance at BATS simply reply to this email with your name, number of tickets and date you wish to attend. We will reply to confirm your booking and you can pay when you come to the show.

Love the BATS crew

Season: Tuesday 15 – Thursday 24 March (no show Sunday)
Time: 8pm plus 2pm matinee on Saturday 19th
Tickets: $16 full/$12 concession

“I'm in the bed.  The panic has sucked me dry again 'til all that's left is ta start over. I get that tiredness turn to tight . . . and I give in ta the words.  I let go. Go.”
Bedbound premieres in New Zealand at BATS Theatre, bringing an edgy new play with a graphic warning on the ravages of capitalism.
“Like Beckett with a broken bottle in his hand” (The Times) Enda Walsh, author of award-winning Disco Pigs has penned a tale of a father and a daughter sharing a small bed.  He talks frantically of his extraordinary past, she tries to piece together her extraordinary present. Feverishly exciting and blackly comic, the world they live in is unlike any other.
The play is outrageous, intense and seems to break playwriting rules at every twist.  Bedbound brings exciting Christchurch Theatre company A DIFFERENT LIGHT to Wellington. It is a creative collaboration spearheaded by director Tony McCaffrey, noted Christchurch director with previous highly successful shows including the New Zealand tour of Disco Pigs in 2003 ('The energy bounces off BATS's walls' - Dominion Post ); The Curative (2003); The Maids (2004); and Duck (2004).
With a combination of the vastly experienced Wellington actor Steven Ray as the Father, a money grabbing nightmare product of Capitalism; and exciting new talent Amiria Grenell as the Daughter, a victim of Capitalism gone terribly wrong. A specially commissioned soundscape for the production has been composed by O.G, his album Uncharted available now. With set by Toby Papazoglou and lighting by Martyn Roberts, Bedbound promises a theatre tour de force with typical Irish intensity.

BATS Theatre
1 Kent Terrace
Wellington, Aotearoa
bookings 802 4175
office 802 4176
fax 802 4010



Exhibitions/Operations Manager - Museum of Wellington City & Sea

As one of New Zealand’s best and most innovative museums we need a new Exhibitions/Operations Manager as our existing one has moved on to higher things.

If you would enjoy managing a complex electronic environment, delivering interesting and innovative exhibitions to time and budget, contributing to policy and planning, and maintaining an historic building all at the same time, while keeping your sense of humour, this could be the position for you. The successful applicant would be expected to start as soon as was practicable.

For enquiries or an information pack please contact Michèle at Wellington Museums Trust, phone 04-471 0919 or email
Applications close Wednesday 30 March 2005

The Museum is managed Wellington Museums Trust with major funding support from Wellington City Council.



Footnote Dance Company premieres
Outside The Square
A Dance Work with Words
at the Capital E National Arts Festival

Saturday 19 March 11 am
Tickets at all Ticketek outlets Ph. 384 3840 Service fees will apply

Children will be hip-hopping, twisting and grooving their way out of Wellington’s Illott Theatre if they’re lucky enough to see Outside the Square, a new dance work especially for young audiences premiering as part of the Capital E National Arts Festival.

It is a fun, inspiring and interactive dance and movement experience that encourages children to discover movement and explore looking, thinking and moving in new ways.

Outside the Square is presented by the Footnote Dance Company, directed by Deirdre Tarrant has been devised especially to entertain, excite and energise the company’s youngest audience ever - aged 3 to 9 years!

“Sometimes it’s fun to follow everyone else, but sometimes it’s fun too, to take step outside the square”


And see



"Wellington's superb chamber choir" - The Dominion Post
Wellington's international award-winning chamber choir The Tudor Consort presents its first 2005 season performance on Good Friday 25 March with a programme of beautiful sacred music for the church season of Lent. The penitential themes of Lent, and the week leading up to Good Friday in particular, has inspired some of sacred music's finest composition. The choir presents a selection of the most moving music for Lent by the finest composers of the Renaissance, plus new repertoire for Holy Week by 20th century composers as diverse as Englishman Edward Bairstow, European Arvo Pärt and New Zealander David Farquhar. As the sun sets and the light fades, the German chorales from J S Bach's St Matthew Passion return between each polyphonic piece as a litany on the themes of loss, poignancy and redemption.
"A world-class choir ... beautifully blended ... heavenly singing" - The Dominion Post
Choral Music for Holy Week
Arvo Part 1935-: The Woman with the Alabaster Box
Orlandi de Lassus 1532-1594: Stabat Mater Dolorosa
Tomas Luis de Victoria 1548?-1611: Lamentatione Jeremiae Prophetae
9pm, Good Friday 25 March
Wellington Cathedral of St Paul - Molesworth Street - Wellington
$25 / $15
Visit for complete programme details.



Dictionary of New Zealand Biography



Call for applications to artist residencies in Chine and India…

New Zealand writers, visual artists and craft/object artists are invited to apply for artist residencies in New Delhi and Beijing, offered by Creative New Zealand in partnership with the Asia New Zealand Foundation.

The three-month residencies are available at the Sanskriti Foundation of India’s Kendra campus on the outskirts of New Delhi and at Redgate Gallery in Beijing, China. The Arts Board of Creative New Zealand will cover the cost of accommodation and facilities, and provide artist stipends of $10,000 each while they are in residence. The Asia New Zealand Foundation will meet the cost of return airfares.

Both residencies are aimed at established artists who wish to pursue projects related to the location or the facilities of the host organisation. Priority will also be given to applicants who show an appreciation of the environment and culture of the residency’s country.

This is the second year that Creative New Zealand has offered the residencies. For Dunedin artist Simon Kaan, the recipient of last year’s Red Gate Gallery residency, the highlight was working alongside other artists and sharing ideas.

“It was just great to get feedback on my work in a more international context and to show the work in China,” he said. “In many ways, I think it has made me mature as an artist.”

Former Dunedin textile artist Kelly Thompson was the recipient of the residency at the Sanskriti Foundation of India.

Beijing’s Red Gate Gallery ( has exhibited contemporary Chinese artists for 12 years. Its well-established residency programme offers studios and accommodation, and it also has access to the facilities of the Beijing Arts Academy. The residencies are available to a limited number of international writers, visual artists and craft/object artists.

The Sanskriti residency programme is offered by the Sanskriti Foundation of India ( to writers, visual artists and craft/object artists from India and throughout the world. The accommodation and facilities for this residency are based at the Sanskriti Foundation’s Kendra campus on the outskirts of New Delhi.

The deadline for applications for both residencies is 5pm, Friday 20 May 2005. Artists will be expected to take up the residency in Beijing between October and December 2005, and the residency in Delhi between September 2004 and April 2005.

For application forms and guidelines please contact an Assistant Arts Adviser on 498 0702 or or click on the link below.



A Michael Parmenter Retrospective

In a career spanning 20 years, Michael Parmenter has created some of the most important choreographic statements in New Zealand dance. His athletic and musical style has thrilled audiences and helped to create a generation of New Zealand dancers.
Join us in a celebration of New Zealand contemporary dance as we gather together 18 of our finest dancers from within New Zealand, and returning from around the world, to reunite for a stunning programme of Parmenter’s most popular works.
Highlights include Parmenter’s most significant achievement, The Dark Forest, signature works Tantra and Fields of Jeopardy and the recent critically acclaimed Svedebka, set to Stravinsky’s thrilling Les Noces. Parmenter has structured Commotion as a rich emotional journey culminating in The Golden Builders, the sensational final movement of Jerusalem.
In Wellington for four nights only!

Westpac St James Theatre
Wednesday 16th – Saturday 19th March, 8pm
Tickets range from $11.50 - $46.50
Book at your local Ticketek office or



About a Girl
Three Artists - One Model
new photographic and mixed-media works
by Maire Smith, Grant Buist, and Rachel Woolford

About a Girl is an exciting and unique exhibition made up of portraits of one model by three artists.

Maire Smith works in oil and other media on canvas – including an unusual combination of body paint, photography (with Kirsty O’Dowd), and oil painting – to create pictures that express her reactions to the model’s personality.

Grant Buist works with digitally enhanced photography to produce elegant, deceptively simple images reminiscent of the work of Aubrey Beardsley.

Rachel Woolford re-directs techniques she’s developed for still-life and nature photography to explore human form and character, producing sensitive works that explore the model's interaction with her environment.

The exhibition as a whole provides a fascinating illustration of how different artists can react to one source of inspiration, as well as recording the changes in the artists’ perceptions of the model over time as they have interacted with her in the second half of 2004 and early 2005.

Mezzo Gallery (first floor, Wellington Central Public Library)
Hours: 10–6 daily (closed Sundays), 14–31 March 2005

The exhibition is online at
For further information or to purchase any of the works, call +64 (0)21
152 2859 , or email the artists at



STAB originated in 1995 from BATS’ desire to initiate a commission that allowed theatre artists to experiment in a supportive environment. The STAB commission is an essential part of the BATS annual programme and can be accessed by all performance media; dance, theatre, opera, music, film, magic and interactive media. STAB has grown over the last nine years to have a solid framework and process. The total commissioning amount for 2005 is $60,000.
The aim of STAB is:
To secure and provide a significant level of funding (the commission) to support the creation of cutting edge, revolutionary performance work.
To commission new New Zealand performance work.
To support this work from inception through a production process to presentation.
To present at least two productions in the STAB season annually.
To promote BATS as the most exciting, cutting edge theatre in New Zealand with its finger on the pulse.
To support a national community of innovative artists who strive to push boundaries in their performance work.

STAGE 1:      Expressions of Interest
Friday 18 March: A one-page form is filled out by interested parties by this date.
STAGE 2:      Short List Selection
Monday 21 – Thursday 24 March: BATS holds informal interviews with all those who have submitted expressions of interest.
Wednesday 29 March: Final selection of a small number of groups to further develop their concept.
Monday 25 – Wednesday 27 March : These groups present their concept and a detailed proposal containing budgets, personnel and marketing plans as well as creative content.
STAGE 3:      Commissioning
Late APRIL 2005: Two or more groups are commissioned to produce their STAB project.
STAGE 4:     Presentation
OCTOBER/NOVEMBER 2005: STAB is presented/staged
STAGE 5:     Reporting
JANUARY 2006: Project reports and budgets submitted to Creative New Zealand detailing project strengths and challenges.


Get a closer look at the direction of public art in Wellington. A related paper will be discussed and presented at the March 3 Strategy & Policy Committee meeting of WCC. Excerpts are below. See the complete report at

Purpose of Report
This paper presents final recommendations for the implementation of the Public Art Policy (2003) as requested by the Economy and Arts Committee in April 2004.
Executive Summary
In April 2004 the Economy and Arts Committee agreed to include $400,000 in the LTTCP from 2005/06 to allow for a more consistent approach to the creation, maintenance and promotion of Wellington’s public art1.
The level of funding for the package was developed by analysing previous and existing funding levels for public art. The fund consolidated ad hoc funding currently sourced through one-off projects, individual sculpture proposals funded through operational and capital funding, and through new initiatives in the Annual Plan process.
Key proposals include:

-- a reduction in the proposed annual Public Art Fund from $400,000 to $300,000 from 2005/06
-- the establishment of a Public Art Panel to implement the policy, manage the Public Art Fund and provide a framework from which Council can seek private sector and central government support for Wellington public art projects
-- an annual grant from the Public Art Fund to the Wellington Sculpture Trust to contribute to the cost of commissioning permanent sculptures
-- the development of an annual Public Art Programme that will be presented to Strategy and Policy Committee each year.
It is recommended that the Committee:

1. Receive the information.
2. Note that a $400,000 Public Art Fund was included in the LTCCP from 2005/06 through the 2004/05 Annual Plan, with officers to undertake further policy work on a framework for implementing the fund.
3. Agree that, on the basis of the implementation framework outlined in this paper, the Public Art Fund will now be $300,000 from 2005/06.
4. Agree that the resulting $100,000 savings from 2005/06 onwards will be reflected through the 2005/06 draft Annual Plan process.
5. Agree to establish a Public Art Panel as the key mechanism to implement the Public Art Policy, including integrating art in to Council capital work projects, providing a grant to Wellington Sculpture Trust, the development of temporary public art and an annual Public Art Programme.
6. Agree to the Public Art Panel targeting central government departments and appropriate private developers to facilitate the integration of public art in key non-Council capital work projects in Wellington.
7. Note that information on Wellington’s Annual Public Art Programme will be presented to the Strategy and Policy Committee each year.



Capitial E National Arts Festival 2005
The Capital E National Arts Festival turns Wellington into New Zealand's centre of arts for young people from 5-20 March 2005, so there’s still time to catch something.This fabulous two-yearly event presents children aged 3-14 and their families with some of the best performing arts and events from New Zealand and Australia



Get the big idea

And register as a user



All original, all New Zealand made, all under one roof …..

Calling all painters, sculptors, ceramic makers, glass workers, multi-media artists and any other people involved in creative pursuits, nationwide. The Second New Zealand Affordable Art Show is coming soon. Registrations have just opened for any artist wanting to exhibit and sell their work in the mid-July show. All artists are welcome to register regardless of whether they’ve exhibited before or not. Here’s the catch – all work has to be priced below $5000. You have to register by May 1 2005.

To do so go to and download a registration form or email / phone (04) 472 7652.



Michael Hirschfeld Gallery at City Gallery Wellington
25 February – 3 April 2005
Free entry

Beverly Rhodes’ solo exhibition project at the Michael Hirschfeld Gallery draws on the body of work she developed for her recently-completed Master of Fine Arts degree at RMIT, Melbourne.

In ‘Home is where we start from’ Rhodes explores ideas about childhood, motherhood and the process of growing up and discovering oneself as an individual. Rhodes’ work is nostalgic without being sentimental, and has a strong aesthetic, with bold use of colour (particularly deep reds and clean whites) and texture, especially in her use of lacquer-like enamel paint and woollen fabrics.

‘Home is where we start from’ is made up of three components that when brought together reveal the connections between the states of childhood and motherhood as experienced over a lifetime by one person.

For one work, Rhodes has taken the kitchen shelving units she grew up with, and mixed them with other familiar objects, including chairs, drawers and a school desk, all of which she has swaddled and stitched into scarlet woollen fabric. Rhodes will panel the walls of the smaller exhibition space in the Michael Hirschfeld Gallery with lengths of scarlet-painted plywood and then arrange the fabric-wrapped objects within the space, creating an immersive environment full of evocative colours and textures.

In another work, a wall hanging is made up of fabric strips embroidered with the phrases ‘blood sweat tears’ and ‘you are my sunshine’. In a third installation, piles of freshly-laundered sheets are neatly lined up along the gallery wall. A video projection plays over the sheets, showing Rhodes and her daughter folding linen, turning this household chore into a graceful, choreographed performance.

Through the three installations, Rhodes transforms the Gallery into a meditative space for visitors to ponder and enjoy.

Beverly Rhodes is of Kai Tahu and Scottish descent and was born in Methven, Canterbury, in 1941. She has exhibited throughout New Zealand since the early 1990s and her work has been recently seen in the exhibitions BlanketStitch at Objectspace, Auckland, and The New Alchemists at the Dowse Art Museum, Lower Hutt.

Artist and curator’s floortalk – Thursday 3 March 2005, 5.30pm. All welcome

Designworks Enterprise IG are proud sponsors of the Michael Hirschfeld Gallery. Thanks also to Colourcraft; and Publication & Design, Wellington City Council. City Gallery Wellington is managed by the Wellington Museums Trust with major funding from the Wellington City Council.

Tel. 64 4 801 3959
Fax. 64 4 801 3096



Feb 25 2005 - May 1 2005

Destiny Deacon: walk and don’t look blak is the first major survey exhibition of this leading indigenous Australian artist whose wicked humour and potent politics have engaged audiences internationally.
The exhibition, organised by the Museum of Contemporary Art (MCA) in Sydney, focuses on the past fourteen years of this artist's career and includes some of her most important photographic, video, performance and installation works.
As an artist Deacon draws widely from urban culture and personal experience, inventively using what she describes as ‘low tech’ and ‘low budget’ tools and techniques. Deacon’s work addresses social and political issues with wit and intelligence, often making use of her extensive collection of kitsch souvenirs, knick-knacks and black ‘dollies’ - popular in Australia in the 1940s, 1950s and 1960s. These works engage with indigenous and gender issues that are not only specific to Australia but also have international relevance.
Deacon’s artwork has featured in a number of major international exhibitions including the Fifth Havana Biennial (1994); the First Johannesburg Biennale (1995); Second Asia Pacific Triennial (1996); and the Yokohama Triennial (2001). Significantly, Deacon was the only Australian artist invited to participate in Documenta 11 (2000) in Kassel, Germany.
Having gained international acclaim in the exhibition Paradise Now? in New York, the Adam Art Gallery has invited New Zealand artist, Lisa Reihana to create a new body of photographic based works for an exhibition that will run concurrently with Destiny Deacon: walk and don’t look blak at the Adam Art Gallery.
As two leading female indigenous artists, Reihana and Deacon have been working alongside one another over the past decade and in many ways Reihana and Deacon's practices have run parallel. Both artists use multi-media to explore issues relating to history, indigenity and gender, which each artist does with incisive humour and wit. Given their close association, Reihana was invited to contribute towards the catalogue that accompanies Destiny Deacon: walk and don’t look blak.
Reihana’s dynamic multi-media installations explore the diverse ways in which indigenous identity is constructed and represented in a bi-cultural context. In previous works, such as ‘Native Portraits’ (1999), Reihana used artifice and role-play to discuss issues of identity and visual representation. More recently, in works such as ‘Digital Marae’ (2001), Reihana presented digitally manipulated interpretations of Maori female ancestor figures in a series of large-scale, glossy, colour photographs that have attracted international attention.



Drive by Art About to Hit the Street with Colourful Connections
Over two dozen new works of art, each painted on a large vinyl street banner, have been created by members of Wellington's ethnic and international communities. These banners, commissioned in partnership with local multi-cultural group, Colourful Connections, have just been installed in Wellington’s CBD.
"These new works of art celebrate Wellington's creative diversity, and represent the multitude of international identities of our city," said Community Arts Assistant, Seamus Arnel. "We hope that thousands of residents, commuters, and pedestrians will get a better look at the world cultures represented by our cosmopolitan city."
The Colourful Connections banners have been installed along the streets of the Wellington waterfront in support of 2005 Race Relations Day, and in conjunction with the CrossOver exhibition opening on 21 March at the Academy of Fine Arts.
Drive by Art is a Wellington City Council public art initiative developed by Recreation Wellington, with generous support from local businesses, Resene and Flagmakers. To date, over 100 local artsits and schools have participated, each creating a new work of art for our city streets. Drive by Art was honoured with the NZ Creative Places Award in 2004.
Drive by Art Colourful Connections: now on the streets of Wellington. For more information contact Seamus Arnel, Community Arts Projects Assistant, 04 385 1929, or



Hutt Valley Community Arts
Monday to Wednesday: 4 hours daily - 10am to 2pm.
This role, reporting to the Hutt Valley Community Arts, Administration and Funding Sub committee, requires a person who is progressive and forward thinking with excellent interpersonal and communication skills.
The successful applicant will need to display a passion for Arts and Culture - particularly public and community art, for a role offering challenge, scope for initiative, creativity and autonomy.
Background & Knowledge:

1) A Working Knowledge and or experience in Not for profit administration and systems, and or arts management.

2) A Working Knowledge and or experience with public funding and service providers in relation to the community and voluntary sector.
To secure this role you must have:
·       Excellent computer skills
·       A strong customer service focus
·       An ability to work in a team environment
·       An ability to foster co-operation and communication between staff and volunteers
Please send your CV under confidential cover to:
                   Administrator Position
                   Hutt Valley Community Arts
                   2A Petone Avenue
 A job description is available on request from HVCA.  Ph: 568 3488
 Applications close mid-day Monday 21st March 2005





Minneapolis-based Artspace is a real estate development organization whose projects are designed specifically to cater to the needs of artists seeking live/work space. Originally a creation of the Minneapolis Art Commission, Artspace was spun off as a nonprofit organization in the mid-1980s. From its first projects close to home, Artspace's reach has expanded to include the development and ownership of arts facilities in Galveston, Texas; Reno, Nevada; Pittsburgh, Pennsylvania; and Portland, Oregon. It also has been a consultant on more than a dozen other arts facilities development projects nationwide. Artspace's holdings are valued at nearly $75 million, according to Chris Velasco, manager of Artspace. The oldest of these projects include the Northern Warehouse Artists Cooperative in St. Paul's Lowertown neighborhood, which was established in 1990, as well as the Frogtown Family Lofts in 1992 and the Tilsner Building in 1993, both also in St. Paul.
"We place a high value on the contributions the arts make to neighborhoods and economic centers such as urban downtowns," says Tom Nordyke, vice president of the 20-employee Artspace. "There's an intangible quality, yet one we find valuable in contributing to the livability and revitalization of communities. That's not to say we're a community-building organization . . . it's the artists themselves, living and working in our projects, who are involved in community building. We try to focus on serving the needs of local arts communities by offering the technical real estate development skills that make possible self-sustaining arts facilities."



World Cinema Showcase: 17 March 2005 - 31 March 2005
“Every July the Wellington Film Festival downloads a wealth of international cinema onto local screens. The Festival is presented by a charitable trust saddled with the terrible task of broadening the options of New Zealand’s filmgoers and filmmakers and the distributors and exhibitors who come between. For the last six years the Film Festival Trust has collaborated with the Paramount Cinema to supplement the massive July event with the World Cinema Showcase, a modestly scaled, similarly motivated celebration of the medium, coming your way every autumn.
This year’s opener, the New Zealand premiere of Pedro Almodóvar’s Bad Education is a noirish celebration of movie mania in its own right. What we’ll also be celebrating is the completion of the first stage of an extensive refurbishment programme at the Paramount. It’s the oldest house of pleasure in Wellington, a cinema since 1917, and still a vital bastion of independence and diversity in an industry dominated by corporates and popcorn. It’s the cinema that welcomed the Wellington Film Festival in 1972 when the other operators thought the Film Society were a bunch of over-educated losers who should stay that way. In 2005 it remains the only commercial cinema in our fabulously movie-savvy cultural capital equipped to the standards required before the world’s major film collections will provide their valuable prints of the classics.
So, all power to the Paramount, where the walls are saturated with a century of cinema and projectionist Jim Ahern spins the CDs to match. The scene of many an opening night binge, of unforgettable live performances, filmmaker tantrums, nerve-wracking first dates, innumerable earthquakes, at least one funeral and possibly even a standing ovation, it’s an institution that’s coloured the lives of generations of Wellingtonians. The more often you wriggle in those old seats now, the shorter will be their red vinyl days. Replacing them is the next step to the future. Get behind!
We’re pleased the Showcase has been chosen as the local premiere venue too for Hotel Rwanda, big scale, Oscar-nominated filmmaking with a remarkable commitment to setting the record straight on an appalling episode in recent world history. Otherwise our premiere line-up is a distinctively European affair (bar Johnnie To’s Breaking News) with Exiles, the new film by Tony Gatlif providing an obvious highlight, alongside films from France, Germany, Italy and Greece.
At the Festival we insist that every film we show is a local premiere. Designated retrospectives are the only exceptions to our undertaking to provide our audiences in July with the first opportunity to see our selection of the year’s leading films in Wellington. In March we’re less uptight about coming first, particularly where it concerns films that have played our own or other festivals without scoring the subsequent release we hoped they’d find. From last year’s Wellington Film Festival you have a second chance to check out Head-On, which has, since July, taken the European Film Award for best film of 2004; Sylvia Chang’s shrewd and funny drama of sex in the city of Taipei, 20: 30: 40, the rocking Festival Express; and local favourite, the Figwit documentary. The vast and powerful The Brotherhood of War made its New Zealand debut at a Korean Film Festival late last year.
Michael Moore’s failure to change the minds of Middle America has stilled the racket about a new era of personality-based documentary. This may be the one positive thing to be said about the US election result as far as other documentary filmmakers are concerned. We have impressive evidence that the era of the present-but-self-effacing documentarian continues: films that take us into Afghanistan, North Korea, the debate about assisted suicide and, ironically, the case against George W Bush. Then there are documentary film essays which foreground the filmmaker’s sensibility in a quest for some wider meaning: Wenders’ Blues movie, Bruce Weber’s glamour-struck A Letter to True and Wellington filmmaker Jennifer Bush-Daumec’s Land of Our Fathers, our one shining World Premiere.
And where would the Showcase be without a handsome assortment of classics in brand new prints? Can a season featuring The General, La Strada and rare screenings of four Studio Ghibli features be anything other than a very good thing?  If you don’t have an answer, it’s definitely time you got down to the Paramount.”

Bill Gosden
New Zealand Film Festival Trust




Poetry Competition call for entries

Entries to the 2005 New Zealand Poetry Society’s International Poetry Competition close on 30 May. There are four sections: Open (judged by John Horrocks), Open Junior (judged by Pat White), Haiku (judged by Bernie Gadd) and Haiku Junior (judged by Jeannette Stace). Junior sections are open only to entrants who are 17 or younger on 30 May 2005.

Entry fees remain the same as last year due to the financial support of the competition’s sponsors. The society is grateful to the Asia New Zealand Foundation for its continuing support of the Junior Haiku section and to new Open section sponsor The Learning Connexion.

Winners, placegetters, commended entries and editor’s choice of entries will be included in an anthology scheduled for publication in late 2005.

Click on the link below for more information and entry forms. You can also email, or write to Laurice Gilbert, Competition Secretary, NZPS, PO Box 5283, Lambton Quay, Wellington.



International programme offers range of fellowships
The UNESCO-Aschberg Bursaries for Artists programme, established in 1994, will offer 62 arts fellowships with 50 partner institutions in 30 countries – from Australia, Brazil and China to Spain, Thailand and the United States.

The programme aims to open up new career prospects for artists and provide them with the opportunity for further training in specialised institutions. The fellowships are co-financed by the International Fund for the Promotion of Culture and an international network of partner institutions specialising in the training of artists.

There are fellowships available in visual arts, music, dance, writing, theatre and media arts. Click on the link below for more information.



Applications to 2005 Creative New Zealand Craft/Object Art Fellowship
Creative New Zealand is calling for applications to the 2005 Creative New Zealand Craft/Object Art Fellowship, worth $65,000. The closing date for applications is 25 March 2005 and the recipient will be required to complete a project over a 12-month period.

Established last year, this annual fellowship is the largest craft/object art fellowship or award available in New Zealand. It’s open to mid-career and senior New Zealand practitioners, curators and writers - ranging from jewellers, weavers and ceramicists through to furniture-makers and designers.

Applicants should demonstrate that they have a strong national reputation and have been critically acclaimed for the work they have produced. Creative New Zealand will be inviting external peer assessors to assist with the decision-making process.

For more information and guidelines please contact Elizabeth Caldwell, Creative New Zealand (Tel: 04-498 0737 Email: You can also click on the link below for the guidelines.





The New Zealand Symphony Orchestra is to undertake its largest ever international tour.

Prime Minister and Minister of Arts, Culture and Heritage Helen Clark has announced funding of $400,000 to support the New Zealand Symphony Orchestra's largest ever international tour.

The $400,000 for the NZSO's August 2005 tour comes from the government's Cultural Diplomacy International Programme.

The Prime Minister then said all these things…

"The Cultural Diplomacy International Programme recognises the significant value of showcasing New Zealand cultural activities on the world stage, presenting ourselves as a culturally diverse and contemporary nation, with a strong and unique cultural heritage.

"The NZSO will be excellent cultural ambassadors, performing a diverse repertoire which includes original New Zealand music, at the world famous BBC Proms in London, the Concertgebouw in Amsterdam and at the World Expo in Aichi, Japan.

"Attendance at the World Expo means the orchestra can build on its successful tour of Japan in 2003, cement cultural links and further reinforce New Zealand's important trading, diplomatic and tourism relationship with Japan. The Orchestra represented New Zealand at the first World Expo in 1970 in Japan and also at the Seville World Expo in 1992.

"To take on such a tour is a great achievement for the orchestra and I wish them every success."



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Eric Vaughn Holowacz
Community Arts Co-ordinator
Wellington City Council / Wellington Arts Centre
P. O. Box 2199
Wellington, New Zealand



The Octo-numerical Query. Huh?
We pose a batch of questions.
A creative person answers.

What cities/towns have you lived in (or spent more than a few months in), beginning with your place of birth.
York (U.K), Cranwell & West Raynham (U.K) Takoradi (Ghana), Wellington, Christchurch, Bristol, Wellington again.
What are the earliest stories you remember hearing?
Grimms fairytales, my Scottish Granny's poems and my father's airforce flying exploits (both in the air and the officers mess) Oh and my sisters used to like to scare me with tales of what would happen if you swallowed gum or orange pips.
What music was present and still memorable from your youth/adolescence?
Bryan Ferry's Love is the Drug, Queen's Bohemian Rhapsody, all of Pink Floyds Dark Side of the Moon. I think my first boyfriend had a distinct influence there.  I became a disco queen after that then I moved onto Punk as any self respecting art student does. Iggy Pop's 'I'm only Five Foot One' resonated. Mostly because I'm only five foot one...
For you as a creative person, who are three influential artists or thinkers?
God, now I'm on the spot- I could look very uneducated here...For me personally and not necessarily the rest of the world... my arty aunty Isabel taught me the value of a bag of material scraps and leather offcuts, I spent hours as a kid copying Leonardo Da Vinci's anatomical illustrations and trying to write back to front, and a little known children’s book artist Rie Cramer, who illustrated The Silver Thimble Story Book that I got as a 5th Birthday present. I loved her work then and still do now.
What is your dream of happiness?
A boatshed studio by the sea with a very large table that no-one will need me to clear up. Oh, and there would be a very good espresso machine in it too. And broadband.
Who are your favourite or most admired figures from history?
Artemisia Gentileschi- she was a 15th century woman artist with exceptional talent and an interesting history. I struggle to actually admire a lot of figures from the past even thought they've done extraordinary/ marvellous/outrageous things. A lot of them seemed to have really crappy personal lives.  I gather Florence Nightingale went to bed after the Crimean War and never got up again. No wonder- looking after all those men.
Name three films that you consider profound, moving, or extraordinary.
Life is Beautiful (what bravery) City of God (what brutality) and yes, WhaleRider- we had just returned from 2 years in the U.K. and I was overcome with emotion for N.Z that I had missed so much combined with the themes of the film that had me really think about where we look for our leaders and also the perseverance of love in the face of rejection.
What was your first real job? second? third?
Um...I don't think I've ever had one. Unless you count berry picking in Nelson for two summers as a gal and working as an airbrush demonstrator in the Whitcoullls art department for a couple of weeks in 1981. I've always freelanced. I did work for 3 months at Weta Workshop last year though. For 10 hours a day. Good coffee there...
If you had to eat the same meal every day, what would it be?
French toast and bacon with banana and maple syrup followed by a flat white and a berry friand if I could squeeze it in. I would be obese in no time.
Name a few books that you couldn't put down, would read again, haunt you still.
Vey recently, 'Doing It' by Melvin Burgess- so funny and so spot on about teenagers and sex. I've been recommending it to everyone- especially parents who think their kids have never thought of 'doing it'.  'The Lovely Bones' of course and it will be an amazing film (hopefully). The Mists of Avalon- yes, I'm a closet Arthurian and love that whole mystic side of Britain (though it seemed long gone when I was there recently) I'v read it twice and really peeved my daughter won't read it. I read 'The Drifters' (James A Mitchener) when I was 15- that was my first really adult book and it shocked and intrigued and carried me away. I also read 'Go Ask Alice' at the same age and I actually think it was the defining thing that stopped me from trying heroin when pressured to indulge in the late 70's punk scene. I'm an impressionable sort.
What have you done, seen, experienced, or produced that was a disappointment to you?
Pavlova. I cannot make one. Also 'The English Patient'- I fell asleep in it, it was so tedious. People say that Stone Henge is dissapointingly small, but I thought it was great despite my kids whining that they wanted to go and get chips instead.
What was the most recent live performance you attended, and where was it presented?
'Grease' at The Opera House in Wellington. They were free tickets I tell you! (but it was still alot of fun!)
In one sentence, can you define art?
No. It would make me unpopular and I can't have that.
What word of advice would you offer an aspiring artist in your field?
Where would you like to live, but have yet to?
Oriental Parade.
What would you like to do, but have yet to?
Earn alot of money so I could live on Oriental Parade.
Briefly describe a project you are planning for the future.
Stalk a wealthy person on Oriental Parade and convince them to be my patron and provide me with a free studio by the sea with a big table I never have to clear up. Seriously though I am working on another novel right now and a Wearable Arts entry; the show is in Wellington this year- exciting stuff! 
What one question would you add to this Query?
How do you get anything finished when you have kids?


I trained at Wellington Polytech Design School (now Massey) in Visual Communications Design, graduating in 1980.  Spent 16 years in Christchurch as an illustrator for the design and advertising industry, childrens books and I was an arts and craft presenter on 'What Now' kids T.V show for 7 years (101 ways with an egg carton).   Moving back to Wellington I have carried on doing more of the same (minus the T.V career) & written humerous verse for Next magazine for 8 years. I've tutored design, illustration and business practice at Christchurch and Wellington design schools.  In 2000 we packed up the kids and went to Britain for two years where I did copywriting and environmental art and missed the beach. On coming back to NZ, I did an MA in Scriptwriting at Victoria University and worked at Weta Workshop as a storyliner on Jane and The Dragon and a costumer for The Lion The Witch and the Wardrobe. In 2003 I became a published kids novelist with 'Verity's Truth with a second book 'Janie Oliver' due out in October this year. I am a veteran Wearable Arts entrant and have even got a few prizes for it. I consider my greatest creative works of art to be my kids. They are beautiful, intricate, highly challenging, sometimes offensive, wonderfully kinetic, hugely expensive and I had a great deal of satisfaction in making them.


Flashback to 1966, and
The Philistines, however, are still powerful among us…