!ERROR!

Laura Duffy, Research image, 2020. Image courtesy of the artist.

Laura Duffy, Research image, 2020. Image courtesy of the artist.

now on
18 Sep – 24 Oct

Laura Duffy

For !ERROR! Pōneke-based moving image artist Laura Duffy has invited artists to dance in front of a green screen set up, and transported them to another, limitless, realm.

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!ERROR! brings together a variety of footage and experiments across multiple screens in a darkened gallery. Utilising low-fi animation, digital glitches, failures and data points to distort bodies in space, Duffy has developed a series of dancing digital portraits. Together, they pursue a queering of technology and an immersive space where desire, pleasure and friendship is celebrated. The project aims to explore forms of agency and anti-normalcy that may be derived through concealment, opacity and intimate, queer-specific spaces.                      

The starting point for Duffy’s video installation was an invitation to participants to dance, including the option to use costumes and disguises. Bringing these sequences together, !ERROR! calls attention to the kind of improvised dancing that might happen at a party or club, whether sexy, shy, silly or irreverent. In asserting the potential of what is often dismissed as an unproductive activity, !ERROR! questions the categorisation of “failure” or “success” as political and limited by capitalist and heteronormative ideals. Instead, the installation thinks of failure as a performance of refusal. It critiques the assumption that our relationships be productive or easily defined, and prioritises surprise, joy and love as important aspects of resistance and solidarity.

The moving-image work is accompanied by a soundtrack by producer, singer, visual artist and designer Strange Stains, developed specifically for !ERROR!.

PLEASE NOTE: As Pōneke Wellington remains in Covid-19 Alert Level Two, we are unable to host a public opening for this exhibition. If circumstances change, we will keep you updated.

ABOUT LAURA DUFFY

Laura Duffy is a queer video artist born in Tairawhiti and based in Pōneke. Recent exhibitions include DUIRVIAS with Owen Connors, Blue Oyster Art Project Space, Ōtepoti Dunedin, 2020; Thinking about thinking about the future (with Aliyah Winter), Te Uru Waitakere Contemporary Art Gallery, 2020; Club 290, Play_Station, Pōneke, 2020; Garden of Purity, Courtenay Place Lightboxes, Pōneke, 2018. Laura has previously worked as a facilitator of artist-run space MEANWHILE.

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Cutouts

Ammon Ngakuru, Research image, 2020. Image courtesy of the artist.

Ammon Ngakuru, Research image, 2020. Image courtesy of the artist.

now on
18 Sep – 24 Oct

Ammon Ngakuru

Cutouts is an exhibition of new paintings and assemblage sculptures by Ammon Ngakuru. Exploring the material economies of gathered objects and a particular architectural site, Cutouts prompts us to reconsider biography or identity, exploring the way that history is read in the post-colonial context of Aotearoa New Zealand.

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The exhibition includes a new series of paintings based on individual dormitories for boarding students at the artist’s former school, the (now permanently closed) Mormon Church College of New Zealand in Kirikiriroa Hamilton. These white, two storey 1950s buildings had individual names—directly referenced in the titles of each work—painted on their sides. Internationally, the buildings of the Church of the Latter Day Saints deploy a recognisable architectural language: clean lines, recessed elements and a white colour palette. Taking these features as a starting point, Ngakuru’s paintings are composed of large blocks of soft colour on dark backgrounds with minimal coherent detail, drawing attention to built-up opacity and remaining shadows. Painted from memory and old photos found of the College dormitories on Facebook, these works subtly express a complicated intimacy with their subject matter. They are painted with a genuine sense of familiarity and fondness, yet also signal toward the idea of renaming, masking, and imposing categorical identities as colonial strategies.

Also included are assemblages of ephemeral materials with various connotations of value: star “confetti” made from old newspapers, a shoe box, a bird’s nest, a copy of Artforum magazine. Without an easily accessible logic to this collection of objects, we are invited to read them directly through their materiality and symbolism. For instance, Ngakuru’s scattered stars might suggest a prior celebration, a child’s craft exercise or reward, even the imagery of national symbols such as the flag of New Zealand or other nation states. Scattered around, they also invite closer inspection of the small clippings of information extracted from the papers from which they came.

PLEASE NOTE: As Pōneke Wellington remains in Covid-19 Alert Level Two, we are unable to host a public opening for this exhibition. If circumstances change, we will keep you updated.

ABOUT AMMON NGAKURU

Ammon Ngakuru lives in Tāmaki Makaurau Auckland. He holds a Bachelor of Visual Arts from Auckland University of Technology and a Master of Fine Arts from Elam School of Fine Arts. Recent exhibitions include: The Tomorrow People, Adam Art Gallery Te Pātaka Toi, Pōneke Wellington, 2017; A Shelter for Amnesic Relatives, Blue Oyster Art Project Space, Ōtepoti Dunedin, 2017; Thoughts on Secrecy, RM, Tāmaki Makaurau, 2017; Many Happy Returns, Hopkinson Mossman, Tāmaki Makaurau, 2018; and Uncomfortable Silence, Christchurch Art Gallery Te Puna o Waiwhetū, Ōtautahi Christchurch, 2020.

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