Chartwell Art Projects
The Chartwell Trust provides support and patronage to a number of selected art projects, galleries and artists. With the central aim of providing opportunities for the encouragement of understanding about art both within the public art sector and the wider community, projects principally range from publication support, public gallery education programme support, and exhibition support.
Recent patronage projects
A sampling of the projects the Trust has assisted recently.
ARTSPACE Chartwell Stairwell Project
Dorota Broda’s Stairwell Project was initiated in March 2013. The billboard frames, installed at the bottom of the Artspace Stairwell, will stay in place for a year, but the posters themselves change. There have been three different iterations of posters, to coincide with the three most recent exhibitions in the main Gallery, Goldin+Senneby M&A (21st March - 20th April) , The 5th Auckland Triennial (11th May - 13th July), and Hermes’ lack of words (26th July- 31st August). We are currently gearing up for the fourth iteration which will coincide with Tahi Moore’s solo exhibition AUTONOIR.
The project considers the hybrid nature of the Chartwell Stairwell, which exists between indoors and outdoors but is neither. Not yet an exhibition space and not only a thoroughfare. What the artist will generate is a dialogue in time and space equally engaging with the street as well as the visitors to the gallery.
In the past months Broda has been actively researching the commercial signage and materials employed in Artspace’s neighborhood, and has been documenting the signs on a variety of shops found on Karangahape road. She has concurrently been researching Artspace’s history, both in terms of its visual identity as well as the language that has been used to describe the organization through the 26 years of its existence.
The artist is considering the relationship between images and words, visual and invisible, the street and the gallery pan out, and how a metaphoric meaning springs from the literal reading of visual and written information.
While the project is only part-way through, there are certain things that we consider to be successes of the project thus far. Although Broda’s work is subtle, and indeed some may not notice it at first, it has generated significant discussion amongst the art community.
Many of our visitors follow Broda’s project in its various stages, and we often receive interested comments and remarks when the posters are changed around and before the ink has faded. The critical discussion around the work has been in complimentary of the fleeting nature of the phrases and the words. It is an evolving project that rewards stopping to take notice, as well as multiple visits, and these qualities certainly have not gone unnoticed by our community.
James R Ford - Schrödinger's Cat in the Hat
HD Video with sound
8 min loop
Edition of 3
To be exhibited as part of Never Mind The Pollocks at Paul Nache, Gisborne, in May 2012. See below for an extract from the video.
Gertrude Contemporary, Melbourne
10 June - 16 July
Sean Bailey, Peter Kennedy, Richard Maloy (NZ), Elizabeth Newman, Lisa Oppenheim (USA)
Curated by Amita Kirpalani
"Bringing together work by five artists from Australia, New Zealand and the USA, Catching Trucks chases the impossible - highlighting artists’ attempts to reveal through processes of concealment. With the works functioning as obstructions, blockages or visual impasses each artist draws attention to something through obscuring it.
New Zealand artist Richard Maloy physically ‘clots’ the Front Gallery of Gertrude Contemporary, constructing an amorphous cardboard sculpture that wraps around the interior of the gallery. Taking its form from the room’s contours the structure creates its own volume, and in doing so it denies the volume of the space it inhabits."
Read more at Gertrude Contemporary
Elizabeth Newman & Nicki Wynnychuk - room for plan B
Australian Experimental Art Foundation, Adelaide
20 May - 18 June
room for plan B is the first artistic collaboration between Elizabeth Newman and Nicki Wynnychuk. Taking their inspiration from similar historical cues and phenomena and a complementary sensibility towards materiality, the act of exchange and interaction has become the stimulus and challenge for this project. By working together the artists have also opened a new opportunity to work on a large scale, and create an ‘experience’ within the gallery: part discrete modernist object, part post-object interaction and installation.
Elizabeth Newman, born 1962, studied painting at the Victorian College of the Arts in the 1980s and has since participated in many solo and group shows both in Australia and internationally including projects at: Ocular Lab, Melbourne; TCB, Melbourne; Starkwhite, Auckland; Heide Museum of Modern Art, Melbourne; and the 2006 Adelaide Biennial of Australian Art at the Art Gallery of South Australia. Most recent exhibitions include: solo show Lights On at Neon Parc, December 2010; and an exhibition with German artist Esther Klaes, at Spazio A in Pistoia, Italy, February 2011. In July, Newman will exhibit with Maria Cruz at Galleria Duemila, Manila. Elizabeth Newman’s work is represented by Neon Parc gallery in Melbourne.
Nicki Wynnychuk, born 1977, is currently relocating from Melbourne to Madang PNG. Wynnychuk received his BFA from Canterbury University, Christchurch and Masters from VCA University of Melbourne. Recent solo exhibitions have been held at GRANTPIRRIE, Sydney; Conical, Melbourne; Gertrude Contemporary, Melbourne; West Space, Melbourne; and High Street Project in Christchurch. Recent group exhibitions include: The Barber Shop, Lisbon: Waikato Museum, Hamilton: The Dowse Museum, Wellington; Margaret Lawrence Gallery, University of Melbourne; and The 4th Amsterdam Biennale. Nicki Wynnychuk has been a recipient of a Gertrude Contemporary Artist Studio, Melbourne.
Reason and Rhyme
Gertrude Contemporary, Melbourne
18 March - 16 April
ST PAUL St Gallery, Auckland
30 September - 28 October
Chartwell are proud to support Reason and Rhyme
, a two part collaborative trans-Tasman exchange project between ST PAUL St Gallery and Gertrude Contemporary. New Zealand artists included in the project are Julian Daspher, Richard Frater, Maddie Leach, Simon Morris, Campbell Patterson, with the Australian artists Damiano Bertoli, Starlie Geikie, Hanna Tai, Mimi Tong and Jake Walker.
The exhibition at ST PAUL St Gallery opens on September 29, and runs until October 28. It will be an evolution of the earlier exhibition at Gertrude Contemporary, and will see the launch of a catalogue with documentation of the exhibition, artist pages and other reference material, and commissioned essays.
"Bringing together ten leading contemporary artists from Australia and New Zealand Reason and Rhyme
investigates the urge to structure and channel creative production through systems, grids and frameworks.
The artists in Reason and Rhyme
are connected through their use of manifestos, seriality, diagrams and systems, with the exhibition exploring the points where creativity tangles with these parameters, coursing along the edges of grids, and submitting to the regimens of form and the statutes of regulated patterns.
The exhibition will explore the urge to locate oneself within the map or the doctrine, and to impose rules and structures across creative practice. It will investigate how these systematic devices both contain and channel creative enterprise, as well as plotting and contextualising it. Reason and Rhyme
investigates how these parameters offer something from which to push up against - a structure to rebel from – when there is nothing left to rebel against.
Through applying ‘objective’ systems over creative processes each of the artists in Reason and Rhyme
distinguishes, articulates or uncovers their content. Whether this pull towards systems and frameworks is a by-product of the reduced status of the object in contemporary art, or a result of the general tendency towards deconstruction within creative practice, each of these artists enlists a rigidity to give form to their ideas."
Gertrude Contemporary - Reason and Rhyme
Joseph Herscher - La macchina botanica
MICROCLIMA, Biennale Gardens, Venice
La macchina botanica is the first work commissioned for MICROCLIMA, a new series of site-specific projects in the Greenhouse of Venice's Biennale Garden that use contemporary art as a means for exploring the connections among human beings and the natural world. La macchina botanica is a 12-metre-long Rube Goldberg machine comprising ten modular panels. Each panel will contain a set of interacting objects that trigger subsequent movements—such as rotating gardening forks that knock wooden balls—with the sequences of all ten panels connecting to form a continuous chain of motion. The final panel will consist of mechanisms forcing several pitchers to tip, one after another, to pour water over various plants.
The machine will be built over the course of six days, from 2pm to 6pm, at the rate of two panels per day. The construction will be overseen by Herscher, according to his design, with the help of forty local kids and two assistants / translators. The children will learn many techniques for working with everyday found items to produce whimsical, captivating, functional creations. There will be a strong emphasis on pacing, scale and repetition to form a clear narrative. On-the-spot problem solving will be encouraged. The final demonstration of the fully-functioning machine will take place in front of the Greenhouse on June 3 at 4pm.
Joseph Herscher is a kinetic artist specializing in Rube Goldberg machines. His work has been viewed by millions of people worldwide, and featured in The New Yorker online, as well as numerous television and radio shows. He has led highly successful workshops in Brooklyn, Boston and New Zealand, and lectured at Parsons The New School For Design in New York.
Alex Monteith - Chartwell Red Expression Session, 2011
Chartwell are proud to be supporting Alex Monteith's live performance intervention which takes place during The Association of Surfing Professional Women's Pro Tour, 26 April - 1 May, TSB Bank Women's Surf Festival Taranaki, 2011.
17 Pro Surfer, 17 custom red rash vests, 40 minute surf contest with ASP judges.
Free to the public
Venues: Back Beach, Fitzroy Beach or Arawhata Rd, Taranaki
Weather/surf dependent during the ASP Pro Tour proceedings
Date and time to be announced online - check our and the Govett-Brewster's web sites.
Alex Monteith has developed a performance project in the form of an expression session surf contest for the Aotearoa NZ leg of the Association of Surfing Professionals Subaru Pro 26 April-1 May 2011. The actions of the project are a live surf contest with red custom rash vests judged by accredited surf judges. The Chartwell Red Session Expression Session involves the top 16 women pro surfers in the world and will take place during the TSB Bank Taranaki Women's Surf Festival 2011. The top 16 pro surfers, plus a wildcard entry into the pro tour, will make a total of 17 competitors in a 40 minute expression session surfing contest. Expression sessions are contests where the rules are more open compared to ASP competition rules and their longer format of 40 minutes allows the surfers to pick the waves they want; a context in which the most radical and progressive surfing can emerge. The winning competitor will collect a $2000 NZD prize, sponsored by art patrons the Chartwell Trust, and this will in turn be donated to the New Plymouth Surfriders Club Coastal Renewal environmental projects.
Yesterday in gale-force conditions Sarah Mason (NZ) won the TSB Bank New Zealand Women's Open, thereby qualifying as the wildcard entry for the Subaru Pro and the associated Chartwell Red Session Expression. During the TSB Bank New Zealand Women's Open surf competition (26 April 2011), the surfers compete for the NZ Open women's title and a chance to compete in the Subaru Pro through collecting the wildcard entry. Alex Monteith also competed in the NZWO, in an attempt to make the wildcard entry into the expression session, but was knocked in round one, heat three and was not able to progress.
The competitors for both the Subaru Pro and the Chartwell Red Session Expression Session are: Stephanie Gilmore (AUST), Sally Fitzgibbons (AUST), Carissa Moore (HAWAII), Silvana Lima (BRAZIL), Sophia Mulanovich (PERU), Chelsea Hedges (AUST), Coco Ho (HAWAII), Melanie Bartels (HAWAII), Paige Hareb (NZ), Rebecca Woods (AUST), Jessie Miley-Dyer (AUST), Laura Enever (AUST), Tyler Wright (AUST), Courtney Conlogue (USA), Jaquline Silva (BRAZIL), Pauline Ado (FRANCE), Alana Blanchard (HAWAII) and wildcard Sarah Mason (NZ).
The time and venue for the Chartwell Red Session Expression Session will be at either Fitzroy Beach, Back Beach or Arawhata Rd weather and surf-dependent during the contest period (26 April - 1 May), and will be announced onsite via the TSB Bank whiteboard for the daily programme. The Chartwell Red Session Expression Session event will be webcast to the "live" tab at ASP event site: www.nzsurffestival.co.nz. Project updates will appear via the Govett-Brewster Facebook blog, the Chartwell Trust website, and www.alexmonteith.com.
Supported by The University of Auckland, the Chartwell Trust and the Govett-Brewster Art Gallery.
Museum of Contemporary Art, Sydney
6 April - 19 June
Chartwell are proud to be supporting the first major survey exhibition of Michael Stevenson, which opened on Tuesday 5th at the Museum of Contemporary Art (MCA), Sydney. The exhibition includes paintings, drawings, sculpture, installation and film works from Stevenson's diverse practice, covering a wide period from the 1980s to the present. MCA have created a blog to accompany the exhibition, which has details on the works included, events, and an essay by anthropologist Michael Taussig. Now Berlin-based but New Zealand born, Stevenson represented NZ in the 2003 Venice Biennale, and a number of his works are part of the Chartwell Collection (you can view them here).
"Stevenson’s work re-tells recent histories using allegory: a story which is told symbolically, in and amongst historical fact. His work—paintings, drawings, sculptures, installations and film—utilises narrative forms that transform truth and fable. It engages with absurdities that arise when universal ideas relating often to culture or economics take hold in insular, or regional, situations and seem to be both radical and perplexing. Stevenson’s practice constantly reveals the fascinating and complex relationship between notions of the specific, or the personal, and the universal.
In planning his MCA exhibition, Stevenson considered the installation as a new artwork, articulated across two levels of galleries. At times the space is challenging and confusing: the walls have been altered in parts to reveal the inner workings and skeleton of the MCA. Entryways, hidden until now, are used to reveal works coexisting in unlikely and symbolic arrangement. Included is a room dedicated to studies, sketches, technical drawings, models, photographs and objects all accumulated in the making of the artist’s work."
MCA - Michael Stevenson
Photo: Simon Glaister
Saturday, 26 February 2011, 11am - 5pm
* Rain Date: Sunday, 27 February 2011, 11am - 5pm
The public are invited to assist the artist in planting 500 white flags into the sand of Bethells Beach starting at 11am. The flags will be removed at the end of the day.
Installation, Shed 6
Wednesday, 2 March - Friday 18 March
Tuesday - Friday, 10am - 6pm
Saturday and Sunday, 10am - 4pm
Documentation, projectspace B431, Elam School of Fine Arts
Thursday, 3 March - Saturday 19 March
Wednesday - Saturday 11am - 4pm
Talk: Wednesday 2 March 6pm
Héctor Zamora will discuss his practice in conversation with Ariane Craig-Smith, Visual Arts Manager for Auckland Arts Festival as part of the Easy Listening series of talks Elam Lecture Theatre, Elam School of Fine Arts: Wednesday, 2 March 6pm. Join us beforehand for refreshments to celebrate White Noise from 5pm at Projectspace B431.
Both a simple piece of visual poetry and a gesture toward the complex history of public actions and engagement with land, foreshore and public space in New Zealand, White Noise responds to the specific location, activated in the first part of the project by the weather and environment of Bethells Beach. The one day public sculpture and action at Bethells Beach, is followed by the installation of the flags at Shed 6, stilled and contained in contrast to their previous location. This exhibition is complimented by the filmed documentation of the public installation shown at Projectspace B431. Documentation of the installation has been gifted to the Chartwell Collection.
About the Artist
Héctor Zamora was born 1974 in Mexico City and now lives and works in São Paulo, Brazil with his wife, artist Maríla Dardot and daughter Irene. Working across a variety of media, Zamora intervenes in the social and physical structures of urban and public spaces. His works draw on extensive research into specific socio-political topographies, whilst also playing on the inhabitants’ collective memories, myths and desires.