The in and the out of it
Read the symposium transcript,
the-in-and-the-out-of-it-a-symposium-transcript.pdf
This year at Artspace Aotearoa we explore the question “do I need territory?” As an artist-led, artist-forward organisation we begin our exploration of this question by examining constitutive elements of (the) artworlds. What are the economies and processes that produce these worlds, and in which ways have artists and artworks contributed to discussions around self-determination, agency, and participation across modern and late capitalist paradigms. What is the in and the out of it?
This symposium explores the zones of the artworld(s) by presenting a variety of positions from across the motu spanning artistic practice; collection politics; and the productions of art history. Our speakers will present from their unique experience, covering conversation to case study. With contributions from Melanie Tangere Baldwin, Christina Barton, Natasha Conland, Judy Darragh, Ngahuia Harrison, Sarah Hopkinson, Peter Robinson and Shiraz Sadikeen.
This symposium is a Chartwell 50th Anniversary 2024 Project.
Space is limited and booking is essential.
In Conversation | Presentation Economies, Peter Robinson and Ngahuia Harrison. Followed by Q&A.
Artists Peter Robinson and Ngahuia Harrison discuss the exciting, but also ambivalent process of moving work from a studio, community, or whānau context into the public realm. What types of supportive protocols do artists establish to navigate this? What is the in and the out of the studio?
Lecture | Art without artists: The doing of art history, Tina Barton. Followed by Q&A.
Art historian Tina Barton considers the correspondence between art history, exhibition making, artists and their estates. What is the complex navigation of ethics, creativity, and politics at stake as artwork and artist legacy come into contact? What is the in and the out of the estate?
In Conversation | Pathways between contemporary practice and collecting, Natasha Conland and Sarah Hopkinson. Followed by Q&A.
Curator Natasha Conland and arts worker and gallerist Sarah Hopkinson discuss the nuanced processes of supporting artists and their works into spaces of presentation and collection. As artist advocates, what is involved in navigating the public, the private, the artwork, the artworld? What is the in and out of collecting?
Lecture | Manaakitanga as baseline, Melanie Tangaere Baldwin
Artist and curator Melanie Tangaere Baldwin discusses the necessity of art spaces emerging from and with a specific community through her work at HOEA! What parts of our lives can we draw on to make an artspace what we need it to be? What is the in and out of self-determination?
Panel | Do I want to stay?, Ruth Buchanan, Tina Barton, Melanie Tangaere Baldwin, Judy Darragh, Shiraz Sadikeen
Artists and artworkers discuss key topics from the day and consider what is it that is so compelling about the artworld, despite its challenges: why do we stay? What happens next?
WHAT TO EXPECT
This event will be held in The Kit on our basement level.
This location is accessible with assistance.
It will be seated and microphones will be used.
Light lunch and refreshments will be provided.
BIOGRAPHIES
Melanie Tangaere Baldwin (Ngati Porou) is a mother, artist, curator, educator, and co-founder and current director of HOEA! Gallery in Turanganui a Kiwa Gisborne. She works to create models of engagement and presentation that enhance equity and accessibility for the Māori and Indigenous arts community.
Christina Barton (DLitt, MNZM) is an art historian, writer, curator and editor based in Te Whanganui-a-Tara Wellington. Since leaving her role as Director of Te Pātaka Toi Adam Art Gallery at Te Herenga Waka—Victoria University of Wellington in 2023 – a position she held for 17 years – she is embarking on independent projects that will enable her to work with art and artists, add to the scholarship on art history in Aotearoa New Zealand, and delve into the complex question of how past and present mutually inform each other. She is currently providing advice and support to the Vivian Lynn Estate and the Billy Apple® Archive, whilst also evolving various publication projects.
Ngahuia Harrison is an artist and researcher of Ngātiwai, Ngāpuhi, Ngāti Pukenga. She is currently Te Tomokanga Postdoctoral Fellow in Te Kura Tangata Arts, Waipapa Taumata Rau University of Auckland.
Sarah Hopkinson has a Bachelor of Fine Arts and a Bachelor of Art (Art History) from the University of Auckland (2005). Since graduating, Sarah has worked in the expanded field of contemporary art, initially in academic institutions, as a curator of artist-run spaces, and more recently in leadership roles in commercial galleries. Sarah was a founding director of Gambia Castle (2007-2010) and Hopkinson Mossman (2010-2019), and is the current director of Coastal Signs in Tāmaki Makaurau Auckland. Sarah also works as an independent advisor, and is a trustee of the Auckland Art Gallery Foundation and the Jan Warburton Charitable Trust.
Peter Robinson is an artist of Kai Tahu living in Tāmaki Makaurau Auckland. With a strong focus on studio practice, Robinson has exhibited consistently since the mid 1990s both in Aotearoa and abroad. He has participated in numerous internationally significant exhibitions including the 9th Asia Pacific Triennial of Contemporary Art (2018), the Jakarta Biennial (2015), 13th Istanbul Biennale (2013), 11th and 18th Biennale of Sydney (1998 and 2012), and he was New Zealand’s representative at the 49th Venice Biennale (2001). In 2008 he was the winner of the Walters Prize, Aotearoa New Zealand's preeminent contemporary art award. He is a committed arts educator and is an associate professor and Dean Māori at Te Waka Tūhura Elam School of Fine Arts and Design.
Shiraz Sadikeen is an artist living and working in Tāmaki Makaurau Auckland. Using appropriation, abstraction and the effects of misrecognition, his work attempts to mediate and prompt reflection on the historical conditions and ideological conflicts typical of contemporary bourgeois society. Recent exhibitions include ‘Intro’ at Treadler, Tāmaki Makaurau Auckland (group); ‘Seconds’ at Envy, Pōneke Wellington (group); ‘The Field’ at Gertrude Contemporary, Naarm Melbourne, and ‘Ends’ at Coastal Signs, Tāmaki Makaurau Auckland (solo).
Judy Darragh (b. 1957 Christchurch, Aotearoa New Zealand) is an artist renowned for her brightly coloured sculptural assemblages, collage, video, photography, and poster art. Her practice came to prominence during the 1980s, at which time Darragh’s trademark and eclectic iconoclasm modelled a fleet-footed critical position in response to the rampant materialism and free-market reforms that characterised this period of New Zealand history. In 2004 Te Papa Tongarewa Museum of New Zealand mounted the major survey exhibition Judy Darragh: So... you made it? Judy Darragh lives and works in Tāmaki Makaurau Auckland where she has played a significant role in the development of ARTSPACE Aotearoa, artist-run spaces in Auckland such as Teststrip, and Cuckoo, has taught widely at both secondary and tertiary level. She with Imogen Taylor co-editored Femisphere a publication supporting women’s art practices in Aotearoa. Darragh continues to exhibit extensively throughout Aotearoa New Zealand and her works are held in numerous public collections in Aotearoa. Darragh is a member of Arts Makers Aotearoa, an advocacy group for the visual arts.