New Zealand Pavilion is now closed

Thanks for your support of the New Zealand Pavilion over the last five months.  Michael Parekowhai's exhibition On first looking into Chapman's Homer has been a huge success with accolades from prominent media, curators, gallerists and in particular the visitors.

Here is just a sample of comments from the three visitor books that have been filled:

• “A strong melange of feelings! Graze” Italy
• “Wonderful piano and a wonderful, inspiring space – so restful. Thank you” UK
• “In New Zealand and Maori culture I found myself... maybe in a previous life I lived there over.. I have not other words. Thank you” Italy
• “Gorgeous! Thank you for making my first trip to Venice unforgettable” US
• “Wonderful, Thoughtful, moving, soothing and powerful...beautiful.  Can’t find superlatives super enough, Thank you so much.” UK artist.
• “Very special and very appealing” China
• “Wow! That’s all I can say” France

Michael Parekowhai’s exhibition will now travel to Paris's renowned musée du quai Branly with three works being showcased at the museum. The two bronze grand pianos, each supporting a cast bronze bull, A Peak in Darien and Chapman’s Homer will be installed in early November 2011 in the grounds of the museum beside rue de l’Université, a key route for pedestrians visiting the nearby Eiffel Tower. Te Papa’s E Tu Ake will still be on at this time and connections may be made with this exhibition of New Zealand work.

In February 2012 the carved Steinway, He Korero Purakau mo Te Awanui o Te Motu: Story of a New Zealand River will be positioned in the entrance foyer of the museum with

The exhibition will return to New Zealand mid 2012 at Christchurch Art Gallery.  “It will be exciting to welcome this key work back home a year after it opened in Venice, keeping the Biennale heartbeat strong at home as well as overseas,” says Jenny Harper.

You can view a slide show of images of the exhibition in Venice here

55 La Biennale di Venezia 2013

Celebrated New Zealand sculptor, photographer and installation artist Bill Culbert has been invited by the Arts Council of New Zealand, Toi Aotearoa to present his work at the 55^th Venice Biennale in 2013.

Otago-born Culbert painted and worked more conceptually before beginning his experimentation with electric light in the late 1960s.  Often associated with kinetic and constructivist art, he also has a strong affinity with Marcel Duchamp and Lazlo Moholy-Nagy through his work with found objects and through a continuing exploration of ideas around light, energy, perspective, social space and politics.

Culbert has sustained a busy exhibition schedule throughout his career, with more than 100 solo exhibitions in New Zealand, England, Europe, the United States and Australia since 1960, and many more group exhibitions and major public art commissions.

Born in Port Chalmers, Culbert studied fine art at Canterbury University School of Art (1953-56), and in 1957 received a scholarship to study at the Royal College of Art in London, gaining a silver medal for painting.  He now works in sculpture, installation and photography, often in combination around the subject of light.  His materials include light bulbs, lampshades, fluorescent tubes, plastic bottles, wine glasses and suitcases. He travels extensively and exhibits widely in Europe, Australia and New Zealand.  He is represented in New Zealand by Sue Crockford Gallery.  He lives and works in the South of France and London.

In 2010 a major new monograph on Culbert written by the poet, novelist and critic Ian Wedde, was published by Auckland University Press.

You can view a slideshow of some of his work here

Keep up to date with what is happening around the New Zealand visual arts scene and looking forward to 2013 via our Facebook fan page or Twitter page

Art Fatigue

One thing to keep in mind regarding the Biennale di Venezia is that one’s experience of it is not limited to exploring the streets for hidden national pavilions, or committing a day or two to exhaustively drink in the many exhibitions at the Giardini or Arsenale.  Part of the charm of the Biennale is that you are in Venice.  I’m not sure it would be as satisfying seeing all this art if you didn’t have to work hard for it (I’m talking here about going round and round in circles trying to find #17 on your map or discovering that certain exhibitions are closed between 1pm-2.30pm because that’s when the attendants have their lunch break.)  Additionally, it’s also about taking in the Venetian way of life – alternating between analysing the complex installation of Thomas Hirschhorn in the Swiss Pavilion with the consumption of delicious gelati or a nice cold spritz (Aperol or Campari) served with patatine (see image). Often visitors to the New Zealand pavilion breathe a large sigh of relief at the serenity of the Palazzo Loredan dall’Ambasciatore with its large lush garden and wide open spaces, complete with the lapping Grand Canal at the feet of Peak of Darien.  They enter the space already at ease after hearing the delightful tones of the piano wafting down Calle dei Cerchieri – many have their fingers dancing in the air along with the pianist, trying to identity if it is Chopin, Bach or perhaps a New Zealand composer like Douglas Lilburn.  Frequently they are suffering from what I like to call ‘art fatigue’ – after having seen so many incredible artworks with typically complex concepts, they have become almost like zombies in the face of new artworks and are merely walking from palazzo to palazzo ticking off landmarks on their maps.  However it seems that this exhibition kick starts their enthusiasm and they start to appreciate what they are witnessing firsthand... It’s amazing what a bit of music and Kiwi warmth can do! 

 

Acqua alta

Rose Campbell watches the changing seasons in Venice

Its my lunch break and I'm sitting by the water's edge observing the first signs of the acqua alta high tides that will fill the low lying parts of Venice with water over the next month. The water is at the level of the floor of the wooden jetty of the palazzo so definitely a good idea to be de-installing our exhibition on 23rd October or I would be playing in my gum boots!

The temperature has dropped a little over the last week with  heavy rain and thunderstorms  but its hotting up again in the afternoons.

Today we had a visit from Te Waka Toi Chair Darrin Haimona's travelling companions to Greece. I farewelled them from the venue with Dorothy Buchanan's version of Hine e Hine. There's been a steady stream of New Zealand visitors through over the last week - hurrying through before we close, some of their comments follow:

"The exhibition is stunning, intelligent, haunting, b****y huge and I was so proud of Michael and to be a New Zealander."

"We have just visited the pavilion which made us feel very proud to be New Zealanders. What a magnificent exhibition."

One of the highlights of my day has become a chocolate brioche and a small black coffee at the bar of the local pastry shop. Because of all the walking and the sweeping with my friend the witches broom (see pic) you can eat lots of pastry and not be the size of a barge here.

That's my theory anyway.

Learn more about Acqua alta here