Today, many want to pull down war memorials as expressions of bad politics, especially those memorials that legitimise evil and injustice. Are there 'good' war memorials—and who decides? Can we make use of 'bad' war memorials? How do we understand miscellaneous contemporary war-memorial projects, like Peter Eisenman's Memorial to the Murdered Jews of Europe in Berlin and Ground Zero in New York, or Weta and Te Papa's The Scale of War and Peter Jackson 'colourising' World War I footage? What form could future memorials take?
Sculptor Glen Hayward’s practice brings the everyday into the gallery in profound and absurd ways. Reconsidering familiar objects is a concern shared by other artists. Join us as they discuss their practices and why they find commonplace objects compelling.
Sonic artists Thomas Carroll (Ngati Maru, Hauraki) and Rob Tyler respond to the themes of Matarau. Fusing taonga pūoro and modular synthesis, they incorporate rongoā plants as a modulation source, to create works inspired by Māori philosophy, cosmology and experimental noise music.
IMAGE Glen Hayward: Wish You Were Here City Gallery Wellington Te Whare Toi 2022. Photo Elias Rodriguez.
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Artist, activist and leader, Darcy Nicholas has been at the forefront of contemporary Māori art development within Aotearoa and globally since the late 1960s.
Darcy’s paintings and sculptures envision the relationship between physical and spiritual realms, which is the basis of knowledge given to him by Māori elders and tohunga.
The life force of the environment, generational connections to landscapes and human relationships to the land has been a continuing and ever-evolving theme in Darcy’s work. His paintings are immediately recognised by their abstraction of figures and landforms, overlays of graphic symbols, and luminous colour, which communicate universal concepts of guardianship, ancestral presence and continuity. Darcy’s work is held in collections throughout this country and around the world.
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