Matthew Galloway: As Time Goes By
23 Nov 2017 - 9 Feb 2018
Matthew Galloway, The Ground Swallows You (Part II), installation view. Courtesy of The Dowse Art Museum, Lower Hutt, 2017. Photo: John Lake.
In The Ground Swallows You Matthew Galloway investigates the geopolitical implications of using imported fertiliser in our agricultural industry. Part I of this project traced the path of the container ship Josco Suzhou, carrying Rock Phosphate from the occupied territory of Western Sahara in North Africa to Dunedin, Aotearoa New Zealand in late 2015. Galloway has subsequently developed the project to raise questions about our continued trade relationship with this disputed territory, despite the human rights issues involved. Adapting and deploying the symbols of the fertiliser corporations and countries involved as a new visual language on these flags, As Time Goes By highlights our ongoing participation in Morocco’s illegal occupation and use of Western Sahara’s resources. Here the flags are accompanied by a free newspaper providing information on the background and context for this long-running conflict. As a whole the project sets out to reveal the factors behind the continued import of this resource, and an awareness of the economic and political connection between these two countries on opposite sides of the world.
The Ground Swallows You (Part II) publication includes contributions from Sahrawi Activist Elbarra Embarek Jelali, ARTifariti 2016 Curator Jose Iglesias Ga-Arenal, and Western Sahara Resource Watch representative Erik Hagan. These flags were first shown in Western Sahara as part of ARTifariti International Art an Human Rights Meeting, held in Sahrawi in late 2016.
Matthew Galloway works mainly through collaborations, research projects and publications. He is increasingly interested in using the tools and methodologies of design in an editorial way, and within a gallery context. Linked to this is a focus on design as an inherently political exercise. Galloway completed an MFA at the University of Canterbury School of Fine Arts in 2013. He currently holds a teaching position at the Otago Polytechnic School of Design. This project was commissioned for the exhibition ‘This Time of Useful Consciousness’ at The Dowse Art Museum, Lower Hutt, 2017.
Elliot Collins: Surveyor
1 Dec 2017 - 15 Dec 2017
Bridge remnant, Maketū. Photo: Elliot Collins, 2015.
"This exhibition attempts to elucidate through a process of travel, research and making, the way memory markers reveal or conceal themselves in differing circumstances, specifically discussing ideas of enigma, signature, place-naming, silence, absence and speech. By observing and referencing signs, signwriting, tombstones and monuments there is a repeated encounter of human interventions with and in landscape. Whilst I walk the tracks and paths towards these markers I am repeating the action of advancing and retreating from memory, I also perform a kind of pilgrimage/research interaction that reveals to me the complex and differing layers of memory that exist within the social spaces of Aotearoa New Zealand. These experiences of mine in the field, both physical and cerebral are then articulated into the art works that constitute the thesis of this practice led PhD." — Elliot Collins, 2017.
Ziggy Lever: title (to be specified)
1 Dec 2017 - 15 Dec 2017
Ziggy Lever, Crystallising Universe, 2016. Photo: courtesy of the artist.
"A form of synchronic research plays an important part in my work, in which I re-turn materials, sitting sometimes for a long time, waiting for a trace to follow. Slowly, as this research gestates and unfolds, a kind of temporary condition can arise where archive becomes image. This idea of research as a tracing or staking out of terrain has led me to a mode of installation practice in which a modular and temporary framework sets up the conditions for things to play out. The question of contiguity in the field is investigated via enfoldment and entanglement in a textural interlocution, where these terms articulate the field and the trace in the production of subjectivities.
In this research, installation borders are considered as porous, interstices liminal and littoral as they oscillate. Installation is the field where these discourses meet, in a swirling of energy and matter the gravitational pull of contiguous elements form waves/waveforms that temporarily suspend the structure, meaning, and veracity of discourse. Images are textual conditions of the field in dynamic flux." — Ziggy Lever, 2017.
Guo Zixuan, Li Xiaofei, Tu Rapana Neill, Jim Speers and Clinton Watkins
23 Feb 2018 - 6 Apr 2018
Field Recordings, Xiao Pudong (production still), 2017. HD video, single channel, 31:00 minutes.
“The ocean is one of capitalism’s mysterious elements,” narrates Mr Kang in one of the five video-channels in Let the Water Flow (2017). Each channel follows a narrative relating to the workers living on boats and along the banks of the Suzhou and Chang Jiang Rivers in Shanghai, and travelling to Hengsha Island. This multi-narrative form is central to Field Recordings’ video work as a collective. Rather than attempting to present an omniscient view of Shanghai, this documentary practice constantly reveals its own limits, and the impossibility of narrative coherence across the numerous perspectives and sites that constitute a city. The consistent undercurrent is water—a physical, political and economic barrier that exists between those making a living on the rivers, and the skyscrapers that represent the proliferation of wealth in the city.
Here in Tāmaki Makaurau, a port city like Shanghai, the sight of shipping containers and urban development is familiar. Gayatri Chakravorty Spivak has written, “Globalisation takes place only in capital and data. Everything else is damage control.” The shipping containers transfer capital and data between the two cities as if unencumbered, and along with them moves ‘everything else’. What does it mean, then, to encounter this work here in Tāmaki Makaurau, in the recognition that ‘here’ is unique to each viewer? It may be possible to record Aotearoa’s relationship with China in economic terms, on the basis of capital transaction and data, but we ourselves, each of us and our lives, are not ‘global’. We are differently located, always situated in and working from a specific place and perspective. Everything we see in these works is in a state of constant movement; the city will no more stay still than the waterways that move through it.
This exhibition is accompanied by a publication, including essays by Emma Ng, Michael Wilson and Hsieh Feng-Rong, which will be launched on 15 March 2018.
 Gayatri Chakravorty Spivak, An Aesthetic Education in the Era of Globalization (Cambridge, Massachusetts: Harvard University Press, 2011), 1.
Field Recordings is presented in association with Auckland Arts Festival 2018.