Studio Critique

Kia ora tātou

Please come along to Olivia Webb – critique of work in progress: Sung Family Portrait.

Thursday 18th October
Midday – 12:30pm
WM201c PG Test Space Room

Olivia Webb_Voices Project 2014. Photo by Deagen Wells.6

Voices Project, Olivia Webb, 2014


Art and Performance Reading Group: Lisbeth Lipari’s Ethics of Listening

Another Art and Performance Reading group to look forward to.
Thursday 4th October
12 midday to 1:30 PM
WE building level 3, between the PhD studios (see image below).

Reading Group: Lisbeth Lipari’s Ethics of Listening

Lisbeth Lipari’s 2014 Listening, Thinking, Being: Toward an Ethics of Attunement discusses philosopher Emmanuel Levinas’s notion of the face-to-face encounter with another as a meeting that must embrace difference. As such, we emphasise practices of listening that acknowledge difference and where encounters with participants are an ethical response to neighbours and strangers alike. Lipari terms this mode of being as “listening others to speech” and “listening otherwise” as she writes: “The listening,” in contrast to “the heard” is an enactment of responsibility made manifest through a posture of receptivity that can receive the other without assimilation or appropriation. “The listening” is a process of contraction, of stepping back, that creates a distance so that the other may come forward. In “the listening” I create a space to receive you, letting your speech enter me, flow through me (2014: 197-8).

There are two readings to look at before coming to the reading group. Please RSVP to John Vea and he will send you the readings.

– pages 175 – 204 from Lipari, Lisbeth. (2014). Listening, Thinking, Being: Toward an Ethics of Attunement. Pennsylvania: The Pennsylvania State University press. This section is called “Listening Others to Speech”.


– “Listening Others” from On Listening ed. Angus Carlyle & Cathy Lane. This is a super short essay that gives an intro to the topic/ideas.+


Art and Performance Reading Group: Chantal Mouffe’s Agonism

Art and Performance Reading group
Thursday 30th of August
12 midday to 1:30 PM
WE building level 3, between the PhD studios (see image below).

Chantel Mouffe’s Agonism

This reading group focuses on the work of Chantel Mouffe and her ideas that navigate artistic activism and agonistic spaces of shared cooperation. Mouffe’s essay Artistic Activism and Agonistic Spaces argues for the importance of critical artistic practices in public spaces that never seek consensus. She seeks out art that acknowledges radical antagonistic political differences that are unsustainable and unresolvable.

Please read the following text before coming to the reading group & RSVP to John Vea.

Mouffe, C. (2007). Artistic Activism and Agonistic Spaces. Art & Research: A Journal of Ideas, Contexts and Methods, 1(2), 1–5.



Rumen Rachev Performance

Dear all,

You are warmly invited to Rumen Rachev upcoming performance, at the Talk Week, 2018. The details: 14th of August, Tuesday, 11:30-12:00, at WM, 3rd floor (the elevators).



Laura Marsh The ninthWave: sonic immanence and female empowerment

Kia ora tātou,
You are warmly invited to Laura Marsh’s Confirmation of Candidature PhD presentation:

Thursday 9 August
Testspace (WM201c)

PGR9 ad

This project fuses feminist activism and a DJ practice to generate an installation and participatory art practice aimed at corporeal sonic experiences. I convene activist events, often using sound weighted in low-end frequencies, in environments that I have designed for shared listening. In the context of a bass infused sonic environment, this project will investigate the potential of the sonic body, described by Paul Jasen as the “contingent, imaginative body that emerges in it’s sonorous relations.”

To enable activation of sonic bodies in regular events, I have designed a large, bass heavy sound system called ninthWavesoundShe will be a sound system built, owned and operated by womxn. This research is positioned in the context of a feminist new materialism where bodies are understood to be animated by environmental and sonic entanglements. ninthWavesound is an influential ‘being’ in herself, with her own agency and ‘thing power.’ By creating an affective field around herself that draws people together, ninthWavesound will be a harbinger of new affinities and resonances for a community of “oddkin”, to follow Donna Haraway, (oddkin are “kinship relations that are translateral, proliferating, and multispecies, rather than genealogical and anthropocentric.”) The generative space created around ninthWavesound will emphasise the intra-influential nature of oddkin, intertwining human and (Jane Bennett’s) “more-than-human” bodies, technologies, feminist subjectivities and resonant materialities.

ninthWavesound will offer opportunities for participation in sound events, such as DJ club nights and amplified immersive sound sessions. These events are experimental feminist acts of empowerment that aim to enhance participants’ well-being through vibrational affect and empleasurement. The affective scope of these research events are extended through a feminist approach to event promotion and invitation, in an art practice of mimetical subversion of patriarchal structures within the music industry.

Ever Present Archiving: new methodologies for art histories through fabrication, approximation and invention

Kia ora tātou,

You are warmly invited to Julia Holderness’s Confirmation of Candidature PhD presentation:

Thursday 19th July
12 midday until 1:30 PM

Ever Present Archiving: new methodologies for art histories through fabrication, approximation and invention

Ever Present Archiving explores how an installation-based practice might critique assumed forms of collected knowledge, and develops practices of fabrication, approximation and invention to interrogate archives and their construction of art-historical narratives. Focusing particularly on how representations of the past constitute ‘re-presentations’, this project revisits particular epochs in New Zealand’s art history (such as the Christchurch art collective called ‘The Group’, 1927– 1977), and imagines their possible entanglements with international movements (including for example the Bauhaus). In creating narratives that might or might not have existed – encompassing artists, groups, movements, and exhibitions – this project deliberates on the role of fiction in both the collection and interpretation of material histories, and critiques traditionally held divides between art historical scholarship and artistic fabrication. The making of objects and assemblages based on archival fragments becomes part of an original, reflexive, practice-led methodology for art-historical investigation that highlights both the productive nature of the archive, and gaps and slippages within the information it stores.

Holderness_J_PGR9_image (1).jpg

Julia Holderness, fabrications in ceramic and linen, installation detail from Gallery 91, 2017, commissioned for SCAPE Public Art.

Invitation to val smith PGR9

Kia ora tātou,
You are warmly invited to val smith’s Confirmation of Candidature PhD presentation:

Morphic Queering

Transmaterialism, Diagramming and Contra-Somatic Choreography
Tuesday 29 May // 2-3pm​

(followed by snacks and chats)

​WE Building, Room WE305 // St Pauls Street entrance
AUT City Campus

Limited spaces, rsvp to
(please note preference will be given to
gender diverse, mvpfaff & lbgtqi+ rainbowy types)

morphic queering invite pgr9

Performance Artist Antonio Paucar Presentation/Open Dialogue

Kia ora koutou,

The Art and Performance Research Group alongside Te Tuhi would like to invite you to attend Peruvian Performance Artist Antonio Paucar presenting his performance work in the context of growing up in the Andean region of Peru. Antonio will then encourage an open dialogue with the audience to exchange experiences of their diverse upbringings both within Aotearoa, and beyond.

Wednesday 23rd May
Building WF, Level 2
Room WF214
AUT City Campus

Antonio Paucar, (with local and international Artists) is also part of the Te Tuhi Offsite Performance Exhibition: ‘Acts of Passage’ 18 May 2018 – 27 May 2018Silo 6, Wynyard Quarter, Auckland.

This is a link to his page in his Berlin gallery site

Antonio Paucar

Antonio Paucar
Altar, 2005
(Gallery archive no.:APa-05-0014)
Duration: 2:40 min.
Edition of 5 + 1AP
Courtesy the artist and Galerie Barbara Thumm, Berlin

Antonio Paucar was born in 1973 in Huancayo, Peru. He lives and works in Berlin and in Huancayo.

He comes from a family of artisans and since his childhood he worked as an artisan to elaborate traditional Andean figures and masks. Later, he dedicated many years to beekeeping in the central highlands of Peru. He studied one year philosophy at the Humboldt University Berlin, then visual arts at the Kunsthochschule Berlin-Weissensee
 and at the Universität der Künste in Berlin, where he later pursued his graduate studies under the tutorship of Rebecca Horn.

His most recent solo exhibitions include: Caminos cargados de memoria, Ministerio de Cultura DDC, Junín, Peru, 2016; International Artist Residency Program, White Cube Gallery, Metropolitan Museum of Manila (Philippines), 2015; Antonio Paucar, Galerie Barbara Thumm, Berlin, Germany, 2014.

Group exhibitions include: “Unfinished Glossary” in Hello World, Revising a collection, Hamburger Bahnhof Museum, Berlin (DE), 2018; Extracorporeal (Beyond the body), curated by Edward Hayes at MOLAA, Museum of Latin American Art, Los Angeles (USA) 2018; Video Art in Latin America, Los Angeles (USA) 2017; In/Tangible curated by Cecilia Fajardo Hill, Gallery Barbara Thumm, Berlin (DE) 2016; Recent Video from Latin America, Harold M. Williams Auditorium, The Getty Center, Los Angeles (USA) 2015; Historias Locales / Prácticas Globales curated by Sharon Lerner and Edi Muka; MDE15 – Encuentro Internacional de Arte de Medellín (Colombia), 2015;  Wall Works, Hamburger Bahnhof, Museum für Gegenwartskunst, Berlin (DE), 2014; Movement Matters, Kunstverein, Gottingen (DE), 2014; Ruta mística, MAC Monterrey and Museo Amparo, Puebla, Mexico, 2013-2014.

Paucar won the Zeitsicht-Kunstpreis prize in 2011 and the LARA Prize in 2013.

Bobby Campbell Luke’s Confirmation of PhD Candidature (PGR9) presentation:

Kia ora tātou,
You are warmly invited to Bobby Campbell Luke’s Confirmation of PhD Candidature (PGR9) presentation:


Date: 3 May 
Time: 12:00pm 
Where: WM02C – Test space 

This research explores the potential for interdisciplinary-based multimedia, performance, and textile design investigations to perform as knowledge repositories. The project aims to restore & revitalise understandings of a Taranaki cosmological worldview that can inform and enhance knowledge exchange through artistic and design research. Moreover, an overview and role of ‘Rongo’ (cosmological deity representing the god of cultivation and peace) and how ‘Rongo’ as an entity can better enhance an understanding of creative design/art practices is explored. From this perspective, the project aims at providing Māori and non-Māori appropriate ways of developing creative methods using holistic cultural frameworks. Such frameworks include evolving Kaupapa Māori theories, Purakau, and significant Māori histories. But more specifically, ‘Taku Taranakitanga’ becomes the overarching perspective of this project and aims to position this research from a Taranaki, Ngāti Ruanui, Hāmua, Hāpotiki and Taiporohenui Pā worldview. These frameworks are driven by auto-ethnographic methods and epistemologies of propositional knowledge (undocumented knowledge or anecdotal term).

Rongo plays the vital role in Taranakitanga. Rongo is used as a tool to personify a certain ‘being’ that shows characteristics that are able to enhance a better understanding of traditional and contemporary ideologies. Rongo is recognised in various ways but ultimately personifies characteristics of cooperation, consensus, and commitment. These characteristics result from struggles of colonisation particular to land confiscations in Taranaki and historical events that took place in Parihaka, and more specifically, land confiscation and loss of life in South Taranaki (Ngāti Ruanui). Taonga Tuku Iho (objects passed down from ancestors) carry these characteristics and preserve this knowledge through ‘Hau’ (breath of life). Other ways of activating knowledges through reciting particular Karakia and oral expressions such as Poi Manu, Mōteatea, Karakia and Haka. Accordingly, this project will seek to revitalise new understandings of Taonga through methods developed by way of interdisciplinary design and Contemporary art practices. It will visually examine how Rongo influences Tikanga, a customary system of values and practices deeply embedded a Māori social construct.  specifically, through the concepts of Tapu and Noa.


PGR X: The Next Chapter – an invitation

Kia ora tātou,
You are warmly invited to Rumen Rachev’s Confirmation of PhD Candidature (PGR9) presentation:
PGR X: The Next Chapter Rumen Rachev & CO
17th April
WE718, AUT
This research stems from the author’s practices of undoing theory and knowledge, to provide a practice-led proposal engaging institutional critique. The inertia (combined with urgency) for fixing this PhD project for review and ultimately examination is unsettled by fluid methodologies (Coleman and Ringrose 2013; Koro-Ljungberg 2016), a condition that I term ‘performative uncertainties’ for the purposes of this project. The research critically analyses what is meant by ‘production of knowledge’ in the Art and Design field, through a détournement of macro-managerial practices, and through an active fostering of collaborative practices with other PhD candidates or performers.

Screenshot (4)

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