Installation—

Home Movies

Curated by Mark Williams and Laura Duffy


For one-day only, a New Zealand art trail in Newtown. 28 video works in 22 shops, businesses and cultural spaces. 


Home Movies was a one-day video art trail that took place in Newtown, Wellington, New Zealand on Saturday 28 September 2019. Inserting 28 artists into 22 shops, businesses and cultural spaces, Home Movies invited visitors to pick up a map from the local library and explore Newtown as a supportive space for minority communities, ethically-driven commerce and artistic production.

Taking place against a backdrop of Newtown’s rising housing costs and gentrification, the event sought to raise questions around how we imagine our communities in the future. Home Movies was curated by Mark Williams with Associate Curator Laura Duffy and presented as part of AURA Festival of Artist Moving Images with the support of Creative New Zealand.

Home Movies was made possible with the generous support of The Tip Shop, Habitat for Humanity, MEANWHILE, Kia Ora Newtown, Newtown Community Centre, Jared Corston, Martin Hanley, all participating venues, Opportunity for Animals, Newtown Library.

Scroll down for documentation from the event.

Click here to view the map & list of works!

Trailer:

Sat 28 Sept.
10am—4.30pm
Various venues
Free Admission


Featuring works by:

Gabrielle Amodeo 
Arapeta Ashton 
Lucy Aukafolau 
Denise Batchelor 
Louisa Beatty 
Anna Briner 
MD Brown 
Wai Ching Chan 
Madeline Cheng 
Laura Duffy 
Max Fleury 
Bryce Galloway 
Nathaniel Gordon-Stables 
Sam Hamilton 
Chevron Hassett 
Mike Heynes 
Caroline Johnston 
Lara Lindsay-Parker 
Raewyn Martyn 
Pippy McClenaghan 
Louie Neale 
Elisabeth Pointon 
Christina Read 
Emiko Sheehan 
Erika Sklenars 
Terry Urbahn 
Peter Wareing 
Aliyah Winter



Documentation:


1. Newtown Community Centre

cnr Colombo and Rintoul St

Not Everybody Can Do Everything (1996-2010)—Peter Wareing
Filmed over 14 years (1996-2009), Not Everybody Can Do Everything is an intimate portrait of three residents of Joselow House in Manhattans Upper West Side, a residential home for people with severely visual impairment and developmental disabilities. Shot by New Zealander Peter Wareing, this work was presented as a cinema screeing in the Newtown Community Centre, a venue hosting a pop-up soup kitchen, tool library, yoga and other community activities.


2. Black Coffee

133 Riddiford Street

Songs about PLEASE REMOVE (2010) —Caroline Johnston
To the sound of Brazilian Vuvuzela horns, a pair of hands sift through a crate of 12" records with the practiced movement of a collector. Black Coffee is a cafe, record store and occasional venue for bands as part of the annual Newtown Festival. Photo by CIRCUIT.




3. Aunty Danas
 Op Shop
130 Riddiford Street
Untitled (2014)—Aliyah Winter
In Untitled, Aliyah Winter queers her family histories by re-inserting herself within her own photographic family history. Aunty Danas Op Shop is run by Gender Minorities Aotearoa. The shop is named after Dana De Milo, a much loved and prominent figure who fought for LGBTQIA+ rights. Photo by Jacob Giles.

4. Book Hound
132 Riddiford St
Mustache (2011)—Rachel O’Neill
Episode 2 from the web series with sympathy (2012), an absurdist set of improvisations that follow the trials and tribulations of an heiress to a greeting card empire. Book Hound is a 2nd hand bookstore run by novelist Annaleese Jochems. Photo by Jacob Giles.

5. John Castle Chemist
139 Riddiford St
Just Breathe (2013)—Denise Batchelor
Sitting ironically above a packet of No-Doz pills, Denise Batchelor’s portrait of a sleeping porcupine suggests a meditative route towards wellness.
John Castle Chemist opened in Newtown in 1888. Since 2013 it has been run by Shahlaa Al Salih and sells “a wide range of cosmetics and beauty products, wigs, dietary supplements, passport photos and pharmaceutical services.” Photo by Jacob Giles.

6. Rachnas Jewellery and Fashionware
140 Riddiford St
Running in the Starlight (2011) —Candice Stock


Running in the Starlight is a celebration of clothing and colour as ways to define the self. The work is made bittersweet by the artists colour blindness. Established in New Zealand since 1988, Rachna’s offer “wide varieties of Eastern-origin products to New Zealanders for a special occasion, a Bollywood party, or just for casual wear”. Photo by Jacob Giles.

6. Book Haven
160 Riddiford St
Books I'd like to read (2005) —Christina Read
"I made this scrolling book list video in 2005; it was a list of books I wanted to read (still do)" – Artist Statement. Book Hound is an independent book shop with a “strong interest in NZ non fiction, pop science, history and great cook books.” Photo by Jacob Giles.

8. Opportunity for Animals

162 Riddiford Street

Threads Through Wardrobes (2019) —Louie Neale
"(Opshops) are places where the community comes to buy and donate domestic items that are used to build individual and collective identities ... I aim to subvert the logics placed on people’s bodies today such as gender and movement norms” Commissioned by CIRCUIT for AURA, Louie Neale’s performance took place in Opportunity for Animals, a charity store dedicated to animal rights. Photo by Jacob Giles.



Vacant Speechless Mosh (1998-2005) —Terry Urbahn
Three videos by former Wellington artist Terry Urbahn exploring gentrification, punk imagery and waste. These works were sited in Opportunity for Animals, a charity store that has also been a temporary home for The Anarchist Bookshop. Photo by CIRCUIT.


Popsicle (2011)—Erica Sklenars
“This work was filmed in the bedroom of a flat in Newtown, inspired after a conversation at a winter party discussing my armpit as the warmest place on my body to warm up a frozen hand.” – Artist Statement.




9. MOON
167 Riddiford Street

Falling Out (2004)—MD Brown
Falling Out is a personal, fragmentary recollection of a murky set of events distorted by the passage of time. Made by Newtown film-maker MD Brown in 2004, Falling Out showed in competition at the prestigious Oberhausen Short Film Festival, Germany. One of the lead actors, Julian Taylor (pictured above), is now bar manager at MOON and was present for this screening. Photo by CIRCUIT.

Untitled (Hair Transposal Video)(2011) —Bryce Galloway
In Untitled Galloway exploits his own baldness to poke fun at social vanities and the cult of appearances/cult of youth. This video showed in the front window of the bar MOON, a venue for local and touring music acts.

10. Chans Eatery

170 Riddiford Street
凤凰酒家 (Golden Phoenix) (2018) —Madelin Cheng 

In 凤凰酒家 (Golden Phoenix) the artist blurs time, memory and histories by romanticising a past learnt from movies. Madelin is interested in celebrating an “emerging type of cultural hybrid” between Chinese and Aotearoa cultures. Chan’s Eatery opened in 2018. “We sell a range of Malaysian, Thai and Chinese cooking. Our packaging/containers are biodegradable!” Photo by CIRCUIT.


11. CREEPS

2 Wilson Street

I am the coming together and the falling apart (2018)—Laura Duffy
Laura Duffy’s painterly video works evoke a visceral reaction by blurring repulsion and desire. The work is critical of western thought binaries and invisible ideologies which have been inherited from Christianity. CREEPS held their grand opening on the same day as Home Movies and describe themselves as “your weirdo record store emporium.” Photo by Jacob Giles.

12. Kia Ora Newtown
6 Constable St
Into the arms of my colonizer (2016) —Chris Ulutupu


Chris Ulutupu’s work explores the cultural collision of Pasifika heritage and Western pop culture. "When discussing identity politics I hold very little anxieties about where I am from, I am too busy trying construct who I want to be” – Artist Statement. Located at 6 Constable St, Kia Ora Newtown is a City Council-sponsored project space designed to engage with the community on ‘projects which affect their neighbourhood’. Photo by CIRCUIT.


13. Newtown Public Library

13 Constable Street

Invisible Territories (2013) —Lucy Aukafolau
Invisible Territories (2013) is comprised of footage taken during Aukafolau’s first trip to Tonga with her father and uncle to their homeland in ‘O‘ua Ha‘apai.
This work was installed at the Newtown Library, a multi-functional community space. Newtown has historically been a destination for Pacific families in Wellington, and was home to the Pacific Island Network Centre. Photo by Jacob Giles.


14. Peoples Coffee

12 Constable St
A Guide To: Effective Implementation of Self-service (2017) —Elisabeth Pointon
A Guide To: Effective Implementation of Self-Service functions as a guided Meditation and the gift of a mindful break to the 9-5 workers in the luxury car dealership where Pointon works. Elisabeth’s video work is displayed inside one of the artists’ beloved local cafes People’s Coffee, which uses fair trade suppliers to source their beans. Photo by Jacob Giles.

15. Plumbers Supreme

28 Constable St
In the Shadow of Wellywood (2019) group show with Mike Heynes, Max Fleury and Anna Brimer, Pippy McClenaghan.
The image above shows the former Rinnai Plumbing Showroom which was home to a group show of 3 works by four artists, each of whom extracted maximum use from commercial cast-offs. Photo by CIRCUIT.


Above: Group photo - In the Shadow of Wellywood (2019) Mike Heynes, Max Fleury and Anna Brimer, Pippy McClenaghan.
Plumbing Showroom Work 1: In the Shadow of Wellywood (2019) —Mike Heynes
Mike Heynes’ installation In the Shadow of Wellywood lent it’s title also to the group show. Heynes work invited the viewer to watch an animated tour of Hollywood studios, led by action figures recovered from the bins of Newtown charity shops. Heynes presented the work as micro-cinema installation. Photo by Jacob Giles.

Plumbing Showroom Work 2: Glory (2019)—Max Fleury and Anna Brimer
One of three performance works in Home Movies commissioned by CIRCUIT as a response to Newtown itself, Glory was made using material drawn from local charity shops and a tap outside the public toilets. Photo by Jacob Giles.

Plumbing Showroom Work 3: Simple Pleasures (2019)—Pippy McClenaghan
Simple Pleasures features three sculptural works inspired by hand-painted advertising from the pre-digital age, including the iconic sandwich from the Vietnamese Bakery, which like the venue was also located on Constable St.  Sitting at the intersection of craft and commerce, the three works sit somewhere between a lament for the loss of small shops, the hand-made and an odd example of folk art. Photo by Jacob Giles.


16. Splendid

74 Constable Street
Kia Kaha Chichai Gaijin (2018) —Emiko Sheehan
“Part of me fantasises about being free of identity, all zen and able to let go be one with the universe, but it’s hard to let go of identity when you never really had a grasp on it in the first place. This astronesian/space Maori/alien-asian is travelling through the cosmos learning how (not) to be Maori or Japanese, both and neither … this is how you do it, right?” - Artist Statement. Splendid is a photoshop specialising in Analogue Photography. Photo by CIRCUIT.



17. Good Boy Sandwiches

181 Riddiford Street
Little Boy Blue (2008)—Gabrielle Amodeo


For more than 50 years, New Zealand kitchen tables have been graced with Cerebos Iodised Table Salt and its invitation to “See how it runs”. Gabrielle Amodeo’s animation accepted the invitation. This work was selected for Good Boy Sandwiches by co-owner Al, who also catered the CIRCUIT Symposium with a “sumac salt pepper tofu sandwich with harissa, pea and mint tabouleh, vegan mayo, rocket and avocado”. $10 per head, free delivery. Photo by Jacob Giles.

18. Technofix

185 Riddiford Street
Star Crossed (2017)—Lara Lindsay Parker 


“I cannot exist without you…you have absorbed me…you have ravished me away by a power I cannot resist”. In Star Crossed the artist repurposed John Keats’ 1819 love letter to Fanny Brawne as a comment on 21st century technological dependency. For Home Movies, the work is presented at TechnoFix, a mobile phone repair shop with a front window display of broken phones. Photo by Jacob Giles.

19. Community Pop Up Space
195 Riddiford Street (beside New World)

The Newtown Community Pop-Up Space was the venue for a group show of three works exploring themes of arrival and encounter. The Pop-Up space is a temporary community venue, offered on a month to month basis ahead of the Newtown Mall redevelopment. Previous events at the space included an African Food Market and a Jumble Sale. Photo by CIRCUIT.


Pop-Up Space Work 1: Mauri Tū, The First Breath of Light (2019)—Chevron Hassett
“(This work) visualises the sunrise over Te Moana Nui a Kiwi (The Pacific Ocean) at Rangitikuia, East Cape just North of Gisborne, into the lands of the Ngāti Porou.  The light enlightens you of the past, as the warmth connects us to the past and the waves prepare you for the future.” - Artist Statement. Photo by Jacob Giles.


Pop-Up Space Work 2: biobitumen (2019)—Raewyn Martyn
Raewyn Martyn’s biobitumen was one of three works commissioned by CIRCUIT as a response to Newtown itself. biobitumen began on the footpath outside the pop-up as a temporary installation, using bacterial polyester and finely ground greywacke pigment, melted into place on the pavement. Presented later inside the venue as a video and sculptural installation, the work referenced the settlement of Wellngton by both Mana Whenua and colonial Pākehā, who used aggregates of natural materials  to form pathways and areas of foundation. Videography by Rachel O‘Neill. Photo by Jacob Giles.


Pop-Up Space Work 3: I have come and joined my love with yours(2017)—Aliyah Winter and Nathaniel Gordon-Stables
"The departure point for I have come and joined my love with yours is a transcription of a conversation between Governor Grey and Wiremu Tako Ngātata, or Wi Tako, (Te Ātiawa, Ngāti Ruanui) in 1896. The text is a translation of Wi Tako’s account of events, originally dictated in te reo Māori. This work considers the politics of translation and conflicts of power through an interpersonal relationship." – Artist Statement. Photo by Jacob Giles.

20. Mechanical Tempest
228 Riddiford St
cardboard foundation (2019)—Louisa Beatty


Louisa Beatty critiques representations of nationalism through absurdity, humour and the mundane. Using kiwi ingenuity and a good ol’ D.I.Y attitude, the artist creates a fountain-like structure out of discarded cardboard and running water. Mechanical Tempest is a community bike workshop open 6-8pm Mon-Wed. They exist “to rescue bikes and parts that would otherwise go to landfill, to promote cycling as sustainable transport and make it accessible for as many people as possible, and to provide an alternative to commercial bike shops.” Photo by Jacob Giles.


21. Shoe School

247 Riddiford Street

Pātai/Maan Taai問題 (2019)—Arapeta Ashton & Wai Ching Chan
Arapeta Ashton & Wai Ching Chan consider shared histories of Maori and Tauiwi relationships within both historical and contemporary contexts in Aotearoa. Together they harvest harakeke, boil and dye it, and weave the strands of their shared histories together. The video documentation of this action shows them laughing together, centering a celebration of their friendship and collaboration. Wai & Arapeta’s work is showing in the collaborative workroom of the Shoe School, a place where people come together to hand make shoes. Photo by CIRCUIT.

22. Domestic Bliss Textiles
261 Mansfield St
FOR THIRTY YEARS, NANCY WOULD SIT ON THE STREET CORNER AND WATCH THE SUNSET (2017)—Sam Hamilton
In Sam Hamilton’s film a small group of teenagers were asked to replicate the daily ritual of an elderly neighbour, and sit on the street corner to watch the sunset. Domestic Bliss Textiles design and hand-screen prints on tea towels, pillowcases, tote bags and cooks' aprons. They are currently working towards the opening of a new shop at 261 Mansfield St. Amongst their ‘style heroes’ they include Andy Warhol, whose films, like Hamilton’s, often explored duration. Photo by CIRCUIT.



Symposium—

From Me To You


A one-day academic Symposium featuring local and international speakers.


The history of artists moving image is one of first-person voices. From Jonas Mekas to Sadie Benning, from Charlotte Prodger to Sione Monu, artist film-makers have used themselves and the everyday as material, asserting a radically personal encounter with the world and their place within it. In turn, their work has served to critique the embedded codes of gender, privilege and representation in dominant cultures both onscreen and off. Alongside the diaristic voice, artists’ have placed the artists own hand on the camera, using the 8mm camera and the iphone as an extension of the body, and a reminder of the artists’ presence in the work.

This 2019 CIRCUIT Symposium From Me To You presents papers responding to the following questions;

What is the boundary between the personal and the political in artists moving image work? Where does art begin in the diaristic? How can an artist’s personal experiences address collective problems? How are artists using social media platforms to invert private and public space and make carefully orchestrated work where the personal is made public, and shareable? How are new moving image technologies assisting in the construction of artists’ identities? How do they help build like-minded creative communities online and off? Does the ephemeral nature of these platforms change what artists choose to make and disclose? By contrast, what are some of the issues in using found footage from archives and home movies to make new artistic works? Across all of these differing contexts, where does consent lie? What is the role of the audience in witnessing the personal?

Trailer:


Sat 5 Oct. 9.45—4pm
Newtown Community Centre


Symposium Speakers

Nina Tonga
Curator of Contemporary Art
Museum of New Zealand Te Papa Tongarewa

Thierry Jutel
Associate Professor in Film
Victoria University of Wellington
Milly Mitchell-Anyon
Art Historian and Curator

Gavin Hipkins
Artist / Associate Professor
Elam School of Fine Arts
University of Auckland

Dilohana Lekamge
Artis, Wellington

Deme Scott-McGregor (Ngati Awa)
Artist, Wellington

Selina Ershadi
Artist, Auckland

Shannon Te Ao (Ngāti Tūwharetoa)
Artist / Lecturer
Whiti o Rehua School of Art
Toi Rauwharangi College of Creative Arts
Massey University Wellington


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From Me To You—

Schedule



9.45—10.00
Welcome from AURA/CIRCUIT Director Mark Williams

10.00—10.30
Nina Tonga—Opening Address

10.30—10.45
Break

10.50—11.20
Thierry Jutel—First-person documentary narratives of illness: mode of address, subjectivity, and embodiment

This presentation looks at the specific instances of first-person documentaries where the filmmaker is ill, faces major life changes, a contested diagnosis and often, an uncertain prognosis. This is often in the context of conflicts and/or tensions with medicine, the medical establishment and the social alienation arising out of being ill.

11.20—11.40
Milly Mitchell- Anyon—Summer Holiday 1962

This paper will consider how one of Patrick Pound’s early moving image works, Summer Holiday 1962, addresses the HIV/AIDS crisis in the mid-1980s. The work was made in 1986, at the same time Aotearoa was passing the Homosexual Law Reform Act in parliament.

11.40—12.15
Discussion

12.15—1.00
Lunch

1.00–1.30
Gavin Hipkins—Road Trips at the Peripheries: Excursion Films by Andrew de Freitas and Ben Rivers

This presentation analyses two short films by Andrew de Freitas (NZ/Can) and Ben Rivers (UK) that are slow-paced ambient representations of transient places away from the tourist trail. Both realised in 2009, de Freitas’ Standing Wave and Rivers’ I Know Where I’m Going share a cinematic spirit that pictures wildernesses as lived places for alternative lifestyles while questioning our relationship to an exoticised use, and imaging, of specific landscapes.

1.30—1.45
Discussion
1.45—2.00
Break

2.00—3.30
Dilohana Lekamge, Deme Scott-McGregor, Selina Ershadi, Shannon Te Ao—Taking the weight

Three films examining inter-generational expectations and cultural inheritance in Aotearoa, followed by a discussion with the artists moderated by Shannon Te Ao:

One Job (2016)—Dilohana Lekamge
Returning home from a late night shift at work, the artist muses firstly on her surroundings and then on the migration of her parent’s generation from Sri Lanka to Aotearoa. It also touches on the pressures and inevitable failure when this high expectation to succeed in desired occupational fields is not met.

The Face of God (2019)—Deme Scott-McGregor
On a train trip from Palmerston North to Wellington, the artist reflects on family, memory and the role of physical photographs to preserve links to loved ones.

Hollywood Ave (2017)—Selina Ershadi
The artist's embodied camera quietly and reticently observes everyday rituals performed within her mother’s home, over which a disembodied voice reads fragments of a letter. These dimly lit domestic scenes are interrupted by the construction and demolition of an archway.

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Screening— 

Personal Space


Five newly commissioned artist works for cinema. 


What do we call ‘Home’? What are our shared foundations and values? When you think about yours what does it look like, and what will it look like in the future? What does home mean to you?

Commissioned by CIRCUIT and curated by Serena Bentley, Personal Space is a collection of five new artist cinema works. each artist was asked to respond to a series of questions about the idea of home. The concept was prompted in part by New Zealand-born curator Serena Bentley's 12 year residence in Melbourne and also from Bentley observing events from afar, including the recent Christchurch shooting.

Says Bentley "I have lived away from Aotearoa NZ, my home, for twelve years and I continue to feel an unrelenting longing for my family there and for the land. I appreciate also however that distance changes your relationship to place - it can be easy to erase the complexities of home and to romanticise it instead."

Bentley's invitation to the artists acknowledged that what we call 'home' is often problematic.

"‘Where are you from?’ can be a loaded and complex question. How do you respond? Home can be permanent, transient, or imagined - a place to work towards, leave behind, escape from or return to later. Maybe you have more than one. Or perhaps home is less about place and more about the people you surround yourself with - the family you belong to or create. Is home a place we get to choose for ourselves? For those with ties to Aotearoa, the recent tragic events in Christchurch were a shock to some but not others, shattering illusions and forcing many to interrogate the realities of life in New Zealand. What are our shared foundations and values? What does home look like from the inside versus the outside?"

The five artists have all responded to the brief in diverse ways; Natasha Matila-Smith invites us into her bedroom to reveal her innermost thoughts, Campbell Patterson performs seemingly absurd actions in orange juice soaked underpants and Atong Atem maps her journey from Ethiopia to Melbourne. Traversing diverse themes including the negative effects of social media, the volatile nature of the housing market and migration, the works in this year’s commission program tease out the loaded and complex concept of home.

The CIRCUIT Artist Cinema Commissions are an annual programme produced by CIRCUIT. Each year CIRCUIT invites an internationally-based Curator-at-large to conceptualise a theme and nominate 5 artists to each respond with a short work for cinema. Previously commissioned works have shown at Whitechapel Gallery (UK), Berlinale (Germany) and Rotterdam Film Festival.

6.30pm Friday 4 October
Newtown Community Centre, Wellington
Admission free


Featuring new works by:

Atong Atem (AUS)
Tanu Gago (NZ)
Janet Lilo (NZ)
Natasha Matila-Smith (NZ)
Campbell Patterson (NZ)


Trailer:


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Screening—

Not Everybody Can Do Everything



Filmed over 14 years in Manhattan, Not Everybody Can do Everything is an intimate portrait of three residents of Joselow House, a residential home for the blind and severely visually impaired and with developmental disabilities. The house is organized around the effort to assist the clients to gain control over their lives, and to be as self-sufficient as possible. Not Everybody Can do Everything exhibits the relationship of the filmmaker with these residents and offers an insight into a group of adults whose actual experience of disability shows to be more complex and dynamic than is usually understood.

Screening as a part of the installation Home Movies.  

Trailer:

2pm—4pm, Sat 28 Sept.
Newtown Community Centre

Cnr. Colombo St and Rintoul St
Free Admission


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Performance Commission— 

Newtown as Material

As part of AURA 2019 four student artists were commissioned to mak new performance works which responded to the suburb of Newtown.


The four selected artists were Anna Brimer and Max Fleury, Raewyn Martyn, Louie Neale. The three resulting works were presented on Saturday 28 September, as part of the group installation Home Movies, a project which sought to highlight Newtown's cultural diversity. The commissioning of student artists for this project was designed to acknowledge the role of young artists in shaping future communities.

Two of the works (by Anna Brimer with Max Fleury and Raewyn Martyn) were unadvertised performances which took place in public space in Newtown in the week leading up to Home Movies. These were documented and represented on video, while the third work by Louie Neale was presented in Home Movies as a live performance at the charity stor Opportunity for Animals.

Scroll down for documentation from the three works:
Featuring commissioned performance works by:

Anna Brimer & Max Fleury 
Raewyn Martyn 
Louie Neale


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Threads Through Wardrobes (2019) - Louie Neale
"(Opshops) are places where the community comes to buy and donate domestic items that are used to build individual and collective identities ... I aim to subvert the logics placed on people’s bodies today such as gender and movement norms” Commissioned by CIRCUIT for AURA, Louie Neale’s performance took place in Opportunity for Animals, a charity store dedicated to animal rights.





Photos by Jacob Giles.

Glory (2019)—Max Fleury and Anna Brimer
One of three performance works in Home Movies commissioned by CIRCUIT as a response to Newtown itself, Glory was made using material drawn from local charity shops and a tap outside the public toilets.


Photo by CIRCUIT.


Photo by CIRCUIT.


Photo by Jacob Giles.

biobitumen (2019)—Raewyn Martyn
biobitumen began on the footpath outside the pop-up as a temporary installation, using bacterial polyester and finely ground greywacke pigment melted into place on the pavement. Presented later inside the venue as a video and sculptural installation, the work referenced the settlement of Wellngton by both Mana Whenua and colonial Pākehā, who used aggregates of natural materials  to form pathways and areas of foundation. Videography by Rachel O‘Neill.





Installation— 

In the Shadow of Wellywood

A micro-cinema installation. 


As part of AURA 2019 Mike Heynes was commissioned to present an installation which transformed the former Rinnai Plumbing Showroom into a micro-cinema. In the Shadow of Wellywood consisted of a movie of the same name presented within the staged environment of of six fold-up cinema seats, a 4:3 ratio projection screen, speakers and stands.

The film presented an animated Hollywood studio tour using Heynes’ familiar props; a series of second hand Hollywood action figures salvaged from charity shops in Newtown. Featuring such names as ‘Laura Dern’ and ‘Tommy Lee Jones’ the characters embark on a horror tour through Hollywood back lots, encountering paranormal activities, ghouls and demented amalgams of Hollywood stars.

Also in the same room were two works by Pippy McClenaghan and Anna Brimer with Max Fleury. The three works were presented as a week long installation also under the group title In the Shadow of Wellywood. All three artists referenced a love hate relationship to popular and commercial culture.
Featuring work by:

Mike Heynes
Pippy McClenaghan
Anna Brimer with Max Fleury



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In The Shadow of Wellywood (2019) - Mike Heynes



Installation:






Home Movies—

Map

(Click to download) 

1. Newtown Community Centre

Cnr. Colombo St and Rintoul St
2pm—4pm: Not Everybody Can Do Everything (1996-2010)—Peter Wareing

2. Black Coffee
133 Riddiford Street
Songs about PLEASE REMOVE (2010)—Caroline Johnston

3. Aunty Danas
130 Riddiford Street
Untitled (2014)—Aliyah Winter

4. Book Hound
132 Riddiford St
Mustache (2011)—Rachel O’Neill

5. John Castle Chemist
139 Riddiford St
Just Breathe (2013)—Denise Batchelor

6. Rachnas Jewellery and Fashionware
140 Riddiford St
Running in the Starlight (2011)—Candice Stock

7. Book Haven
160 Riddiford Street
Books I'd like to read (2005)—Christina Read

8. Opportunity for Animals
162 Riddiford Street
Vacant Speechless Mosh (1998-2005)—Terry Urbahn
Popsicle (2011)—Erica Sklenars
12—2pm: Louie Neale live performance

9. MOON
167 Riddiford Street
Untitled (Hair Transposal Video) (2011)—Bryce Galloway
Falling Out (2004)—MD Brown
Note: screens once at 4.00pm



10. Chans Eatery

170 Riddiford Street
凤凰酒家 (Golden Phoenix) (2018)—Madelin Cheng

11. Paul Eagle MP - Rongotai Electorate Office
172 Riddiford St
Be Good with Money (2013) —Murray Hewitt

12. CREEPS

2 Wilson Street
I am the coming together and the falling apart (2018)
—Laura Duffy
13. Kia Ora Newtown
6 Constable St
Into the arms of my colonizer (2016)—Chris Ulutupu



14. Newtown Public Library
13 Constable Street
Invisible Territories (2013)—Lucy Aukafolau

15. Peoples Coffee
12 Constable St
A Guide To: Effective Implementatioof Self-service (2017)
—Elisabeth Pointon

16. Plumbers Supreme
28 Constable St
In the Shadow of Wellywood (2019)—Mike Heynes
Glory (2019)—Max Fleury and Anna Brimer
Simple Pleasures (2019)—Pippy McClenaghan

17. Splendid
74 Constable Street
Kia Kaha Chichai Gaijin (2018)—Emiko Sheehan


18. Good Boy Sandwiches
181 Riddiford Street
Little Boy Blue (2008)—Gabrielle Amodeo

19. Technofix
185 Riddiford Street
Star Crossed (2017)—Lara Lindsay Parker

20. Community Pop Up Space
195 Riddiford Street (beside New World)
Mauri Tu, The first breath of Light
(2019)—Chevron Hassett
biobitumen (2019)—Raewyn Martyn
I have come and joined my love with yours (2017)
—Aliyah Winter and Nathaniel Gordon-Stables

21. Mechanical Tempest
228 Riddiford St
cardboard foundation (2019)—Louisa Beatty

22. Shoe School
247 Riddiford Street
Pātai/Maan Taai問題 (2019)—Arapeta Ashton and Wai Ching Chan

23. Domestic Bliss Textiles
261 Mansfield St
FOR THIRTY YEARS, NANCY WOULD SIT ON THE STREET CORNER AND WATCH THE SUNSET (2017)
—Sam Hamilton

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Presented by 



In association with 



With support from