
Grant Lingard, Swan song, 1995-6; Emma McIntyre, The cove, 2020, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker.
Photo Credit
Grant Lingard, Swan song, 1995-6; Emma McIntyre, The cove, 2020, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker.
Photo Credit
Crossings features works by Turumeke Harrington, Yolunda Hickman, Sonya Lacey, Rozana Lee, Grant Lingard, Vivian Lynn, Allan McDonald, Emma McIntyre, Next Spring, Layla Rudneva-Mackay, Richard Shepherd and James Tapsell-Kururangi and is curated by Christina Barton, Millie Riddell and Sophie Thorn.
This is not a show about the pandemic. It is a gathering of works brought together in the wake of that moment, works that embody and contend with the polarities that were awakened, but which have always existed: inside and outside, closeness and distance. The works gathered range from meditations on public and private spaces and our movements between them; on the body in states of illness, pain, pleasure, reproduction and death; on mobility and change in the face of political and economic turmoil, and on the inevitable impact of an unseen threat that has changed everything. We ask: how can these intimate experiences, fraught relationships, larger forces and their attendant effects be communicated in an art work?
Crossings features works by Turumeke Harrington, Yolunda Hickman, Sonya Lacey, Rozana Lee, Grant Lingard, Vivian Lynn, Allan McDonald, Emma McIntyre, Next Spring, Layla Rudneva-Mackay, Richard Shepherd and James Tapsell-Kururangi and is curated by Christina Barton, Millie Riddell and Sophie Thorn.
This is not a show about the pandemic. It is a gathering of works brought together in the wake of that moment, works that embody and contend with the polarities that were awakened, but which have always existed: inside and outside, closeness and distance. The works gathered range from meditations on public and private spaces and our movements between them; on the body in states of illness, pain, pleasure, reproduction and death; on mobility and change in the face of political and economic turmoil, and on the inevitable impact of an unseen threat that has changed everything. We ask: how can these intimate experiences, fraught relationships, larger forces and their attendant effects be communicated in an art work?