Opening Preview: Wednesday 1st May, 5pm – 7pm
Thursday 2nd May – Wednesday 15th May 2013
Helen Dowling, Nick Megchelse, Craig McClure, Alex Kinnaird and Joseph Scott are all Hamilton based and are current students at Wintec’s School of Media Arts. Civilia is curated by Kim Paton and is the first of what will be an annual curated show in the Ramp programme focusing on the work of emerging artists.
Civilia presents work by current students: Joseph Scott, Helen Dowling, Craig McClure & Nick MegchelseRead more »
Opening Preview: Wednesday 27 March 2013 – 5-7pm
Mark Purdom’s Under, is an exhibition of photographs that are the outcome of his recent post-graduate study in England. Mark currently works as a photography tutor at Wintec.
Under is located in suburbia’s marginal space, defined as the open territories between the city boundary and the countryside: these are spaces that are generated as inevitable by-products of urban spatial development. There is a continual tension between what the photographs describe and what they reveal. In this exhibition, Purdom exploits the potential of photography’s indexicality – when it is at its most factual is often when it is most obscure
Public Good explores how the planning, design and governance of public space define how we engage with public environments socially and logistically. The project focuses on proposals for unrealised or imagined ideas and provocations for civic planning and public space, including public sculpture, architecture, civic infrastructure and urban planning.
Public Good features new work by Tim Middleton, Charlotte Watson, David Cook, Tim J. Veling, Gareth Williams and Matthew Galloway.
OPENING PREVIEW: FRIDAY 22ND FEBRUARY, 5PM
RAMP Gallery and the School of Media Arts are having a facelift. We’re so excited to see the process taking place. Stay tuned for updates and for news of when we are ready to launch in the new space!
RAMP is currently working on an exciting publication project while the builders are working away and this will be launched in the new space in 2013 as well.
RAMP Gallery is currently having a facelift and will be moving to their temporary location ~ 124 Alexandra Street ~ during Spark Festival.
Design and Designers will survey artefacts and writing that have been presented in, and/or generated from the pages of The National Grid. Putting their money where their mouth is, so to speak, its editors will present key examples from the publication and peripheral events that together document their particular take on New Zealand graphic design. While the exhibition is on, Wood and Valentine will work to produce issue #8 of The National Grid as a catalogue for the show. This will be released at a closing party at the gallery, and will provide a chance to rewrite and re-consider these objects and artefacts as an index to an extended dialogue with which this project has attempted to engage.
Closing party / Publication launch – Friday 14th September – 5:00pm
One of the most common (and most true) criticisms leveled at contemporary art today is for its aloofness, a prescribed coolness that seems to purposefully alienates its audience requiring a level of translation that most ‘non art’ gallery goers don’t have the patience for. The biggest losers to this new cool (aside from the audience) seem to be artists motivated by the every day issues, big and small, that define who we are and where and how we live. Strangely the art world seems to get squeamish the closer we get to an accurate reflection of the world we live in, as if without the smoke and mirrors the slight of hand might be revealed and the art world will be shown for the fool.
The opposite can be true, art that gets us up close to the stuff and grit of life, can communicate the mystery and strangeness of being human best when we can recognize ourselves in it. Wellington based artist Murray Hewitt’s back catalogue of video works are filled with places and people that we recognize; suburban landscapes, petrol stations and rugby fields all feature, a lone costumed male figure reoccurs as do emptied out New Zealand landscapes. He uses the simplicity and power of the moving image to talk about everyday things (big and small), his work is often both funny and disquieting, wry commentaries on day-to-day life from the trivial to the political.
Murray Hewitt mostly works in video. With a distinct visual language his works have contemplated consumer behavior, remembered historic events, or mulled over current political ones: through the considered actions of a lone costumed figure, or repetitive stationary camera shots that encourage sustained deliberation from the viewer. To Pluck Water brings together two of Hewitt’s recent video works.