wiggling together, falling apart
09 November — 10 December 2022
Information
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work by Heidi Brickell, Te Ara Minhinnick and Stella Corkery)
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work by Heidi Brickell, Dan Arps and Stella Corkery)
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work by Erika Holm, Te Ara Minhinnick, Dan Arps and Lucy Meyle)
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work by Yukari Kaihori and Te Ara Minhinnick)
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work by Erika Holm, Nicholas Mangan and Heidi Brickell)
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work by Wendelien Bakker and Lucy Meyle)
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work Lucy Meyle and Hany Armanious)
Lucy Meyle, Judging the worm, 2022, printed newsprint and cast pewter, 485 x 690mm
Yana Dombrowsky-M’Baye, Untitled, 2022, fired, recycled clay, 960 x 230 x 4mm
Yana Dombrowsky-M’Baye, Untitled, 2022, fired, recycled clay
Emerita Baik, Ride on these midnight skies, 2021, silk, sateen wool, cotton, denim and recycled polyester filling, 1700 x 1440 x 460 mm
Xin Cheng, Tactile Geographies (Chocolate), 2006, etching on tinted plaster, 230 × 520 × 30 mm
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work by Claudia Dunes and Heidi Brickell)
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work by Yana Dombrowsky-M’Baye)
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work by Dan Arps, Kate Newby and Yana Dombrowsky-M’Baye)
Kate Newby, Sometimes what’s most striking is what doesn’t happen, 2022, soda fired porcelain, stoneware, found glass (San Antonio), 59 pieces, 560 x 770 x 40 mm
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work by Yukari Kaihori)
Renée Bevan, Untitled, 2022, silver, gold wedding ring, bead cord 2120 x 400 x 400 mm
Renée Bevan, Untitled (detail), 2022, silver, gold wedding ring, bead cord 2120 x 400 x 400 mm
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work by Jenny Palmer)
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work by Jenny Palmer)
Lucy Lord Campagna, The Core of Peculiar Galaxy Arp 220, A Spiral Amongst Friends/NGC 4680 (view 2), 2021-2022, oil and MDF on panel, 311 × 311 × 20 mm
Hany Armanious, Truffle, 2022, resin and soil, 450 x 400 x 370 mm
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work by Yukari Kaihori)
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work by Stella Corkery and Wendelien Bakker)
Stella Corkery, Vinaigrette, 2022, oil on canvas 320 x 255 mm
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work by Yana Dombrowsky-M’Baye)
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work by Yana Dombrowsky-M’Baye)
wiggling together, falling apart
09 November — 10 December 2022
A delicate, straw-colored waxworm eats its way through a plastic bag. A termite population continues to thrive in Hamburg after arriving in wood imported from Namibia in the early 20th century. The giant fungi Armillaria ostoyae, 2,400 years old, occupies 965 hectares of soil in the Blue Mountains of Oregon. Octochaetus multiporus, a large earthworm native to Aotearoa, silently produces a bioluminescent mucus.
From worms to fungi, slime to forest leaf-fall, these materials and entities work on their own timescales, accreting and accumulating matter until they reach points of collapse. Whether organic, crystalline, or telluric, they tunnel underneath the ground, build idiosyncratic landscapes, clog bathroom drains, open up cracks and fall into fissures.
wiggling together, falling apart is an investigation into the contiguities between the human and the more-than-human and how these points of contact can be unacknowledged at the same time they are ubiquitous. What are the different residues that collect on and in these complicated relations?
Excess and entropy construct and disassemble formations as large as the mycelium networks that stretch underground like massive underground constellations. Thick, treacle-like tar and crude oil is the product of alchemical transformations of prehistoric zooplankton and algae. Beneath our feet, the rigid shells of great tectonic plates slide over the surface of the planet, shift, creak and sigh…
Organised by Lucy Meyle & Victoria Wynne-Jones, featuring artworks by: Hany Armanious, Dan Arps, Emerita Baik, Renée Bevan, Wendelien Bakker, Heidi Brickell, Xin Cheng, Stella Corkery, Yana Dombrowsky-M’Baye, Claudia Dunes, Erika Holm, Yukari Kaihori, Lucy Lord Campana, Nicholas Mangan, Lucy Meyle, Te Ara Minhinnick, Kate Newby and Jenny Palmer.
With thanks to: Season, Tāmaki Makaurau; Robert Heald, Wellington and Sutton Gallery, Melbourne.
Close
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work by Heidi Brickell, Te Ara Minhinnick and Stella Corkery)
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work by Heidi Brickell, Dan Arps and Stella Corkery)
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work by Erika Holm, Te Ara Minhinnick, Dan Arps and Lucy Meyle)
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work by Yukari Kaihori and Te Ara Minhinnick)
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work by Erika Holm, Nicholas Mangan and Heidi Brickell)
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work by Wendelien Bakker and Lucy Meyle)
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work Lucy Meyle and Hany Armanious)
Lucy Meyle, Judging the worm, 2022, printed newsprint and cast pewter, 485 x 690mm
Yana Dombrowsky-M’Baye, Untitled, 2022, fired, recycled clay, 960 x 230 x 4mm
Yana Dombrowsky-M’Baye, Untitled, 2022, fired, recycled clay
Emerita Baik, Ride on these midnight skies, 2021, silk, sateen wool, cotton, denim and recycled polyester filling, 1700 x 1440 x 460 mm
Xin Cheng, Tactile Geographies (Chocolate), 2006, etching on tinted plaster, 230 × 520 × 30 mm
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work by Claudia Dunes and Heidi Brickell)
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work by Yana Dombrowsky-M’Baye)
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work by Dan Arps, Kate Newby and Yana Dombrowsky-M’Baye)
Kate Newby, Sometimes what’s most striking is what doesn’t happen, 2022, soda fired porcelain, stoneware, found glass (San Antonio), 59 pieces, 560 x 770 x 40 mm
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work by Yukari Kaihori)
Renée Bevan, Untitled, 2022, silver, gold wedding ring, bead cord 2120 x 400 x 400 mm
Renée Bevan, Untitled (detail), 2022, silver, gold wedding ring, bead cord 2120 x 400 x 400 mm
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work by Jenny Palmer)
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work by Jenny Palmer)
Lucy Lord Campagna, The Core of Peculiar Galaxy Arp 220, A Spiral Amongst Friends/NGC 4680 (view 2), 2021-2022, oil and MDF on panel, 311 × 311 × 20 mm
Hany Armanious, Truffle, 2022, resin and soil, 450 x 400 x 370 mm
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work by Yukari Kaihori)
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work by Stella Corkery and Wendelien Bakker)
Stella Corkery, Vinaigrette, 2022, oil on canvas 320 x 255 mm
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work by Yana Dombrowsky-M’Baye)
wiggling together, falling apart, installation view, Michael Lett, 2022 (with work by Yana Dombrowsky-M’Baye)