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02 August 2014 —
26 October 2014

Unstuck in Time

Darcy Lange, A documentation of Bradford working life, 1974 (installation view). Courtesy of the Lange family; the Govett-Brewster Art Gallery, New Plymouth; The New Zealand Film Archive, Wellington. Special thanks to Mercedes Vicente and Kelly McCosh. Photo by Sam Hartnett.
Phil Dadson, Compass of Frailty, 2014 (installation view) multimedia installation. Commissioned by Te Tuhi, Auckland. Photo by Sam Hartnett.
Phil Dadson, Compass of Frailty, 2014 (installation view) multimedia installation. Commissioned by Te Tuhi, Auckland. Photo by Sam Hartnett.
Phil Dadson, Compass of Frailty, 2014 (installation view) multimedia installation. Commissioned by Te Tuhi, Auckland. Photo by Sam Hartnett.
Toril Johannessen, Mean Time, 2011 (installation view). Dutch train station clock re-programmed so that the pace is contingent on the current global internet activity. Courtesy of the artist. Photo by Sam Hartnett.
Matthew Cowan, The terminalia of funny-land, 2014 (installation view). Performance objects, framed digital giclee print original held at the Auckland Council Archives. 16mm film work.
Matthew Cowan, The terminalia of funny-land, 2014 (installation view). Performance objects, framed digital giclee print original held at the Auckland Council Archives. 16mm film work.
Matthew Cowan, The terminalia of funny-land, 2014 (video still). 16mm transferred to digital 8 mins 12 secs looped performed at Silo Park, Wynyard Quarter, Auckland on 14 October 2014. Commissioned by Te Tuhi, Auckland. Photo by Sam Hartnett.
Matthew Cowan, The terminalia of funny-land, 2014 (video still). 16mm transferred to digital 8 mins 12 secs looped performed at Silo Park, Wynyard Quarter, Auckland on 14 October 2014. Commissioned by Te Tuhi, Auckland. Photo by Bruce E. Phillips.
Tehching Hsieh, One Year Performance, 1981-1982 (installation view). Poster, statement, map, photographs, video 32 mins 26 September 1981-26 September 1982. Courtesy of the artist and Sean Kelly Gallery, New York. Photo by Sam Hartnett.
The Otolith Group, Medium Earth, 2013 (installation view). HD video 41 mins. Commissioned by RedCat, Los Angeles. Courtesy of the artists and LUX, London. Photo by Sam Hartnett.
The Otolith Group, Medium Earth, 2013. HD video 41 mins. Commissioned by RedCat, Los Angeles. Courtesy of the artists and LUX, London.
Duane Linklater, Very Real Things, 2013 (installation view). HD video 10 mins courtesy of the artist. Photo by Sam Hartnett.
Martin Awa Clarke Langdon, My granddad mostly played the black keys, 2013. Punga, timber, MDF, audio of recorded performance (random intervals). Photo by Sam Hartnett.
Kerry Ann Lee, Total Recall, 2014. Blue Monday, 2014. The Defenders, 2014. Commissioned by Te Tuhi, Auckland. Photo by Sam Hartnett.
Kerry Ann Lee, Total Recall, 2014.
Torben Tilly & Robin Watkins, Fig 3. Infinity - Created Hollow Spaces, 2014 (installation view). Photo by Sam Hartnett.
Sally J. Morgan, How long have I been here?, 2014. Interactive performance project. Commissioned by Te Tuhi, Auckland. Photo by Sam Hartnett.
Sally J. Morgan, How long have I been here?, 2014. Interactive performance project. Commissioned by Te Tuhi, Auckland. Photo by Sam Hartnett.
Sally J. Morgan, How long have I been here?, 2014. Interactive performance project. Commissioned by Te Tuhi, Auckland. Photo by Sam Hartnett.
Shannon Te Ao, A torch and a light (cover), 2015. Single-channel video and sound 7 mins 33 secs looped cinematography by Iain Frengley. Featuring text from

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Unstuck in Time is a multi-format exhibition that explores how perceptions of time influence humankind’s occupation of the earth and our relationship to each other. The exhibition features a selection of 21 artists invited to contribute towards either a series of process-led commissions, a group show or a publication project. 

Unstuck in Time takes its title from Kurt Vonnegut’s seminal 1969 sci-fi novel Slaughterhouse Five − a World War II satire reflecting on the tragic absurdity of war and the senseless suffering it causes. Being ‘unstuck in time’ allows Vonnegut's time-travelling protagonist Billy Pilgrim to become philosophical about his fleeting existence and the folly of humankind. The exhibition borrows Vonnegut’s concept by considering what might be gleaned by being critical of ‘the time’.

Reflecting this premise, the artists present many conceptual threads, from the relatively brief existence of Homo sapiens versus the earth’s epic geological timescale, to the speed of modernity versus slower alternative rhythms for living. Lateral perspectives are embraced throughout to encourage the understanding that ‘time’ is a fundamental concept that shapes the way we live.

Unstuck in Time is organised in collaboration with Phil Dadson, Andrew Kennedy, James McCarthy and supported in part by The Office for Contemporary Art Norway and Creative New Zealand.

Special thanks to: Sean Kelly Gallery, New York; LUX, London; Kunstnernes Hus, Oslo; Govett-Brewster Art Gallery, New Plymouth; the Lange family, Mercedes Vicente and Kelly McCosh; Elaine Smid, Jan Lindsay and Meg Parsons from the University of Auckland; Qiane Matata-Sipu; Paula Booker and Siobhan Garrett from the New Zealand Film Archive; Ian Wedde; Blair French; Ian Powell; Ian Whaley; Elizabeth Andrew, Chair of the Rangitoto Island Historic Conservation Trust.

Press

→ I’ve only read the book – #500words
→ Breaking loose from chronology – EyeContact
→ First, the fish was killed – The New Zealand Herald
→ In conversation with Matthew Cowan – Contemporary HUM

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Unstuck in Time: Before

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Unstuck in time: After

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Unstuck in Time: Accompaniment

All exhibitions are currently offsite due to disruptions caused by the Pakuranga Eastern Busway construction. The building remains open for classes and other activities. 21 William Roberts Road, Pakuranga, is the best address to enter into navigation apps to guide you to the free parking at our door.

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