Creative Kaitiaki ISSUE 77 - MARCH 2020 - JUNE 2020 - DEPOT ARTSPACE
Philosophy of LOUD Established in 1996, the Depot Artspace has been involved in independent publishing since its early days. LOUD is the Depot’s quarterly publication showcasing exhibitions, events, artists, music and a host of other creative initiatives. Now we celebrate our 77th issue. LOUD is a condensed representation of our values - a clear and informative voice. LOUD is the voice of Depot Artspace. LOUD is about respect, support, advocacy and promotion of the arts. LOUD is about liberation of the arts from current narrow definitions. LOUD is a forum for discussion and opinion. LOUD is loud because it needs to be – art is an incredibly undervalued aspect of our culture, significant to our history and our society. Cover art : Jermaine Reihana Design: Diana Hu Published by Depot Artspace depotartspace.co.nz facebook, twitter & instagram @depotartspace ALL CONTENT © 2020 DEPOT ARTSPACE AND THE RESPECTIVE ARTISTS
CONTENTS 6-11. DEPOT ARTSPACE: CREATIVE KAITIAKI Linda Blincko (Creative Director)
12-16. DEPOT GALLERY: LOOKING FORWARD Tracey Kitchingman (Gallery Manager)
17-19. DEPOT GALLERY: FEATURE WALL Tracey Kitchingman
20-23. DEPOT SOUND: CREATIVE KAITIAKI Morgan Allen (Depot Sound Manager)
24-27. OUR KATIAKI ROLE FROM THE ARTSLAB PERSPECTIVE Erwin van Asbeck (Creative Development Consultant)
28-29. SNEAK PEEK: AUCKLAND FESTIVAL OF PHOTOGRAPHY Artslab Photographers
30-35. RESOURCING KAITIAKI Lynn Lawton (Depot Manager)
36-37. WHARE TOI: TAKARUNGA AND TUPUNA MAUNGA AUTHORITY Linda Blincko
39. MEMBERSHIP FORM
On a mission since 1996 We employ the transformative capacity of the arts to engage, inspire and challenge the community. We are guided by the principles of the Treaty of Waitangi: partnership, participation and protection. Our values, the turangawaewae on which we stand: We are Grassroots, Inclusive, Innovative, Responsive, Reflective and Courageous.
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Kaitiaki (noun): a guardian or trustee, typically of an environmental area or resource Source: Oxford dictionary
Creative: (adjective)
relating to or involving the use of the imagination or original ideas to create something (noun)
a person whose job involves creative work
Source: Oxford dictionary
"These stylised pātiki patterns and their use within customary Māori practice of tukutuku (lattice work) are rooted in cosmological narratives associated with star constellations more particularly near Puanga - a nebula where new stars are created.
Auahatanga (noun): creativeness, creativity
Tui is the voice of Io Matua Kore (Creator) carried from beyond into the physical world. Tui sings the hymn of creation and through song, embodies the sacred qualities of purity and of unfettered joy. Tui is the kaitiaki of creation’s song which attended and extolled the birth of the Universe." - Jermaine Reihana on cover art 5
DEPOT ARTSPACE: CREATIVE KAITIAKI Linda Blincko
A kaitiaki is a person, group or being that acts as a carer, guardian, protector and conserver. For twenty four years the role of Depot Artspace as creative kaitiaki has been fundamental to its kaupapa, represented by the circular statement ’creating an environment that encourages creating’. If every initiative actively embraces this intention then we achieve great good in the world, which is the nature of creating. Our place as creative kaitiaki is expressed in many ways at the Depot; by caring for exhibitors and visitors, supporting creative jobseekers, encouraging appreciation of our cultural landscape, developing a sense of place in an anonymous world, advocating for the sector and acting to address needs and issues to make a difference.
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Here’s how we actively demonstrate the commitment to our kaupapa, represented in other publications over the past 24 years: AWHI-EMBRACE: UNITED & WORKING TOGETHER. A gratifying feature of Depot has been the relationships developed both within our own community and across regions and distinctive communities, all of which are proving to be of great mutual benefit. This has been a developing initiative, which coalesced in 2014 in a number of exhibitions and publications celebrating the uniqueness of communities and demonstrating what we have to learn from each other and what we are able to share to mutually enrich our lives. This relationship began with an exhibition, which travelled from the Hokianga in March. Titled 'He W’akaputanga Mai O Te Rangatiratanga - A Proclamation (of Maori sovereignty)', it comprised artworks by twelve Hokianga artists
created in response to Te W’akaputanga, signed by Ngapuhi chiefs in 1835. This was a challenging and an edifying exhibition and attracted a culturally diverse audience, which travelled from across the region to engage with it.
"In 2019 the exhibition Te Kuia Moko provided the most profound sense of wairua, when 100
Background: Painting of Tiria Tuhoro by Harry Sangl (one of the works in Depot exhibition "Te Kuia Moko"
visitors each day engaged with their kuia moko, with waiata, karakia and conversation"
Following this, we organised 'Turangawaewae-Sense of Place', an inclusive exhibition exploring the history, geography and demography of the Devonport community and the components that contribute to its distinct identity. It celebrated the people who have worked to build this community and made the point that meaningful communities don’t just happen but are made and evolve through continuous participation. CULTURAL ICONS: CARING FOR OUR UNIQUE ARTS AND CULTURE LANDSCAPE Part of our role as creative kaitiaki is caring for the rich cultural landscape of Aotearoa through our Cultural Icons project (culturalicons.co.nz). This is a series of recorded interviews and programmes with some of New Zealand’s most significant visual artists, architects, publishers, entrepreneurs, writers, musicians, arts commentators and philanthropists. The interviews are between friends and contemporaries and often result in warm, informed and intimate dialogues that offer
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'Te Kuia Moko' exhibition visitor from Australia to honour her kuia
an insight into these iconic people’s creative journeys, their youthful ambitions, their hurdles, successes and their contributions to New Zealand’s arts and culture scene. The interviews are accessible online and provided free of charge. They offer a great resource for New Zealand educators and learners and an archive for anyone interested in the New Zealand vernacular and the people who gave either form or an insight to it. So far we have 96 films online and are anticipating reaching 100 before too long.
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"Despite its apparent elusiveness, we do fully believe in Utopia, and in the possibility of achieving Utopia, where creative being is continually active, reflective and self-fulfilling, and where the seeds of war have no vacant field in which to germinate."
Visitor from Queensland to honour his kuia
MAKING UTOPIA POSSIBLE FUTURE GENERATIONS
FOR
‘The world is too dangerous a place for anything less than Utopia.’ Buckminster Fuller At Depot Artspace our philosophy informs our modus operandi and we consciously seek to stay true to its precepts. This is the result of having developed a vision which is, as Gurdjieff suggests, a magnetic centre, attracting people to the place. This is largely non-quantifiable, but nevertheless a ‘felt’ phenomenon which in te ao Maori is explained as wairua.
Visitor from Hawkes Bay to honour her tupuna (sitting next to 'Te Kuia Moko' painter Harry Sangl)
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John Currin's comic strip in Loud 2000
In 2019 the exhibition Te Kuia Moko provided the most profound sense of wairua, when 100 visitors each day engaged with their kuia moko, with waiata, karakia and conversation. depotartspace.co.nz/event/te-kuiamoko-women-with-moko Despite its apparent elusiveness, we do fully believe in Utopia, and in the possibility of achieving Utopia, where creative being is continually active, reflective and self-fulfilling, and where the seeds of war have no vacant field in which to germinate. And as creative kaitiaki we nourish the endeavours that lead us towards a richer and more inclusive society.
creatively respond to them. The comic strip, of 20 years ago, by John Currin showed presentience, humour and creativity in its representation of cell-phone use: This advocacy role has continued over time. From straight-shooting letters to politicians, to exhibitions that address such issues as homelessness, Depot Artspace finds and supports many mediums to work creatively for good. FOLLOWING IN THE FOOTSTEPS OF CREATIVE VISIONARIES
ADVOCACY AND SOCIAL ACTION
As creative kaitiaki we are guided by other visionaries who have inspired a local vernacular, a greater sense of place turangawaewae.
These elements of the Depot are in its DNA. One of our first LOUD magazines was titled Kick ‘em in the Arts: Arts and Social Action, where we documented some of the social issues we faced and how we could
Those mentioned above, our Cultural Icons, artists, philosophers and social commentators are the wayfarers who have sign-posted the path to a kinder, compassionate and more creative way to live in the world.
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"‘don’t look for the light at the end of the tunnel, stomp down there and turn the f**ker on yourself’ (Sarah Millican), and to me that’s the ever adaptable Depot Artspace and its ethos in a nutshell."
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Image: Grub sculpture by Jed Seward (Four Walls Tahi artist)
MAIN GALLERY: LOOKING FORWARD
Tracey Kitchingman
As the saying goes, when one door closes, another one supposedly opens. I’m also particularly partial to the saying ‘don’t look for the light at the end of the tunnel, stomp down there and turn the f**ker on yourself’ (Sarah Millican), and to me that’s the (ever adaptable) Depot Artspace and its ethos in a nutshell. Case in point, the upcoming two exhibitions Four Walls: Tarawha (part tahi and rua). Our previously booked exhibitors unexpectedly withdrew from their slots leaving the gallery with two spaces to fill (and one slightly panicked Gallery Manager). Four Walls: Tarawha (part tahi and rua) comprises of the hirage of a single wall for each artist in the main gallery where they are able to theme, name and exhibit their body of work alongside three other creative peers and benefit from creative conversations, mutual support and shared promotion and audience networks.
Four Walls: Tara Whā (part tahi) Saturday 21st March - 8th April Opening Sat 21st March 10-4pm
Four Walls will engage visitors with a diversity of works they may not have otherwise encountered, and together the works may also create interesting interactions and conversations. Artists David Bell, Jermaine
Reihana, Louise Keen and Jed Seward join forces (and walls) to
kick start this unique exhibition after our 5 ½ week long annual Pre-Loved Re-Loved exhibition. 13
Four Walls: Tarawha (Part rua) Saturday 11th - 29th April Opening Sat 11th April 2-3:30pm
This features artists Michael Ferris,
Susanne Khouri and Deb Donnelly. Like Four Walls part
tahi, this exhibition echoes the same sentiments of four different artists utilising four walls to showcase their works.
Michael Ferris will be exhibiting a selection of his previous two exhibitions, plus five watercolour paintings of Stroud (UK). Michael is interested in how technology impacts on our lives and its part in the construction of the social world. His first exhibition was about how we view the world through our computers - a new cartography for the cyber age. This lead him on to the subject of surveillance, the theme of his next exhibition, and especially how certain agencies view the world and its inhabitants through satellites and computer technology. Kapati Coast artist Deb Donnelly presents an environmental awareness in our own microcosm backyard which builds a sense of identity. Using eco prints as local motifs with ethnographic details, the artist creates a layered visual language on textiles. Natural dyes, kowhai, eucalyptus prints and dyes and silk to give a sense of belonging and kaitiaki as a migrant to NZ while growing our turangawaewae. Last but by no means least, Susanne Khouri explores the idea of a harbour, of arriving and of leaving, of travelling away or returning home. Living in New Zealand, leaving the country and returning home are often central issues to us. Do we make the decision to leave, to venture into the unknown, to experience adventure and perhaps even danger, or do we stay and be safe? 14
Images: artist from top to bottom: Susanne Khouri, Deb Donnelly and Michael Ferris
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Cristina Beth and Nadene Carr Saturday 2nd May – 20th May Opening Sat 2nd May 2-3:30pm
Cristina Beth: Nothing is ever fully erased, especially fabric which retains and hold the essence of the known and archived. Building on the sentimentality of Louise Bourgeois fabric work to reconstruct memories and experiences to examine her own past, where she states, “I do, I undo, I redo”, Cristina Beth and Nadene Carr are responding firstly to the worn fabrics from discarded mattresses and secondly to each other’s work. This ideology links to what has occurred and how to rebuild and mend the past to heal the future. Mattresses are a universal personal space instantly recognizable to everyone, as is the human condition relevant to each of us. To transcend and unite these platforms offer a rich space to examine ourselves and learn about each other and to offer a sense of transformation and healing.
Above artwork: Cristina Beth
Nadene Carr: My practice is contemporary jewellery/sculpture. I plan to further my making with mild steel, looking into the bedroom and the objects found within. Also responding to the work Cristina has made allowing a conversation between each other. Above artwork: Nadene Carr 16
DEPOT GALLERY FEATURE WALL Judy Rogers: Steampunk Inclination March 5 – 25th March, 2020 Opening Sat 8th March 2-3:30pm
Originally from Melbourne, Judy moved to New Zealand 13 years ago and it was her move to Devonport that unleashed her creative inner child, love of fantasy and enchantment. Judy is a self-taught artist and is known for her blending of mediums. Her art reflects her view of life Embrace the simplistic beauty of each day, don't take life too seriously and nurture the child within. The frequent miniature characteristic of her art represents her passion and attention to detail that invariably initiates a smile to those who study her art. Her work is predominantly Steampunk influenced with a poetically romantic, quirky twist. Often with a practical, but nonconforming vision in mind and it’s her unique style that's represented in the Sir James Wallace Trust Collection.
"Her art reflects her view of life - Embrace the simplistic beauty of each day, don't take life too seriously and nurture the child within." 17
Ali Jawhary - The Reed Pen’s Tale Continues: To be one in the heart 27th March – 17th April, 2020 Opening Sat 28th March 2-3:30pm
Ali draws his inspiration from his study of Persian poetry, and the calligraphy that for him flows naturally from the words of the poets. His refugee background has made him passionate about sharing the culture and philosophies of the ancient Persian poets, with their strong messages of compassion, kindness and love, with the peoples of his new home, Aotearoa. For Ali, art is a universal language that transcends culture and travail, functioning as a sacred refuge. His works resonate with the words and philosophy of poets such as Mawlana Jaluldeen Balkhi Rumi, Hafiz, Ferdowsi, Saadi and Omar Khayyam, as well as world renowned classical musicians Mohammad-Reza Shahjarian and Ustad Sarahang. Ali believes that kindness, compassion and empathy can overcome difference, and bring people together regardless of race, religion or politics.
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Today we need more stories of our common humanity (especially since the Christchurch mosque attacks), and less of those that exaggerate our perceived differences and threaten to tear us apart. His desire is for his art to “make happy hearts” with which to heal our wounded world.
"His refugee background has made him passionate about sharing the culture and philosophies of the ancient Persian poets"
Akiko Diegel: The Day before Tomorrow 20th April – 11th May, 2020
April Feature Wall artist Akiko Diegel was born in Japan and lives and works in Auckland, New Zealand. She graduated with an MFA in 2008 from the Elam School of Fine Arts at the University of Auckland. Observation of everyday life is a fundamental practice for making our lives better, easier, more stylish, comfortable and agreeable, and giving our lives aesthetic comfort. Having observed everyday life for last few years in several countries and positioning herself as a "consumer" has given Akiko a better understanding of the concept of the existence of the products and the culture and philosophy behind them. As Akiko is a consumer, with this exhibition, she is repositioning herself as a creator to represent / reproduce the consumptions of everyday life that surround her. This exhibition, through highly detailed hand-drawn gel ink drawings of everyday consumer products, tries to reinforce the role that we,
the day before tomorrow Akiko Diegel 20 April - 11 May 2020
28 Clarence St, Devonport, Auckland www.depotartspace.co.nz
as intelligent humans, can play in having a deeper understanding of the plethora of products and conspicuous consumption that surrounds us, and the effects they have on our lives.
"As Akiko is a consumer, with this exhibition, she is repositioning herself as a creator to represent / reproduce the consumptions of everyday life that surround her." 19
CREATIVE KAITIAKI Morgan Allen
Every two months NZ on Air run their ‘New Music Singles’ funding round, dishing out thousands of dollars to local acts around Aotearoa. The funding is hotly contested with a typical round seeing approximately 120 artists compete for 20 spots. Not only that, each artist must first meet a list of stringent criteria before applying including having a minimum of 1000 followers on facebook/ instagram and/or completing a nationwide tour. Hardly the easiest nut to crack for up and coming musicians!
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Recently, a friend of mine and long time Depot Sound collaborator received funding from NZ on Air for the first time in their career. Dirty Pixels, led by frontman and songwriter Ethan Moore, received funding to make a video for their song ‘Julipa’. The result is an equal parts delectable and macabre video showcasing a blossoming beachside relationship between a young chap and a ghoulish creature of the deep played by Alice May Connolly. Looking like a cross between a Wilberforce (from NZ kidult sci fi classic "Under The Mountain") and an extra from Lucio Fulci's "Zombie Flesh Eaters", the two lovers stumble about caught between absolute terror and fawning curiosity. The clip also features Dirty Pixels performing their tune in to their hips in the
"Underneath that springboard (NZ on Air) is a rich and diverse industry of hard working musicians, producers and recording engineers. These people create the foundation from which organisations like NZ on Air can build their success. "
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sea against the shadow of Rangitoto – I wouldn't put my own keyboard in this kind of danger but YMMV.
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Music video stills fro
gle 'Julip m Dirty Pixels' new sin
a'
It’s awesome to see a band like Dirty Pixels receive this kind of support after 3+ years working away behind the scenes. I’ve been involved in their journey for some time now after mixing their first EP back in 2017, the singles that followed and now finishing up work on their upcoming release ‘Dirty Pixels Lovechild’.
"Depot Sound has had the privilege of being at the forefront of this for over 20 years now and much like the Lovechild Dirty Pixels is ready to birth, we intend to keep spreading the good news." This sort of continued support at a grassroots level is what I would characterise as creative kaitiaki. Looking after and being invested in our creative talent for a prolonged period of time reaps a number of benefits for our whanau and wider arts sector. Not only does it benefit the artist, it also benefits people in
roles such as myself whereby we are able to gain a more in depth understanding of the artists’ needs with each project. Whilst organisations such as NZ on Air have a role to play in our industry, I feel their lack of accessibility prevents them from being kaitiaki across the whole industry. That’s not to say the work they do isn’t valued or necessary, in fact quite the opposite. Instead I see them more like the springboard from which our best talent can spring to new heights. Underneath that springboard is a rich and diverse industry of hard working musicians, producers and recording engineers. These people create the foundation from which organisations like NZ on Air can build their success. It is their efforts on the grassroots level that nurture and grow our individual works to collectively become something greater than ourselves. Depot Sound has had the privilege of being at the forefront of this for over 20 years now and much like the Lovechild Dirty Pixels is ready to birth, we intend to keep spreading the good news. 23
Building an Industry One Intern at a Time The New Zealand Music Commission’s ‘Industry Internship’ programme has been a shining light in the music scene for the past three years. Offering a range of high quality internships across the sector, successful interns gain meaningful placements at some of our best organisations, all whilst being paid the living wage. What’s not to love? The recording industry has been crying out for opportunities like this for years and we at Depot Sound are incredibly lucky to be hosting an intern for the second time this year. Due to the size of our industry, (newsflash, it’s very small!) internships are one of the most successful and effective ways to give emerging recording engineers a leg up. There are a number of students graduating from audio engineering schools each year and the reality is that there often isn’t enough work
to go around. Students who are the best networked or are able to drum up their own business are, generally speaking, the ones that succeed. Internships like this offer a different route however. For those that may not already have a contact/client base to draw upon, it gives them that first opportunity from which they can generate leads. This plays an incredibly important role in democratising the playing field for new graduates. The programme also has its fair share of success stories. Take Akshay Raju for example, our intern from last year. After graduating from SAE in 2018, Akshay came straight into the intern role and one year on is now a permanent member of the Depot Sound team. So kudos to the Music Commission for providing these fantastic opportunities! Watch this space and we’ll be back with a fresh face on the team in no time.
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Akshay Raju working in Depot Sound Studio Two
Our kaitiaki role from the Artslab perspective Erwin van Asbeck
ArtsLab is in a privileged position to be able to support and guide the aspirations of the creatives that come onto the programme. The kaitiaki role is twofold. Firstly in our respect and encouragement of their creative practise and building a creative community that they are an essential part of, offering ways forward, tools and insights to help refine and further their career pathways. Whilst secondly, actively promoting the value and importance of their creative impact to our communities and the benefits of innovation and growth to our creative industries and businesses in genreral. There can be many obstacles and barriers to navigate. some systemic and others on a personal level, so we take our role seriously and consciously maintain an inclusive environment, acknowledging and encouraging creatives to share their
experiences and knowledge to one another and ourselves! In this way we help share and build a sense of the importance for everyone to value and be guardians of our collective creative endeavour.
"There can be many obstacles and barriers to navigate. some systemic and others on a personal level, so we take our role seriously"
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Feedback from our creatives who recently gained jobs in their creative field...
“The ArtsLab programme couldn’t have been more important on my job success. First by pointing out very basic but essential information about how to present a CV, cover letter and also how to express oneself in an interview situation. The tips were on point and the exercises in the workshops were also very important to get everyone on the mood for job hunting.
“Having just graduated university, participating in the ArtsLab programme helped me a lot with my confidence towards myself and my abilities. It provided valuable experiences with other creatives in order to grow your skills and strengths in job search, networking, and career development, while placing you in an environment with other creative people to bounce ideas and conversations off. This has allowed me to realise my potential and talent while making my way out into the world of a design career, and I am very grateful for this learning experience”. 26
"For me personally, the most important factor about the programme was the emphasis given on networking, as it was a weak part of my game. Soon after the first workshop I went out and about and start to actually let people know that I was after a job and then a lot of opportunities started to show up out of thin air."
“All I wanted to say was a big thanks to the ArtsLab programme staff members and let you know that what you do matters! Thank you! I will be forever grateful for your help and care�.
"Really amazing how a change of attitude in me has opened so many doors in a relatively short amount of time. The job I got came to me randomly, but I believe that I was ready and with the right frame of mind for it." 27
Sneak Peek of ArtsLAB photographers for Auckland Festival of Photography 23 May - 9 June
Curtis Chan
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Rachel Jung
Dee Selvarajah
Nick Gibb
Darrle Brown
Diana Hu
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Resourcing Kaitiaki Lynn Lawton
Kaitiaki: Protecting and looking after. Implicit in this role, for it to be meaningful to both giver and receiver, is that those so entrusted do so with heart felt commitment and are provided with resources to be effective. Over the Depot Artspace’s past 26 years, I honour Jeff Thomas, Abby Storey, Lorraine Morrow, Laurel Belworthy, Shelly Hargis (Satelite Gallery), Brian White, Emma Whitlock, Morgan Allen, Jermaine Reihana and Linda Blincko as having embodied qualities of kaitiaki in their leadership roles. The challenge today is not finding people with the quality of kaitiaki, but the resources to effect the role of kaitiaki. Cultural Icons was an initiative developed by Linda Blincko and Emma Whitlock to safe guard
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"The challenge today is not finding people with the quality of kaitiaki, but the resources to effect the role of kaitiaki" the stories of iconic creative New Zealanders by recording their oral histories. Initially it was made possible through the pro bono work of Seven, a website design company connected to art historian Hamish Keith. When application for funds from Creative New Zealand were made to continue this initiative, now used by schools, universities and recently Radio NZ, we were turned down on the basis we didn’t have robust procedures to protect these recordings. Representation to CNZ by our media lawyer and many Cultural Icon contributors to counter this only fell on deaf ears.
Manawa from Ngahere Talks had an insightful chat with Lynn October 2019 about his work in developing sustainability in the creative sectors. (To listen online: tiny.cc/15kcreatives)
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"over the past 10 years we have been increasingly under resourced to progress initiatives that enable us to achieve our mission ‘employing the creative capacity of the arts to engage, inspire and challenge the community’."
Recently, only the generous donation of a Depot member enabled us to upgrade and maintain its functionality. The extension of the platform’s content to include Devonport Library Associates has only been achieved by many funding applications for small amounts of money by Linda Blincko, which in no real way cover the true cost of creating and hosting these stories. This past 2 years, Cultural Icons are no longer with us but fortunately their stories in person can be found on Cultural Icons. This is the reoccurring story of the Depot’s experience as Creative Kaitiaki. We have staff with heart felt commitment and passion providing kaitiakitanga, but Auckland Council, since the advent of the super city
Translation of background image: "What is the most important thing?" "The people, the people, the people" 32
has not increased our funding. It has remained at $80K for over 10 years and yet each year we are expected to provide services to meet the Arts and Culture plan with increase costs while income from exhibitions drops every year. Funding sources like J R McKenzie Trust, Tindall Foundation, Lion Foundation and Foundation North who previously funded arts initiatives now focus on primary issues like poverty and homelessness. ATEED, a Council CCO, funded events to the tune of $19.5 million 2017-19, nothing to grass roots community events or development as ‘these are supported by Auckland Council’. However in our experience totally under supported!
At the end of 2019, the Depot Board undertook a review of it operation and finances. In order to maintain core operations of gallery, studios and ArtsLab employment programme, it had to end Linda Blincko’s full time employment and engage her on a part time contract basis. The Promotions and Media position hours were reduced and my hours were reduced by one day a week. The Board is currently undertaking an in depth review of the future nature and place of the gallery in the Depot’s overall operation. A concern is the income from the gallery in 2019 covered only 25% of the realistic cost of running it. There are multiple reasons for this that our yearly tweaking around the edges has not managed to resolve. This impacts hugely on resourcing kaitiaki initiatives like Cultural Icons, Depot Press, The Vernacularist and Vernacular Lounge, our role in research and advocacy for initiatives like a national PACE programme and creative internships/ apprenticeships. 33
"And the arts, so far, are the most uncorrupted vehicle of a necessary revolution. " Through the leadership of our Creative Director, the Depot has been a leader in developing employment pathways for creative job seekers and has participated in consultation and planning for these over the past 20 years. It is critical that these are given breath in future planning and the Depot is active in advocating to Council for equity in funding across Auckland in Arts and Culture and our Local Board for the significant role the Depot has to play in our local and broader community. Excerpt of Linda Blincko's article (From Loud issue #73): "It is at the grass roots, which under trying circumstances remains connected, proactive, necessarily resourceful and effective, where meaningful change is possible especially if able to galvanise critical 34
mass. And the arts, so far, are the most uncorrupted vehicle of a necessary revolution. In “The Story of Utopias” (1922) Lewis Mumford made the following observation: “A community whose life is not irrigated by art and philosophy is a community that exists only half alive. The fundamental values of a true community are to be found in poetry, art, music and the free use of the imagination,…the production of non-profit-making goods, the enjoyment of non-consumable wealth. Here are the sustaining values of a living culture.”
CREATIVE KAITIAKI IN OUR CURRENT ENVIRONMENT This notice from Manuka, one of our Devonport cafes, in reassuring its patrons, speaks to the need for our support
As creative kaitiaki in Devonport for the past 24 years we support our local community in these challenging times. We care for those affected by measures to contain the
coronavirus so we make sure that we shop locally, visit our local cafes and enjoy our beautiful environment. It’s an opportunity to appreciate the assets we have and especially the people we share them with. 35
WHARE TOI: KERR STREET ARTSPACE TAKARUNGA AND TUPUNA MAUNGA AUTHORITY Linda Blincko
Since 2003 Depot Artspace has been fortunate to lease a building on maunga Takarunga, Te Whare Toi, which, as creative kaitiaki we have cared for and restored over the years. Whare Toi is home to creative activities, including drama, dance, visual arts classes and workshops for creative job seekers. This heritage building is one of 13 buildings installed beside the school on the maunga for the Army during WWII, "including several dormitory blocks, a guard room, RAP, officers’ quarters, combined mess, old QM store, drying hut, vegetable shed, ablution blocks and an old band room."
The military camp was converted into transit housing in 1947, meant to last five years, but instead used through to 1964, when buildings started to be removed from the site, except for the old officers’ quarters, and this building, which became the Wikitoria Community House for a number of years. Source: Timespanner Facebook post (November 8 2019)
The Maunga Authority, with assistance of Auckland Council now administers Takarunga and all maunga in Tamaki Makaurau with reference to its Co-Governance plan. This plan is now open for public comment and is really worth a read, as it allows us to engage with the significant spiritual, social and environmental values it embraces. You can read and submit on the Draft Tūpuna Maunga Operational Plan 2020/2021 online at: aucklandcouncil.govt.nz/ tupunamaunga Online submissions close 22 March 2020.
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Above: Old photo of Whare Toi
Whare Toi interior
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Titile: Political Conundrum Digitally manipulated work of found photograph Artist: Robyn Gibson
NATIONAL ELECTIONS, SEPTEMBER 19, 2020: OUR CHANCE TO CHOOSE AOTEAROA NZ’S KAITIAKI FOR THE NEXT 3 YEARS. WILL THEY FIND CREATIVE SOLUTIONS TO UNPRECEDENTED CHALLENGES FACED BY OUR COUNTRY? WILL THEY SUPPORT INITIATIVES THAT HELP COMMUNITIES TO REMAIN CARING, RESILIENT AND SELF-SUSTAINING? “The world is too dangerous for anything less than utopia” - Buckminster Fuller (1960s) 38
Welcome to the Depot Artspace creative community! This annual membership ensures access to LOUD magazine, e-newsletters, invitations to exhibition openings and special events. As a member, you also have opportunities to exhibit in the Depot galleries. To join Depot Artspace please fill out the Membership form below and drop it in to our front desk, 28 Clarence St, Devonport Auckland 0624, during opening hours. You can also pay online via direct deposit (Account #12 3015 0013510 00); please place your name and the word Membership in the reference section and email the form below to gallery@depotartspace.co.nz
Membership Form Membership means that you support Depot Artspace and its kaupapa. Circle the option below: Individual $30 Organisation $40 Family $40 International $35 Student & UB $10
Name ……………………………………………………………………................ New member/renewal (Circle one) Landline …………………………………………………………. Mobile ……………………………………………….................. Email …………………………………………………………….. Street No ……………… Street …………………………………………………… Suburb …………………………………...................City/Post code………......... Signature…………………………………………………………… Date………………………………………………… Office paid …………………………………………………………. 39
Cover artwork: Jermaine Reihana
