LOUD issue #78 'Re-Framing the Future'

ISSUE 78;

JUNE- SEPT 2020 DEPOT ARTSPACE

Re-Framing the future

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 78th 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 : THE OBSERVER - Robyn Gibson Design: Diana Hu Published by Depot Artspace depotartspace.co.nz facebook, twitter & instagram @depotartspace ALL CONTENT © 2020 DEPOT ARTSPACE AND THE RESPECTIVE ARTISTS

CONTENTS 5-7. REFRAMING OUR FUTURE Linda Blincko (Creative Director)

8-9. INTRODUCING THE BOARD 10-17 DEPOT GALLERY: LOOKING FORWARD Tracey Kitchingman (Gallery Manager)

18-19. DEPOT GALLERY: LOOKING BACK Tracey Kitchingman

20-25. DEPOT SOUND Morgan Allen (Depot Sound Manager)

26-29. ARTSLAB: A CASE STUDY Erwin van Asbeck (Creative Development Consultant)

30. ROLLING WITH THE PUNCHES Emily Norton (Artslab Creative Employment Consultant)

31. CELEBRATING MATARIKI 32-34. REFRAMING THE FUTURE OF EMPLOYMENT IN THE CREATIVE SECTOR Lynn Lawton (Depot Manager)

36-37. A KETE OF DEPOT INITIATIVES: 1996-2020 Linda Blincko

38. ART IS POINTLESS...

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.

4

Article by Linda Blincko

“You never change things by fighting the existing reality.

To change something, build a new model that makes the existing model obsolete.�

- Buckminster Fuller

Covid 19 has catapulted us into the unknown. We are trying to make sense of the future and the political, economic and social landscape provides no clear or recognisable signposts.

The horizon is so far indistinct and generates insecurity and trepidation. For many of us certainty is more important than possibility, even though it’s littered with the casualties of a flawed system.

5

Before our need for the known totally takes hold, we should ask how we could reframe the future so that it actually works for this planet and its inhabitants.

The world we want began to reveal itself during Lockdown as we celebrated a reduction in pollution, clean air and oceans, less human detritus in the form of cars, waste, less unchecked knee-jerk consumerism, and increasingly more social conscious-ness which includes consideration for others and the environment.

These Covid 19 conditions may be the common denominators of a new world order. To experience peace, goodwill, wellbeing and environmental recovery requires a new vision with creative thinking at its core.

6

In reframing the future, Depot Artspace, and creative centres like ours may have the edge on other sectors of society.

We are acclimatised to the constancy of change, including the unreliability of income and are consequently adaptive, innovative and resilient.

We are influenced less by the structured status quo and more by the impetus and inclination of people to find meaning apart from this, for this has been our kaupapa from inception.

In 2002, we wrote in LOUD that ‘wealth is externalised in ownership.

Quality of life has become a measurable phenomenon and the human values by which we live are dictated by external imperatives.’

We recognised then that creativity formed the foundation of a new world, and Post-Covid in particular this has increasingly become the view of others.

"Creativity will save the world." People will look to our poets, our artists, our musicians, our dancers, our inventors, our architects, our engineers, our writers and designers to redefine humanity’s purpose postCovid-19.

Because, at the end of 2020, it will not be business as usual. It will be something completely different. We will have no choice but to adapt to and redefine the changes coming our way, big and small.

But adapt and redefine we must.

There will never be a greater opportunity to lead the world forward, and not from a political front but a creative front. It’s not just our job, it’s our existential duty.” The Role of Creativity post-Covid-19 Rohan Reddy.

"At Depot Artspace, community and sense of place, inclusiveness and accessibility, attributes intrinsic to the environment of support for creatives, are increasingly valued."

At Depot Artspace, community and sense of place, inclusiveness and accessibility, attributes intrinsic to the environment of support for creatives, are increasingly valued. When other changes may be required because of circumstances beyond our control, they will remain non-negotiably, as the framework of wellbeing in an otherwise fragile world. Under these conditions, creativity will always find form here.

To read more on how to go about Reframing the Future visit Arts in Action on: depotartspace.co.nz/arts-in-action

7

Lynn Lawton

8

Bill Bates

Nicola Devine

Lawrence Brock

David Bailey

Margaret Taylor (chair)

Introducing our Board of Trustees

"I’m a journalist by profession but work as a Community Manager for Amnesty International.

I'm a human rights activist passionate about people power and I love the Depot's ethos of supporting community, activism and creativity. I’m proud to be chair of the board of the Depot which delivers on so many fronts for so many creatives." - Margaret "I have been involved with Depot Artspace for over 6 years, initially as participant on the ArtsLab programme. Subsequent to that, I was able to offer my experience as a freelance ‘in-house’ designer, creating brochures, publication designs, exhibition posters and logos. For the last two years I have been a Depot Board Trustee and bring to the Board 35 years of experience working in the advertising industry as well as a hands-on knowledge of the Depot and the extent of work undertaken here." - Dave

Lawrence is a business consultant helping clients improve internal processes. Using his background in user-centred design, his consultancy is based on collecting data, listening to customers (internal and external) and investing in staff development. His clients are typically in the creative and technology industries and frequently need help adapting to rapidly changing markets.

The founder and creative director at Tanker Creative since 2003, Nicola and her team focus on enabling brand, web and social for ambitious creative professionals. Her main interests are in technology, creative practice and diversity, which she integrates into her business DNA by ensuring a respect for culture; ethnicity, sexuality, gender, social, economic and people with disabilities.

"I am Bill Bates, I provide an accounting and payroll service to the Depot Artspace and have been doing so since 2005. I work from home in sunny Milford; as Lynn has said, ‘Bill, you are one person I know who isn’t affected by the lockdown’. As you can see from the photograph the years have added character (or taken their toll!)." - Bill

“I joined the Depot in 2003 working initially in the PACE programme as a mentor and employment facilitator for artists. This amazing creative and supportive place has provided me with opportunity to develop professionally, take on new responsibilities and gain an 9 ever expanding appreciation for the arts and our cultural heritage." - Lynn

By Tracey Kitchingman (Gallery Manager)

Depot Artspace Gallery

"There’s nothing quite like a global pandemic to bring the world to its knees.

I want to acknowledge our very special exhibitors, who have dealt gracefully with countless postponements, date changes and ultimately cancellations due to Covid-19 and subsequent lockdown.

We acknowledge the mahi and time put into your art, and are incredibly grateful for your ongoing support."

- Tracey

10

Image: Sculpture by Natanahira Pona (Rangona Exhibition artist)

Looking Forward Rangona: Sentience 4th – 22nd July

Main Gallery During Matariki the relationship between Ranginui, Papatuanuku, whenua, maunga and whetu is most visible. Matariki articulates and honours the enduring nature of this relationship in an otherwise fragile world. It also recognises the interactivity of all elements as consciousness.

The prevalence of maunga/ mountains in the landscape highlights this relationship; they are at the confluence of Papatuanuku and Ranginui. They emphasise the sentience of nature, they cradle the stars and nurture the flora and fauna.

In this exhibition we develop the theme of Matariki through contemporary painting, installation, carving and sculpture which celebrates the sentience of our environment at this time. Featuring works from 5 contemporary Maori artists: Heidi Brickell, Natanahira Pona, Ruth Woodbury, Joanne Barrett, Jermaine Reihana.

This exhibition also features 'Song of Solomon' by the late Ralph Hotere and lighting from David Trubridge represented by FireFly Lighting.

11

12

Artwork: Ralph Hotere, Natanahira Pona, Joanne Barrett, Jermaine Reihana, Heidi Brickell, Ruth Woodbury

Sex Workers of Aotearoa 25th July – 12th August

Main Gallery Sex Workers of Aotearoa and the Depot Artspace invite you to explore an exhibition that will challenge your beliefs and the stereotypes sourrounding New Zealand's sex industry. See behind the curtain into an industry shrouded in stigma and taboos, as sex workers become the artists, using all manner of mediums and art forms to portray "a day in the life of" a sex worker. Having debuted in 2019 at Flux, Wellington Museum, SWoA is bringing the voices of sex workers to Auckland, as 20+ muses become the artists in exhibition that is not to be missed.

“We need to tell our own stories…sure these stereotypes exist but they don’t represent everyone” - Curator & creative Jordan Quinn began this journey as she saw that sex workers needed to represent themselves

13

Robert Peper – A Celebration of Indian Life: Surfacing the Unseen

Susanne Khouri - Interpretations

15th July – 3rd August (Feature Wall)

5th – 25th August (Feature Wall)

Opening: Sat 18th July

This exhibition intends to surface & celebrate Indian culture captured in both India & New Zealand and also to bring a ‘wrap-around’ experience of India to our community by engaging all the senses as India does – the people, colours, smells, tastes, sounds, movement which together articulate the rich spirit of India.

The photographic installation is an immersive visual diary of the people and the places in through the use of accompanying fabric, incense and audio. All of which serve to heighten the senses and create an experience 14 of ‘being there’

"These works grew out of a time of quiet lockdown with time for reflection. I was playing with different configurations of a pattern which I drew during this time. I discovered that if I arranged this pattern in different ways, new aspects of not only imagery but also of meaning emerged. To limit myself to one pattern, what could be discovered?

And what would happen if I put my pattern in different contexts?

My works are experimentations of these arrangements."

Sefton Rani - Industrial Tapa

Ali Jawhary - To be one in the heart

14th August - 2nd September

27th August – 16th September (Feature Wall)

Opening: Sat 15th August 2-3:30pm

Opening: Sat 29th August 2-3:30pm

Main Gallery Sefton Rani's work involves the concept of “urban tapa” which is taking the traditional form of tapa and reenergising it with modern materials, methods and motifs that reflect the contemporary environment we live in. His work is primarily created with the use of paint skins where paint is applied on glass or plastic and when dry, peeled off and collaged to form layers that represent time and the history of the object or surface.

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.

15

Martin Law

- Views of Devonport: Architecture, the Maunga and the Sea 5th - 23rd September

Akiko Diegel – The Day Before Tomorrow 18th September – 7th October (Feature Wall)

Opening: Sat 5th September 2-3:30pm

Main Gallery The Painter of Paradise series of paintings is a collection of paintings celebrating and documenting the beauty and diversity of architecture in Aotearoa. This exhibition will be of paintings and drawings of historic architecture of Devonport. It will capture the Maunga that surround and the views of the Islands, Gulf and City beyond. They will be an accurate and detailed record of Devonport's iconic structures and historic buildings. I am very interested in collaborating with artists from the 16 depot to further the exploration of the Devonport Phenomenon.

"Having Observed everyday life, for last few years, in several countries, and positioning myself as a "consumer", has given me a better understanding of the concept of the existence of the products and the culture and philosophy behind them."

This exhibition, through highly detailed hand-drawn gel ink drawings of everyday consumer products, tries to reinforce the role that we, 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.

Robyn Gibson

8th – 28th October (Feature Wall)

Greg Smith - Artists in Uniform: Camouflage and Concealment 26th September – 14th October

Main Gallery This exhibition contains a highly significant collective history, covering the formation of two largely unrecognized specialist units within the NZ Army who would then exert a substantial influence over the disciplines of art, education and industry throughout New Zealand in the decades of the post-WW II era.

John Horner – Shore Boy: Memories of my Youth

17th October – 4th November Main Gallery

17

Depot Gallery : Looking Back 18

Te Rua Raranga: Woven 2 23rd May – 9th June Opening: Sat 23rd May 10-3:30pm Main Gallery Curated and co-ordinated by Artslab Creative Consultant Erwin van Asbeck and Diana Hu, Te Rua Raranga weaves together the diverse works of ArtsLab photographers and creative practitioners who represent the depth, scope and innovation of emerging creatives in Aotearoa New Zealanwd.

It is the second instalment of ArtsLab’s Harakeke Project, showcasing the rich, often unseen fruit of creative enterprise. This group of photographers bring a fresh and nuanced perspective, the viewer is invited to dwell where they have been and how they have seen, to reflect on how individually we experience the world, and how together we thrive in communicating our collective understanding.

This show was a part of the Auckland Festival of Photography with generous support from Soar Print.

View the exhibited photographs online: depotgallery.com

Penny Clark – It Couldn’t Happen Here 18th May – 10th June Opening: Sat 23rd May 3:30-4pm (Feature Wall) It couldn’t happen here, but it did.

The March 15th terrorist attack in Christchurch was the instigation for this project of pictures and words

by Penny Clark. It started simply as note taking. Small collages on paper compiled from ink and coloured pencils were Penny’s response to the Christchurch Mosques Shooting.

Like many, Clark didn’t recognise her own country. Following the chaotic avalanche of news, posts, information, interviews, editorials, photos, she attempts to answer the unease within herself by sorting and identifying themes and making connections ranging from the personal to the world stage. The troubling questions raised shaped this art.

View Penny's video interview online: bit.ly/

PennyClarkVideo Poster by Renato da Silva aka 'Caglisto'

19

Re-framing the future

Depot Sound Recording Studio

Morgan Allen

20

It feels rather fitting, almost serendipitous that the theme for this edition of Loud should coincide with my stepping down as studio manager. As such this will be my last Loud article!

As a Depot Sound employee at least (take note team, my writing services shall always be available on a contract basis should you need them wink wink nudge nudge).

It’s hard to try and summarise what has now been a 13 year long relationship between Depot Sound and myself. When I first came to the studio it was as an eager and determined 13 year old. Fresh off the back of winning studio time via the local intermediate school battle of the bands. The band was called Identity Crisis and though we did have one, potentially two songs with a half decent chorus, the band itself had an identity crisis by the time we hit high school and we all went our separate ways.

Fast forward a few years and I responded to a call out for volunteers to work with Jam Radio, an online radio station running out of depot sound. After meeting Linda and then studio manager Mark Howden I realised all this recording nonsense was far more interesting to me and began assisting with recording sessions whenever Mark would allow. I’m incredibly grateful to Linda and Depot Artspace for this opportunity as without it I doubt I would have carried on down the path that I have now.

After several years out in the wilderness, I returned to Depot Sound in 2015 to begin working alongside Dave Rhodes. I had just resumed my studies at SAE after a few years break and was rather more

"When I first came to the studio it was as an eager and determined 13 year old. Fresh off the back of winning studio time via the local intermediate school battle of the bands."

21

Spot Morgan! Pictured above with Lakes & the Magic Band circa 2016

excited to be back at Depot, perhaps to the detriment of my studies! Since then it’s been an incredibly inspiring five years of music wand recording as my skills and career have flourished under Depot Sound.

My future now is most certainly being re-framed in the most dramatic way since leaving high school nearly ten years ago. I may be leaving Depot Sound but my commitment to my clients and their music is stronger than ever. As I move into a freelance career I’m really excited about getting even more hands on with projects and artists, sharing the journey with them. Depot Sound will certainly

22

play a role in this as I continue to use the studio for recording work, particularly with live bands. Aside from that I’ll be working in a more mobile fashion. The wonders of modern music production mean that provided we have the right tools, people like myself can now work out of a variety of spaces. My home studio will serve as a good base for mixing whilst other projects may take advantage of less traditional recording spaces in a more creative manner.

So to Depot Artspace and Depot Sound I say a big ka kite ano! A million thank yous for the time I have been very privileged to spend here.

Morgan recording with his High School band Chums of Moorhaven circa 2009

"I may be leaving Depot Sound but my commitment to my clients and their music is stronger than ever...

Depot Sound will certainly play a role in this as I continue to use the studio for recording work, particularly with live bands."

23

Introducing our new Depot Sound Studio Manager Neil Baldock "I am thrilled to start a new chapter (in late August) with the Depot Artspace after 6 years living abroad as a freelance engineer.

Over the last 30 years I've worked in studios with artists like Kanye West, Common, Neil Finn, Crowded House, Billy Ray Cyrus, Joe Satriani, Taj Mahal, Dave Dobbyn, Ben Lee, Wilco, Members of Radiohead, KT Tunstall, Bic Runga, Cairo Knife Fight , Black Eyed Peas and Head Like A Hole - and had the privilege to learn off some of the world's best producers such as Jim Scott, Joe Chicarelli, Nick Laurnay and Chris Lord Alge.

Here in New Zealand I've been head engineer at both Revolver studios and Roundhead Studios, and lucky enough to work at some of the best studios around the world including Peter Gabriel’s Real World Studio (UK), Olympic Studio (UK), Metropolis Studio (UK), East West Studio (LA), Sunset Sound (LA), Hensons (LA), Paramount (LA), Plyrz (LA).

I'm looking forward to sharing, teaching, encouraging and helping the new generation of artists, engineers and producers, both local and across the greater community, to adapt to the ever changing process of making records in a space designed for creativity, whilst providing a studio environment that can deliver world class results." - Neil

24

Neil working in an offshore recording Studio

A Warm Welcome to M & Joe! M & Joe have booked out Depot Sound Studio II for their music production work for the next few months.

We really love having these 2 join us and they have already made themselves right at home!

Left: Joe, right: M

25

By Erwin van Asbeck

SUPPORTING ARTSLAB PHOTOGRAPHERS

ARTS LAB : CASE STUDY

In 2018, ArtsLab established the Harakeke (Woven) project, supporting creative jobseekers to show case their work in the Depot Artspace gallery.

The second instalment, Te Rua Raranga, took place in 2020, bringing together the diverse works of ArtsLab emerging photographers as part of the Auckland Festival of Photography.

Eleven photographers were able to participate in the whole creative process, from producing and preparing their work for exhibition, to curation, promotion, audience engagement and sales.

The exhibition was co curated by myself and Diana Hu, Depot’s Promotions and Media coordinator with support from gallery staff. A major collector of contemporary NZ photography & philanthropist, Grant Kerr, gave a talk on the business of photography and subsequently invited the photographers to view his significant collection.

26

We’d like to acknowledge Soar Print (soarprint.co.nz) for their ongoing support of Depot Artspace

During the exhibition opening, photographers met the Founder and Director of the Festival of Photography, Julia Durkin who has a 15-year relationship with the Depot.

As a result she engaged two of the photographers to assist with Festival events.

Te Rua Raranga was exhibited for 18 days and five of the eleven exhibiting artists sold works.

"A major collector of contemporary NZ photography & philanphropist, Grant Kerr gave a talk on the business of photography and subsequently invited the photographers to view his significant collection."

27

Rosanna Moss Te Rua Raranga Exhibitor

This exhibition was the first time I had seen my work in hard copy, let alone hanging on a wall. It was an amazing experience and a proud moment.

Through the exhibition I was able to network with Julia Durkin, the founder and director of the Auckland Festival of Photography. Julia gave me the opportunity to take part in some volunteer work for the 2020 festival.

Throughout my volunteering I had the great experience of working side by side with the festival team as we worked to deliver online and in person content to Aucklanders.

Rosanna Moss: Audience, 2019 (exhibited & sold at Te Rua Raranga)

As part of this content delivery, I was given the responsibility of hosting online talks with international photographers from Switzerland, France and Australia via the Talking Cultures series by Leica. Sitting down and chatting with fantastic contemporary photographers was intimidating at first, but soon developed into a friendly rapport and a priceless experience.

Rosanna with one of her prints

To go from seeing my images explicitly on my camera screen to selling my work in the Depot art gallery and taking part in my city’s photographic festival was simply exhilarating.

28

To view all exhibition works visit:

depotartspacegallery.com

Artslab Creatives featured in Arts Access Aotearoa Feature excerpts

Jase Smithyman Depot Artspace Disability Advocate

"Described as a double amputee “despite never having anything actually amputated”, Jase first went to Depot Artspace in Devonport as part of their ArtsLab programme.

“I met the team and they offered me a position as the Disability Advocate,” he says. “It’s a place where change is happening and new ways of thinking are being born every day.

Ashe Black

“My role is forever evolving, from ideas of promoting artists with disabilities and working with them to showcase their work to becoming a voice for disabled people...”

“I've been visually impaired since birth and it's something that can't be improved with the use of glasses or treatment.

Although I live with my disability well, it's something that holds me back from really taking chances in the workforce as I tend to worry about not being able to perform certain tasks as well as others.

ArtsLab has made me feel supported, welcome and able to express myself for who I am where other workspaces have not – particularly with my being transgender."

View Ashe's artworks: deviantart.com/aeronaired & Instagram @aeronaired 29

Access full interviews: artsaccess.org.nz

ARTSLAB: Rolling with the punches Emily Norton Artslab Creative Employment Consultant

One of the most challenging parts of trying to make a living as a creative is lack of stability.

Gigs come and go. Sometimes there is an abundance of work, sometimes there is none. Resilience and a willingness to take constant detours are absolutely key.

Thus, Artslab creatives are well conditioned to ride the wave of Covid19, and now playfully swim in the foamy chaos of economic downturn.

I know I just made a global pandemic sound like a surfing good time, but we are cup-three-quarters-full type people around here, and we aim to keep spirits up.

Our mission is to remind creatives that this challenging time is an opportunity to do what artists do best; re-invent, innovate, introspect, think-differently, roll with the punches, and ultimately lead the revolution towards a kinder and more connected world.

With eighteen years doing what we do, Artslab (formerly PACE - Pathways to Arts and Cultural Employment) is the only creative employment facilitator in the country. And now 30

that government funding has been announced for creative employment support, we hope to inform the process and play a significant role.

The supportive, creative Artslab community is here to empower resilience and fortitude when it is needed most.

"this challenging time is an opportunity to do what artists do best; re-invent, innovate, introspect, thinkdifferently, roll with the punches, and ultimately lead the revolution towards a kinder and more connected world."

Celebrating matariki 13-20 july 2020 PUANGA (RIGEL)

MATARIKI (PLEIADES)

TAUMATA-KUKU (ALDEBARAN)

TAUTORU

(BELT OF ORION)

Matariki literally means the ‘eyes of god’ RAKI-MĀ-RĀWHITI (mata ariki) or ‘little (NORTH-EAST) eyes’ (mata riki).

According to myth, when Ranginui, the sky father, and Papatūānuku, the earth mother, were separated by their children, the god of the winds, Tāwhirimātea, became so angry that he tore out his eyes and threw them into the heavens.

The reappearance of the seven Matariki stars, in late May or early June, signals the beginning of the Māori New Year.

RĀWHITI Image: Jermaine Reihana

Matariki is a star cluster, not a constellation. A cluster is a group of stars that are near each other in space. When seen from Earth, the stars in a constellation appear to be close together in a pattern, but they might actually be far from eawch other. There are Matariki is one of the star clusters nearest to Earth.

Compared with other star clusters, Matariki is close to Earth – but it’s still 440 light years away.

Matariki is also a time of remembering those who have passed on

(EAST)

Matariki is both the name of the Pleiades star cluster and also of the season of its first rising which signals the beginning of the New Year.

When the stars are at their brightest it is thought that this is the most auspicious time for planting.

31

By Lynn Lawton

Employment in the Creative Sector

Reframing the Future 32

In 2001 the Labour Government launched PACE, a significant reframing of the future recognising the place of the arts in our society.

They said to young artists, “go and get the skills and contacts you need, work on your craft, develop your professional skills, we believe in you.” Now, when you go to Work and Income, you won’t be told to go and work as a dishwasher. Throughout the country from Dunedin to Whangarei, Work and Income partnered with 16 local organisations to deliver arts specific employment programmes.1 Twenty years later as a result of Covid 19, we have rising unemployment across many sectors including the creative. The pre lock down ‘normal’ is unlikely if ever to be the normal of the future. At the time of writing, The Big Idea has only 11 vacancies and Seek 12 in the creative sectors throughout all of NZ. There are few jobs in hospitality, retail and tourism where creatives often found ‘part time employment’ to support their creative work. Only two providers in Auckland currently provide employment 1. beehive.govt.nz/speech/launch-pace-pathways-arts-and-cultural-employment

services in the creative sector, focusing primarily on employment outcomes, not on developing creative professional skills. The push is on to get work, any work! There is a danger in this environment that we may lose so much of the creative talent and resources developed over the past years.

We have a dream as to how we might reframe our future to respond to this lack of opportunity for employment in the creative sector. An approach that preserves and develops the reservoir of our current creative talent whilst irrigating our society with those things that nurture the

soul and contribute to our wellbeing.

This approach comes from our extensive experience over twenty years and is contained in a proposal prepared for government during lockdown by Creative Director Linda Blincko and shortly to be presented to them.

"An approach that preserves and develops the reservoir of our current creative talent whilst irrigating our society with those things that nurture the soul and contribute to our wellbeing."

Lorraine Owens, Employment Consultant for PACE opening the inaugural PACE artists’ exhibition at Spiral Gallery, Queen St. Circa 2004.

33

There are three components: • Building unemployed creative job seekers’ resilience • Nurturing and developing creative skills while building creative industry capacity through work placements • Developing self-employment models of work purpose fit for the evolving gig economy thereby maintaining creative skills and generating income In some ways, this reads like ‘back to the future’, since these three components were very much part of PACE in its beginning. The crucial point, for such a reframed future for employment in the creative sector to work, is government support. Like PACE in the past, it would require a 'cultural change' in the way Work & Income interacts with creative sector job seekers.

We are hopeful that the recent government initiative Careers Support for Creative Jobseekers will reframe the future of employment in the creative sector. Ministry of Culture & Heritage report this programme will be progressively rolled out to support artists and creatives into sustainable work and builds on the most successful aspects of the 34

former Pathways to Arts and Cultural Employment (PACE) programme. We envisage this will help up to 2000 people over four years.2 "A nation can be very rich in every material sense, but if it fails to provide for and nurture creative expression, it is impoverished in immeasurable ways." - Helen Clark3

2 beehive.govt.nz/release/support-arts-andmusic-sector-recovery 3 Helen Clark, cited in Artwork 2004

"A nation can be

very rich in every material sense,

but if it fails to provide for and

nurture creative

expression, it is impoverished in

immeasurable ways" - Helen Clark

35

By Linda Blincko

A KETE OF DEPOT INITIATIVES : 1996 - 2020 36

At the most fundamental level creating is a natural attribute of living beings. It is continuously in motion, limitless in its permutations and infinite in its possibilities. That is why, when Depot Artspace took over the old Borough Council works depot twenty five years ago, we began what continues to be a work in progress.

More than 25 substantial projects have been established since the Depot’s inception, each a result of observed need or opportunity and most of which strengthen capacity or a sense of cultural identity. They include ArtsLab formerly PACE (Pathways to Arts and Cultural Employment) professional development programme for artists, Depot Press where thought-provoking publications explore NZ/Aotearoa identity and culture, cultural mapping and creative internships, and exhibitions which touch on issues that relate to our sense of place, such as ‘W’akaputanga’, ‘Flag It’ and ‘Turangawaewae’.

In 25 years the Depot has organised and hosted around 1500 exhibitions featuring more than 3000 artists, has supported and mentored 3000 creatives on its ArtsLab programme, and welcomed hundreds of musicians into Depot Sound, its recording and rehearsal spaces. Depot has published 78 LOUD magazines and a variety of other publications.

We continue to produce the Cultural Icons series of filmed interviews with NZers who have helped form the cultural landscape of Aotearoa (culturalicons.co.nz) and have celebrated our icons and their work in the Vernacular Lounge.

All these initiatives comprise a kete or kit of resources which embody the significance of the arts and culture in our society. Each has been predicated upon the Depot’s circular mantra, “creating an environment that encourages creating…..” which we believe embodies the form and nature of the creative.

37

Titile: Art is pointless...

Artist: Jasmine Kay Uy This work by Jasmine Kay Uy was produced in 2015 for her Texas University Arts Degree.

Although it was site-specific and a likely comment on educational institutions, we thought it was too clever, too prophetic and too relevant to our LOUD theme not to share with you.

It comprises two panels: On the first panel she encapsulates some of the current attitudes towards creative work, and on ‘turning the corner’ and merging the second panel with the first she changes the narrative entirely. As we reframe society in a post-covid future, this 38 work articulates enlightened attitudes to the arts.

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: THE OBSERVER - Robyn Gibson