LOUD Issue #79 "Gross National Happiness"

LOUD

ISSUE 79 SUMMER 2020/2021 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 79th 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: Diana Hu Design: Diana Hu Published by Depot Artspace www.depotartspace.co.nz facebook, twitter & instagram @depotartspace 28 Clarence St, Devonport, Auckland, Aotearoa New Zealand ALL CONTENT © 2020 DEPOT ARTSPACE AND THE RESPECTIVE ARTISTS

CONTENTS 4-7. GROSS NATIONAL HAPPINESS Linda Blincko (Creative Director)

8-13. DEPOT GALLERY: LOOKING FORWARD 14. DEPOT GALLERY: LOOKING BACK 15-18. DEPOT SOUND 16-17. FROM OUR INTERN ROCHELLE Rochelle Sykes (Depot Sound NZ Music Commission Intern)

18. DEPOT SOUND:MEMES 19. ARTSLAB: A YEAR IN IMAGES 20-21. ARTSLAB: WABI SABI Emily Norton (Creative Employment Consultant)

22-24 THE BEGINNING AND NOT THE END Lynn Lawton (General Manager)

25. INTRODUCING OUR NEW GM Amy Saunders (Upcoming General Manager)

26. GROSS DOMESTIC PRODUCT 27. MEMBERSHIP FORM

GROSS NATIONAL HAPPINESS: MAKING LIFE MEANINGFUL Article by Linda Blincko

Poverty takes many forms, the most obvious and pressing being the lack of access to immediate needs such as housing, safety, nutrition.

Then there is the poverty that arises from our disconnection to everything that connects us to the ecology of the world – intensive urbanisation disconnects us from whenua, from whanau and sense of belonging.

Increasingly massive bureaucracies disconnect us from decision-making about our lives; globalisation alienates us from our culture, and, combined with a developing global technocracy increasingly disconnects us from wairua inherent in humanity and this world.

In 2006, Depot Artspace hosted a meeting with Dr Ron Colman, universally recognised for his work on the GPI (genuine progress indicator), currently an adviser to the Royal Government of Bhutan on maximising the country’s 4

Gross National Happiness. Whereas in most countries, the approach to development concentrates on increasing Gross Domestic Product to improve a country’s economy, Bhutan follows a different approach based on improving the general well-being of the people.

The thesis argues that Bhutan has relegated Gross Domestic Product to the background where it can be used as a means to enhance “happiness” but not as an overall goal of development.

Depot has been advocating for a more integrated approach to wellbeing since it set up in the 90’s and Gross National Happiness just might be the ticket when it comes to envisioning the shape of a new future, especially in these times when the old economic paradigm appears even more vacuous, and in fact contrary to general wellbeing.

Gross National Happiness values the less tangible qualities in our society, and the creative sector finds a much more accommodating space in this environment.

Kuini Karanui speaks at the opening of Turangawaewae, Sense of Place at Depot Artspace, 2017

"Depot has always embraced the intangible, the wairua, sense of place/ turangawaewae, qualities that have been in the past been sadly undervalued in a largely materialistic society, where ‘everything has a price and nothing has value.’ (Oscar Wilde)"

During Covid-19 and beyond, individualism and competition took a back seat to the need for meaningful engagement, a sense of belonging, to whenua, tangata and this place, Aotearoa. Depot identified both the opportunity and necessity for diverse sectors to combine and arts, culture and community development to galvanise people and to create change for good in these areas.

As part of Depot’s response to this potential for change, we developed a concept for unified social action because it was apparent that change for good for all was unlikely to take place without shared 5

Opening of the Auckland City Mission exhibition, ‘I Am the Art, the Art is Me’, 2018

values and critical mass. Described as the Manifesto for Sustainability, it encompassed social, spiritual, ecological and environmental components, which together form a living community.

All of these are present in the Depot’s kaupapa, and through these uncertain and challenging times, we continued to hold firm to our values of inclusiveness and acceptance and to our belief in the arts as personally and socially transformative. Depot Artspace’ ethos and aspiration to unite people and communities, from exhibiting their

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work or showcasing a feature of community, collaborating on projects to bringing about significant social awareness and change is a significant cornerstone of wellbeing.

Creativity provides different entry points to a rich shared experience of community. Art is the catalyst for bringing artists and audience to the Depot; it articulates experience, offers new perspectives, educates and embraces audiences.

Our vision is to build meaningful relationships that don’t begin and end at our door.

Robert Houriet’s assertion remains meaningful as we continue to reframe our future:

"“Community is vital and unifying, self-sufficient and harmonious, an antidote to a fragmented, commercialised society that is fatally and contagiously diseased.� Robert Houriet, Getting Back Together, 1971" 7

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Depot Artspace Gallery

Looking Forward Sefton Rani - Industrial Tapa 4th – 24th January Opening: Saturday 9th January 2-4pm

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.

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Trixi Rosa - double knotted shoelace 30th January – 14th February Opening show: Saturday 30th January 6:30pm

This exhibition is an intricate dialogue between selected poems from the book alongside their responding artworks.

Main Gallery double-knotted shoelace, is Trixi Rosa’s first solo exhibition and also the title of her debut poetry collection, recently published by Swimming with Elephants Press (USA).

Artwork: Robyn Gibson

Through written work, performance and immersive audio-visual installation, the artist exposes bone in an act of self-suture. Using personal narrative to carve an awkward inquiry into the intersections of identity, place, intimacy and shame.

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Pre-Loved Re-Loved 20th February – 14th March

Main Gallery Depot Artspace’s first Pre-loved Re-loved exhibition, an exciting project inspired by our local community, was held in 2014 to assist owners to find a new home for their once-loved fine art and objects.

We are excited to re-introduce the exhibition in February 2021. You can expect to see a large variety of art works including painting, ceramics, photography, sculpture and more, available for sale at the Depot directly from their previous owners.

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Pre-loved Re-loved is also an opportunity to advocate for the introduction of Artist Resale Royalties legislation. Artist Resale Royalties entitle the artist to receive a royalty payment (normally a percentage of the sale price) from the sales of their artwork on the secondary market. Of any works over $1000 sold 5% is to the artist or to their estate.

Submissions & bringing in of artworks close on the 16th Feb 2021. Please note the Gallery will be physically closed from the 19th Dec 2020 – 12th Jan 2021.

SUPPORT RESALE ROYALTIES FOR VISUAL ARTISTS J OIN THE 80 COUNTRIES WHO HAVE A RESALE POLICY

This painting by Colin McCahon sold at auction for $1,300,000

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The reed pen’s tale coNtinues:

To Be One In Heart original Persian calligraphic works BY

Goodness, 2020 inspired by the poet Ferdowsi

Sayed Ali Karam JawHary

19th NOV - 16th DEC 2020 28 Clarence st, Devonport, AUCKLAND

MON 12-3.30 i TUES to FRI 10-3.30 i SAT 10-4 i Sun 11–3 proudly supported by

DISCOVERING NEW ZEALAND A HISTORY OF WRITING AND ILLUSTRATION

JANUARY 18 - FEBRUARY5

28 CLARENCE STREET, DEVONPORT WWW.DEPOTARTSPACE.CO.NZ (09) 9632331

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Looking back: a year of exhibitions in posters

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DEPOT SOUND

From our intern Rochelle Ko Hikurangi tōku maunga Ko Waiapu tōku awa Ko Ngati Porou tōku iwi Ko Rochelle Sykes tōku ingoa My name is Rochelle Sykes and I come from the small towns of Kawerau, Bay of Plenty and Ruatoria, East Coast.

Growing up in a musical whanau, I have always been surrounded by talented creatives and could not help but be inspired to take up a career in the industry. After many years of playing in bands and learning the basics of multiple instruments such as drums, piano and guitar, I became fascinated with sound manipulation and engineering and found a strong passion for helping other creatives bring their thoughts and ideas to life. After graduating with a Bachelors Degree in Commercial music at the Waikato Institute of Technology I applied through the NZ Music Commission for an internship position and found myself here at Depot Sound.

My time at Depot Sound has truly been life changing. Not only have I had the opportunity to work with some amazing artists and projects, I have had the chance to make long time friends and connections.

The skills that I have developed and the knowledge that I have gained has grown my confidence and I know that it will continue to grow further along in my career. I will never forget my time here and I am super grateful for the opportunity to have been able to work in such an amazing environment, with the nicest people on the planet who have made me feel so welcomed from the beginning!

A big thank you to Depot Sound and Depot Artspace for helping a small town girl plant the seed for her future, she will never forget it.

- Rochelle Sykes 16

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Memes...

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Artslab: a year in images...

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ARTS LAB

WABI-SABI Emily Norton Artslab Creative Employment Consultant

Resilience, confidence, and general wellbeing all depend on the ability to think positively.

Not toxic positivity, which does not allow for processing difficult events, but an ability to notice our own thoughts - particularly those holding us back. In our ArtsLab workshops we try to foster that deeper level of consciousness and self-reflection using various positive psychology tools.

One of my favourites is the Japanese philosophy of Wabi-Sabi. WabiSabi is all about finding the beauty in imperfection. An artist seeking perfection is doomed to endlessly bang their head against the wall.

Through Wabi-Sabi we can learn to appreciate imperfections as part of the unique character of something.

This includes our own work or little quirks.

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Wabi-Sabi can also be applied to relationships. Rather than being annoyed by the way our partner squeezes or doesn’t squeeze the toothpaste we can adjust our thinking and try to love those cute little things they do a bit differently.

As 2020 comes to an end and we continue experiencing the fallout while regrouping and shaping the future, having a well-stocked wellness tool kit is infinitely valuable.

And in the words of someone on the internet…

“A truly happy person is one who can enjoy the scenery while on a detour.”

Artwork: Going Places by Robyn Gibson

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From Lynn Lawton

The Beginning and Not the End 22

In February next year I step down from my role as manager of Depot Artspace.

My journey here began in 2003 when I was contracted to fill a short term gap as a Career Consultant on the then fledgling PACE programme.

Twelve months later, I was still here managing PACE and this amazing initiative where young and emerging creatives developed professional skills and networks, worked on their practice and achieved sustainability.

Henry Oliver from the then band Die Die Die wrote recently in Spinoff about his time on PACE in 2004: ‘PACE taught me how to make a living from my own creativity. It gave me the opportunity to do it with a $200-a-week safety net. It gave me time to learn about how to live on an intermittent income, about balancing work that pays well with work that provides creative opportunities. It taught me how to hustle, how to find

and create opportunities, how to work hard and be dependable in an industry where many people don’t and aren’t.’ 1 In the first decade of the new millennium, the Depot was embarking on many new initiatives: Cultural Icons, Depot Sound, running pilot creative apprenticeships and establishing our city side galleries Spiral and Satellite. I found my role morphed into Operational Manager and I loved employing my skills and passion to develop operational and financial systems to keep pace.

A significant time was in 2014 when we undertook a capability study of our whole operation resulting in a transition from an incorporated society to charitable trust, and my role changed to Depot Manager.

"My time at the Depot has been the very best years of my professional career; amazing opportunities to develop professional and personally."

Through working with amazing creatives, especially Linda Blincko, I have gained an appreciation for and engagement in the arts and community that will remain with me in the future.

I will remain as a trustee of the Depot Arts and Music Space Trust and from February be contracted part time to manage ArtsLab (Creative Employment and career Path for creatives). I also plan to spend more time in the Hokianga developing the Community Arts Centre (No 1 Parnell2) Linda and I established 6 years ago.

And as someone said at our Volunteers Christmas function, Lynn will never be too far away from the Depot!

2 no1parnell.weebly.com

1 thespinoff.co.nz/politics/29-05-2020/whatthe-pace-scheme-did-for-me/

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The Other side of lynn...

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Introducing our new general manager Amy Saunders is returning to New Zealand in the new year to take up the position of General Manager at the Depot Artspace and is honoured and delighted to take up this role.

Having lived between New Zealand and the UK for many years her family are returning to Devonport where they settled in 2013 before heading back to Scotland for a few years where her husband and family are from.

Amy has worked in the arts and creative sector for the last 20 years working with and supporting artists and arts organisations in New Zealand, the UK and internationally. “My thinking and outlook in life and work has always been very international but rooted locally and I’ve been lucky enough to follow a path that has allowed me to explore and connect with ideas and colleagues from around the world for most of my professional life. "

"I’m a strong believer in the power of collaboration and in continued exploration and learning in all that we do."

Amy comes to the Depot from her most recent post as Head of Participant Services and Arts Industry and Marketplace Manager at the Edinburgh Festival Fringe which is the largest arts festival and marketplace in the world. She was also previously the General Manager and International Project Lead at Festivals Edinburgh, the strategic body that works with the 12 leading Edinburgh Festivals and was Senior International Adviser at Creative New Zealand for five years before returning to Edinburgh to take up the Fringe role.

Amy returns to Devonport with her husband Kenneth and their two daughters Isla (5) and Annie (3).

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Title: Gross Domestic Product - Banksy "In October 2019 an unusual shop appeared overnight in Croydon, South London. Its windows were filled with dystopian, tongue in cheek and yet striking artworks that could only have been made by one man, Banksy.

As queues of fans formed round the block it soon became clear that this was not a shop at all but merely a showcase for the artist’s latest project. The real shop was online (shop. grossdomesticproduct.com), with the ironic title: ‘Gross Domestic Product™… where art irritates life’, and it wasn’t quite a shop in the traditional sense.

Rather than adopting a retail model of first come first served, Banksy decided to make his potential customers answer a question before they could own one of his artworks/ products. The (age-old) question to be answered was “Why does art matter?” "1 1 myartbroker.com/artist/banksy/gross-domestic-product/ 26

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Cover Art: Diana Hu