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LOUD Established in 1996 Depot Artspace has been involved in independent publishing since its early days. LOUD is the Depot’s publication dedicated to the creative activities of the arts and local community. We now celebrate our 71st issue.

Cover Art: Smokestack Slim – Cover art for I Don’t Mean (Single) Photo credit: Lucy Vincent. Listen on:



28-30. IN CONVERSATION WITH NATALI ROJAS Article by Anusha Bhana






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.

doubt the reason the map was quickly removed by Council, never to be seen again despite repeated requests of MCH.

Helen Clark, cited in Artwork 2004

The map was both informative and incriminating in that it showed where cultural resources such as libraries, museums, galleries, schools and bookshops were, and at the same time where they were NOT and thus raised issues of inequity of access and social problems.

I have wanted to meet Jason Smith from 2011, the time I encountered his work as Senior Policy Advisor for the Ministry of Culture and Heritage where he produced a cultural map of Auckland which was initially displayed on the Auckland Council website. His comment on the map, following, is no


‘As the cultural map gets more populated, I am seeing that the highest deprivation areas/worst unemployment areas align with the GAPS in this cultural mapping.

The tipping point in this is the addition of booksellers. Looking at the cause and effect of books/literacy, one must speculate about chickens and eggs with regard to the stats ... do better life/social stats make for better cultural infrastructure, or does better infrastructure (more bookshops?) mean better social stats?

search in this field which addressed the economic value of the creative and cultural sector. It was predicated upon the following statement by the OECD and referenced the halcyon days of the arts and culture under the direction of Helen Clark as Minister of Arts and Culture:

Fascinating policy implications......’

‘Creativity and culture are important and powerful levers for both personal and societal development. They are a driving force for economic growth, are at the core of “glocal” (sic) competitiveness in the knowledge society, and shape territories and local economies in a way which is innovative and creative.’ OECD, 2005, p. 3

Dr. Jason Smith | Senior Policy Adviser (Auckland) Manatu Taonga - Ministry for Culture and Heritage Previously, in 2010 Dr Smith had completed his PhD thesis The Creative Country: Policy, Practice and Place in New Zealand’s Creative Economy 1999-2008, one of the first pieces of extensive New Zealand re-

We were therefore surprised and super-delighted, after 7 years, by a fortu-


itous encounter with Dr Jason Smith, outside the Empire CafĂŠ and Gallery in Paparoa, south of Dargaville. Not only is Jason a strong and outspoken advocate for the creative economy, but a fifth generation farmer and now, newly elected Mayor of the Kaipara District. It was exciting to meet and talk about a mutual passion for the arts and their role in enriching the cultural and economic life of Aotearoa. We look forward to further conversations and opportunities to build regional networks of support.

ture for the creative sector.

Find out more about Dr. Jason Smith here:

advocacy and activism visit the Arts in Action

segment of the Depot Artspace website. artsin-

orelect-plans-collaborative-approach.html or

So far the Labour-led Government, with Jacinda Ardern in the Arts and Culture driving seat, are biding their time in acting upon their impressive arts policy. The policy has valuable components, some we are particularly keen to see enacted, having spent time developing them, such as PACE (Pathways to Arts and Cultural Employment) and the establishment of creative apprenticeships. We know we cannot rely solely on a single source to deliver the message and enact policy for the creative sector; we need informed, educated, experienced and respected advocates who are themselves beacons for an enlivened, innovative, sustainable fu-


Jason Smith, Mayor of Kaipara, successful farmer, creative sector commentator, analyst, advocate and activist is one such person the Government should be talking to; and of course the Depot Artspace who has been flying the flag for creative sector sustainability (with the only surviving PACE programme) through the thick and thin of successive governments and political sympathies. For more a more detailed exposition of arts


In February 2018 Depot Artspace launched The Harakeke Project with Woven: The Exhibition, an exhibition and performance event to celebrate the 17 years that Depot Artspace has been running the Artslab programme. Artslab, previously known as PACE (Pathways to Arts and Culture Employment), provides support and guidance to artists in their professional development and is the largest and longest running programme of its kind in Aotearoa. It currently supports 150 clients each year with their career development, creative goals and employment objectives. While this programme been running for a long

time, this is the first time a dedicated event of this size has happened, which we feel is a notable and memorable example of Arts in Action here at Depot Artspace. The reinstatement of PACE throughout New Zealand was listed as part of the Arts, Culture & Heritage policy by the new Labour Government, and so we hope that this exhibition brings public attention to this need. Because of its proven value we also hope that PACE will be officially reintroduced to other city centres throughout the country in the near future. 7

Woven: The Exhibition was born out of discussions between Linda Blincko and Amy Herron and showcased the work of 17 recent Artslab artists, performers and designers representing a diverse range of disciplines. It was a great opportunity to demonstrate their value to Aotearoa, our tūrangawaewae, our identity and the economy. The collection of visual artworks combined painting, photography, sculpture and textile art from the following artists: • • • • • • • • •


Dasul Lee – sculpture Glenn Mitchell – painting Hannah Arnold – photography Jacqueline Margetts – embroidery Jermaine Reihana – painting Lilach Cohen – painting Mongoose Chen – visual art Pascal Harris – photography Sam Angrignon – painting

• Sophie Prendergast – photography • Sunny Yoon – sculpture • Vanessa Wood - photography The opening was an incredibly special event attended by over 120 people including artists, Work & Income staff, members of the Devonport community and many of the exhibiting and performing artists’ friends and family. It featured several Artslab performers who covered a remarkable range of talents and passions. After an opening karakia by artist Jermaine Reihana we experienced the following performers: • Cameron McCurdy – Musician/ Songwriter • Grace Verweij – Noise Artist • Kauwiti Selwyn – Opera Singer • Moe Laga – Performance Artist • Pascal Harris – Pianist/Photographer

Many pieces sold throughout the exhibition and feedback from the wider community was overwhelmingly positive. The artists themselves were able to use it as a springboard for selfpromotion by connecting with visitors and promoting their websites and social media. The exhibition was a personally significant event for the artists involved; many had never exhibited their work in a gallery and so the whole process was a powerful learning experience for them. From selecting works, framing, transportation and pricing through to discussing themselves and their work with patrons, all of the artists learned a lot through the process and were able to gain more than just praise and followers from the experience. It was obvious to the Artslab team that the

exhibition and the processes behind it had an obvious effect on the confidence, motivation and enthusiasm of the contributing artists. They networked with each other, gave one another encouragement and were rewarded for their hard work and dedication. Artslab would like to thank the Depot Artspace gallery team (Natali Rojas, Robyn Gibson & Lynn Lawton) for their hard work and professionalism in bringing this group and their works together for a successful exhibition and event. It absolutely could not have happened without your support. We thank Anusha Bhana for her dedication to going above and beyond in promoting Woven: The Exhibition and giving our artists maximum exposure. Thanks also to Morgan Allen from Depot Sound for filming and

managing live audio, Jermaine Reihana for blessing the exhibition, and last but not least, to John Sungchul Yoon for his great work on the promotional design for the exhibition including the amazing catalogue (please contact the Dep for a copy). Looking ahead, The Harakeke Project will continue to celebrate the work of Artslab artists and creatives past and present, highlighting the significance of a programme that promotes, supports and strengthens the creative sector. Harakeke, or flax, is our indigenous, omnipresent and most versatile plant species and symbolises both the source and strength of an initiative when its elements are woven together. “The Harakeke Project weaves together the creative disciplines and those who practise them to form a strong and sustainable creative environment.� – Linda Blincko, 2018



GL?TCH COLLECTIVE: AN EXHIBITION Vernacular Lounge Sat 17 March – Tue 3 April Amadeo Grosman, Daniel Eaton, and Loretta Riach are GL?TCH Collective, a group for like-minded young creatives that come together to produce good quality artworks and designs with the goal of sharing their passion and spreading creativity. March 2018 will see GL?TCH Collective host their first exhibition at Depot Artspace. With the theme of

“Birth and Inception”, the exhibition will showcase paintings, photography, and other mixed media works by young Auckland artists, and officially introduce GL?TCH to the world. “GL?TCH is a collective, a community, a hub- we want to bring people together by artistic means to inspire and to uplift each other’s’ works. We believe in youth as an underutilised creative force with untapped passion, and are working hard to lift the project and showcase these talented individuals.” 11

ANDIE PRYCE: THE UNDISCOVERED NEBULAE: TRAVELS IN SPACETIME Main Gallery Opening Fri 6 April 5:30 – 7pm Sat 31 March – Sunday 22 April The Hubble telescope is humanity’s window out into space; but the universe is huge, incomprehensibly so. The farther we look into the distance; the further back we are looking in time. What does it really look like way way out there? What does it look like now? What else is out there? Drawing from the ubiquity of space photographs in popular culture The Undiscovered Nebulae explores space, time, distance, scale, and the need for humans to label unmanageable things in an attempt to understand them. In this new body of work, created in camera on film, Andie Pryce references the notion that film does not lie, while questioning reality. There is no way this could be real, could it?


ANDIE PRYCE: CELEBRATING INTERNATIONAL DARK SKY WEEK Main Gallery Monday 16 April 6 – 7:30pm International Dark Sky Week was created in 2003 by high school student Jennifer Barlow, to help preserve the wonder of the night sky, and draws attention to problems associated with light pollution while promoting simple solutions for mitigation. It is held in April in the week of the new moon closest to Astronomy Day, and this year runs from Sunday April 15 to Saturday April 21, with the new moon on Monday April 16. Join the artist in a conversation about dark skies, stretching the mind and travels to find deep space.

TONY MCNEIGHT: THE GIANT POPPY PEACE PROJECT - PLACE A POPPY MESSAGE FOR PEACE Main Gallery Opening Mon 23 April, 6:30 – 8:00pm Mon 23 April – Wed 9 May Artist Tony McNeight invites you to visit Depot Artspace on Monday 23 April, Tuesday 24 April and ANZAC Day, Wednesday 25 April to participate in The Giant Poppy Peace Project. Come and write a personal ANZAC message on a poppy petal/disc, to honour loved ones who gave their lives in all wars. You will be able to view the Giant Poppy installation in our Main Gallery from 26 April – 9 May. The Giant Poppy Peace Project will officially open with a special event on Monday 23 April, 6:30pm – 8:00pm in the Main Gallery, alongside Helen Pollock’s exhibition opening for A Moving Tribute.

HELEN POLLOCK: A MOVING TRIBUTE Main Gallery Opening Mon 23 April, 6:30 – 8:00pm Mon 23 April – Wed 9 May ‘Victory Medal’ has toured for the past four years, to provincial museums throughout New Zealand as a tribute to the thousands of young men and women, who served on the Western Front in WW1. As the soldiers did a century ago ‘Victory Medal’ made the sea journey to Europe. It traversed the countryside of France and Belgium to the battlefield towns of Arras, Messines, and by November this year, will go to Le Quesnoy, commemorating the centenary of these three significant battles involving New Zealanders. A Moving Tribute is a photographic journey of ‘Victory Medal’ in each of its 8 installations including its presence at Arras where the work formed the heart of Tony McNeight’s poppy installation, together creating the memorable Coquelicot de Paix/ Poppy of Peace viewed by thousands.


FIONA GRAY: FLIGHT OF LIGHT Main Gallery Opening Saturday 12 May, 2 – 3:30pm Sat 12 May – Tues 29 May An exploration of colour; The making of happiness, The scouring of demons That plague the heart; How trippy the world In it’s simple elegance, Is revealed by calm, Honest, contented Contemplation. So - my take, A look here, A word there, Images played with Colour and the Light of reflection, Resonate with themes of The domestic, Regeneration and hope; With space and timelessness Echoing the past, And looking to the future.


FAUZE HASSEN: YELLOW STREET LIGHT MADNESS Main Gallery Opening Saturday 12 May, 2– 3:30pm Sat 12 May – Tues 29 May Fauze Hassen is an emerging Brazilian visual artist and poet based in Auckland since 2011. His work arises from the invisible chaos and the marginal aspects that go unnoticed in today’s society. The subjects are fuelled with a restless countercultural appetite and shaped by childhood memories of his upbringing in the outskirts of São Paulo, one of the largest cities in the world. In his debut show Fauze will explore the connection between different mediums and ways in which poems and paintings are able to translate his cultural background and experiences, allowing the audience to connect with his creative process.

LINDA JARRETT: WALK: AN ANTITHESIS TO THE DECISIVE MOMENT Main Gallery Opening Friday 1 June, 5:30 – 7:30pm Sat 2 June – Wed 20 June The ‘Decisive Moment’, a wellknown term associated with Henri Cartier Bresson, relates to a frozen moment, capturing a significant event as a precise organisation of forms. If capturing the decisive moment is a way of freezing the moment: capturing a slice of time, then what is the antithesis? Walk is a series of contemporary abstract images that captures the antithesis of the decisive moment. Not a frozen moment in time, but many moments in one, insignificant, imprecise and disorganised. Captured whilst walking around Devonport and Narrow Neck, these images are more about the things we don’t see rather than the things we do. This exhibition is included in the Auckland Festival of Photography 2018 Programme.

AUCKLAND CITY MISSION: LIFE Main Gallery Opening Saturday 23 June 2 – 3:30pm Sat 23 June – Wed 11 July This exhibition presents the work of a group of participants of the Auckland City Mission’s Homeless Services. The exhibition will feature works from a wide range of media, providing an insight into the unique artistic perspective of some of Auckland’s inner-city rough sleepers and marginalised people. In 2016, Auckland City Mission had their first ever multi-media exhibition of Mission artists’ work here at the Depot. We are proud to once again celebrate their achievement and support the healing and transformative 15

power of their engagement in the arts. As part of this exhibition there will be a dedicated space for 12 works on paper by a group of homeless London artists. In exchange, 12 works by City Mission Artists will be exhibited in May in London. This cultural exchange is organised by Sarah Caldwell-Watson from Cafe Art. KAHURANGI SMITH: MĀORIGRL Main Gallery Opening Saturday 23 June 2 – 3:30pm Sat 23 June – Wed 11 July MāoriGrl combines installation and video game to reinvent the story of Hinetītama / Hinenuitepō, the woman who became the goddess of death in Māori mythology. The game MāoriGrl serves as a visual reference to this story, with bright colours, a nostalgic wide-screen format, and abstract landscapes to create a naïve atmosphere in the game’s world– a stark contrast to the realities of Hinenuitepō’s purpose in embracing the deceased. The title and essence of the game itself is derived from Aroha YatesSmith’s thesis Hine, E Hine, in which she researched different Māori goddesses from pre-colonial times and sought to further support a spiritual connection back to these atua wāhine.


SPECIAL EVENT - KAHURANGI SMITH & DR. AROHA YATESSMITH: MĀORIGRL IN THE CONTEXT OF ATUA WĀHINE (ARTIST TALK) Main Gallery Sunday 8 July 1pm – 2:30pm (see website for more details) Artist talk with Kahurangiariki Smith and Dr. Aroha Yates-Smith, discussing the development of the video game MāoriGrl in relation to Yates-Smith’s thesis Hine! E Hine! Rediscovering the Feminine in Maori Spirituality (1998). Together they will expand on the story of Hinenuitepō and other atua wāhine (Māori goddesses) presence in today’s world. The discussion will centre around the reciprocal interaction of ancestors and descendants taking care of the environment, and the relevance of atua wāhine in Aotearoa’s society today.

limit is your imagination! Submissions process:

OUT OF CONTROL/EXHIBITION CALL OUT Opening Friday 1 June 5:30pm – 7:30pm Sat 2 June – Wed 20 June Calling all photographers, amateur or professional, camera phones, digital SLR’s or film! We invite you to contribute your photographs for a special participatory exhibition, to celebrate the 2018 Auckland Festival of Photography. The 2018 theme is Control. In this increasingly structured and regulated world, we have come to regard control as inescapable, even desirable. The concept of being Out of Control is often fraught with images that threaten an order preferable to unknown alternatives. Opportunities to liberate the creative side of ourselves are rare; even in the gallery, the crucible of creativity, exhibitions require themes, conditions and standards. There are no restrictions on technique, size, subject matter - we invite you to surprise, delight, horrify, puzzle, challenge, amuse or move the Depot Artspace community with your photos. Break the bonds of conformity, predictability, and the usual components of control - the only

Print your photographs and deliver them to Depot Artspace (28 Clarence St Devonport, Auckland 0624) by 29 May 3pm. There is a $10.00 charge to enter work/s to this exhibition (standard administrative cost per exhibiting artist regardless of the number of photos entered). No late submissions will be considered for exhibition. Photographs don’t need to be framed. Ensure that the photographs include your name, price and contact details on the back. Photographs on this exhibition will not be on sale. Images will be on display as part of the Out of Control exhibition between Sat 2 June- Wednesday 20 June. You are welcome to join us for the opening event. After completion of the exhibition you need to pick up your photos at the Depot on Thursday 21 June (10 am-4.30 pm). Depot Artspace has no storage facilities and takes no responsibility for the works after this date. For more information, contact: Natali Rojas, Gallery Coordinator. natali.rojas@ / 099632331 Disclaimer: This is a novel idea to encourage community participation, so the limits of control are still being investigated by us. 17


Anna Valdoni, Jacqueline Margetts, Formed Functions Studio, and Helga Strewe are just a few of the Depot Artspace member works currently on show in The Art Room - our recently revamped curated retail gallery.

and Liz McAuliffe (Formed Function) Oliver Cain, Dan Coutts, Michelle Durrant, Sophie Joy Prendergast, Karenna Mollard, Jaqueline Margetts, Ann O’Sullivan, Sarah Smith, Anna Valdoni and Sunny Yoon.

Visit us to discover the new selection of original works by our local creatives; painting, pottery, wood ware, jewellery. There is also an exciting selection of books from our Depot Press publications that explore, showcase and celebrate aspects of Aotearoa NZ’s evolving cultural vernacular.

The Art Room is open to Depot Artspace members to submit work for display. If you’re interested in exhibiting in The Art Room visit our website exhibit-here/ or stop by for a chat with our Gallery Coordinator.

We would like to welcome new exhibitors; Rob and Margie Davies (Fern Flat Potteries), Lindsay Evans


We are thrilled to support our local arts community and provide our visitors with exclusively New Zealand made art and object. #BuyNZMade


It’s been a really varied and interesting start to the year at Depot Sound. We’ve seen a number of different projects through the door already and have more on the horizon. In February we had a group from SKIDS (Safe Kids in Daily Supervision) come through the studio with NZ pop artist Kings. They spent the day recording a song for the Child Cancer Foundation which is soon to be released. We also saw the release of new music from The Rubics, Smokestack Slim and Boom Boom Deluxe, all artists to come through the studio in the past few months. All of these artists are currently working on EPs or albums, so find them online to check out what they’re up to. Studio Manager Dave Rhodes has teamed up with the Ignite Programme for their upcoming music production courses kicking off in April. Ignite pairs young people passionate about the music industry with established professionals over a 12-week course, providing mentorship and training to those looking for a career in music. We’re really excited about being part

of this programme and look forward to meeting the students! For more info visit In May Morgan Allen will be launching Beats Vs. Vocals, a collaborative music programme funded by Creative Communities which will aim to bridge the gap between vocalists and producers working from home, providing them with an opportunity to work together and create new works. The focus will be on reaching out to emerging musicians between the ages of 16-24 in Auckland, who are looking for assistance to get their projects off the ground. Those selected for the programme will receive support and advice from us, enabling them to find others they can collaborate with and develop their work with vocalists and producers alike. Once these connections have been made, they will be provided with time at Depot Sound free of charge to record and mix their work. Stay


connected with us via Facebook and Instagram for updates. And lastly the upright piano kindly donated by Kevin Hill of Harcourts Devonport has had a makeover and is now ready for recording! It’s taken a few months but after some careful maintenance and a tune up we’re keen to get stuck in and take advantage of the piano on upcoming projects. As always we’d love to hear from anyone with upcoming recording projects or audio related schemes. For any enquiries you can call us on 09 963 2328, email dave@depotsound. or visit




I have enjoyed so many aspects of my time at Depot Artspace. I have met a wonderful bunch of staff and volunteers who I hope will remain my friends, and I have worked with a range of talented creative people, supporting them with their employment goals. One of the major bonuses of working at the Depot is hearing all of the music that is constantly being recorded at Depot Sound. My Spotify playlist has improved immensely because of Depot Sound’s influence – thank you. I am moving to a position as a Career Practitioner at Epsom Girls Grammar School and I am looking forward to helping young women figure out how they want to contribute their skills to the world. I am excited by the opportunities this new role will

present since I believe effective career development interventions are crucial for individuals at all stages of their careers. For some people, deciding what to do is the easy part – the hard part comes later when we are managing our daily commute, or our financial security, or our expectations of ourselves versus other people’s expectations of us – there are innumerable issues to be discussed within the context of a career counselling conversation. I have enjoyed providing a careers counselling service to clients while helping establish Careers Lab here at the Depot, and I look forward to continuing my practice independently. Please read more at I will continue to live with my wonderful family here in Devonport, so see you in the village sometime soon! 21


A young and older Phil Goff: Celebrating 30 years nuclear free @ Depot Artspace, September 2017

Nigel Brown Talks about National Identity for the Cultural Icons series @ Depot Artspace Former refugee Sayed Ali Karam Jawhary introduces Persian Calligraphy to NZ in debut solo exhibition in the Vernacular Lounge @the Depot 2017 22

Jamie McEwan reads the poetry of A.R.D. Fairburn as part of the Fairburn Rocks exhibition

The Checks, Devonport band performing live at the local Masonic Tavern. From the film Guitars from the Leafy Suburbs, made by PACE mentor, Julian McCarthy and featuring the Depot accessallareas/audio/2514430/access-allareas-guitars-from-the-leafy-suburbs

Push Push including Mikey Havoc recording @ Depot Sound

Brendon Thomas and the Vibes @ Depot Sound Depot Press produces thoughtful and thought-provoking publications about the evolving cultural landscape of Aotearoa, its whenua, people, arts and attitudes.




My favourite artwork so far this year is Hannah Arnold’s photograph titled “Rain Birds”, from the Woven Exhibition. I find the composition of this photograph pleasing. The tangled scrub like background contrasts well with the formal shapes of the lilies, yet embodies the wildness by the haphazard way they are growing. The two figures have a mystery about them, standing with their faces obscured, turned towards the scene, compelling 24

you to question; Why are they there? What are they thinking? Where are the rain birds? Are the lilies or the figures a metaphor for the title? I like this work because it makes me think and allows me to make up my own story. How did you come to be a volunteer at the Depot? After I retired I popped into the Depot on my way to volunteer at the Community House, when I was hijacked by Linda Blincko an old

friend and have now been here for the past 9 years! What is one of your most treasured Depot memories? One of my most treasured memories is spying Snowplough, the Depot community cat, sitting beside my book display at the book launch. The book had photos of Snowplough’s time at the Depot and it was like selfadvertising! Look at me…. Look at me……Look at me……. Unfortunately, Snowplough was killed while crossing Clarence St. in pursuit of birds in the Olive Tree. What does Arts in Action mean to you? Creativity is one of the finer attributes of humanity. It lifts the soul, whether it is in the guise of music, visual arts or everyday objects beautifully designed.

Arts in action is everywhere: from the graffiti that comments on society, through to pop up mob action, protest banners etc. I was impressed to see prisoners in NZ designing and sewing cushions for children in low decile schools. Now that is real art in action! Arts in Action in Devonport is encouraging the community to participate: the monthly market, the community house fence post paint and display, the knitters festooning our suburb, live performances at the Victoria Theatre, the use of 2 recording studios at the Depot, the folk music at the Bunker, galleries willing to buy or display local artwork, book launches, public flower plantings, Michael King Writer’s Centre the list goes on…What would our world be like without creativity? 25


WHEN AND WHY Article by Morgan Allen

For musicians, the process of writing and recording a song involves a balance of activity and inactivity. Firstly, the song must be written, an act that involves great periods of concentration. Secondly the artist must provide themselves an opportunity to reflect, to stand back from the music and assess the quality of their work. This moment of inactivity is an essential part of any creative process. It allows the creative mind to shed any bias or preconceptions formed during the creation of the work. We see this same balance of action and inaction throughout the recording process. Musicians record a take and then wait for the recording engineer to reset for the next one. A drummer performs his part, then waits for the rest of the band to complete theirs. This relationship between engineer and musician serves the creative process well, not only because of the obvious division of labour but also for


the moments of rest and reflection provided to each whilst the other is performing their role. Historically this form of working was prevalent right throughout the recording industry but technological advances and the rise of electronic music has seen many musicians now recording or producing their own work without the help of an audio engineer. This presents a whole new dynamic for the artist, one that can equally serve the creative process well or hamper its stride. On the one hand musicians may enjoy having total control over the recording process, leading them in new directions they hadn’t considered before. On the other, there is the possibility of becoming overwhelmed by the added responsibility and losing sight of the big picture. One project I worked on recently that emerged triumphantly from this dynamic is the forthcoming album ‘A

Tender Jest’ by Smokestack Slim. This self-produced album was recorded by the band to a cassette tape over a few months in mid 2017. This is no small feat and required all the parts to be performed more or less from start to finish in one take. They then brought the finished recordings into Depot Sound to be mixed (for the uninitiated, mixing is the process of balancing levels, adjusting the tone of each instrument and adding effects such as reverb in order to get all the musical elements working together). Smokestack Slim’s record has a rather unique yet nostalgic sound. The closest thing I could compare it to is a more rockabilly version of The Beach Boys. It is a beautiful collection of songs yet also flawed at the same

time. There are moments where things aren’t perfectly in tune, or in time. Or moments where the cassette tape had slightly slowed down causing a piano to sound as if its tuning were changing mid song. These are all things that an audio engineer would typically avoid at all cost. Things that would require the musician to perform another take or for an edit to be made. Yet in the context of this record these flaws create an authentic sense of integrity, a charm if you will. The more I listen, the more I fall in love with these moments. I can’t help but feel if it weren’t for the constant state of action the musicians were in whilst recording the music themselves, these moments would have been lost.



NATALI ROJAS Article by Anusha Bhana

Originally from Bogotå, Colombia Natali Rojas has been actively involved in the creative sector since moving to New Zealand in 2011. She studied Art History and Sociology in Spain, and completed a Masters in Development Studies in Finland, with a focus on community cultural development. And she’s our new Gallery Coordinator! What does Arts in Action mean to you? Can art be a genuine catalyst for change? To me, arts in action refers to the process of using creative platforms to open spaces for participation and collective action and foster the well-being of 28

individuals, whanau, communities, and the environment. The work of Augusto Boal, the Brazilian dramaturg, and politician who transformed the world of theatre with techniques that empowered audiences to engage in creative resistance in the face of political oppression, is fundamental to understand how arts can be a catalyst for change. Arts in action transforms passive spectators of culture into spect-actors, people who can play an active role in transforming and creating their own reality. It brings together multiple creative projects led by activists, facilitators, teachers, cultural

managers, filmmakers, writers, lovers of people and places who are using the arts to stir the imagination of people and their longing for change, to strengthen confidence and courage, to resist individualism and open space for the collective, to create community. Where have you witnessed Arts in Action at its most powerful? My experience working with SueĂąos Films Colombia, a grassroots organisation that promotes participatory video as a tool for social change back home was extremely powerful. The best part of my time with them was collaborating with community members in the making of short documentaries portraying local stories. What made it so powerful was the chance to learn about the art of storytelling in a community setting, in classes where grandparents came along with their grandkids, where everyone was welcome. The community we were working in carried years of stigma and violence on their shoulders, and through this participatory video project participants were able to share another side of the story, becoming aware of the sources of power within their communities along the process. Tejiendo Luz, Weaving Light was one of the documentaries that we made in Ciudad Bolivar during this time. It portrayed the story of Alvarito, a man who transformed his life weaving and selling bags after losing his family

and his sight. I can still remember the energy in that room when the video made it to the big screen. We witnessed the power of a creative project to craft a celebratory environment for all of us to reclaim our role as creators of culture and community. In Aotearoa New Zealand, the Big Girls has been a powerful art in action project to be involved with. Initiated in 2009 by Bridgette Murphy, Creative Director of Rangiwahia Environmental Arts Centre Trust, the project has invited women from all ethnic backgrounds to come together and bring the vibrancy and beauty of our cultural diversity to life. Women have been invited to participate in a series of community workshops where they create larger puppets that are representatives of their culture. The Big Girls are then taken to the streets on festive parades and festivals. What has been so powerful about this project is how it has created a space for women to meet and work together, and to feel proud of who we are, to show and celebrate our cultures again. During the parades, everyday roles and the power status associated with them disappear behind costumes and traditional songs, and contact is regained making everyone feel part of the collective. Why do you think the general public are sometimes reluctant to engage in the arts? I think that a central role for cultural


activists is to raise awareness about the barriers preventing people from participating not only in the arts, but also in politics, as citizens of their communities. I am thinking about how in Western societies people are predominantly spectators of activities that have been commericalised. What kind of initiatives and spaces do we need to return that creative agency to people? What could be the role of the aesthetic experience, the cultural energy, that emotion, to re-connect us as human beings? The Buen Vivir (The good life) reminds us of the urgency of holistic projects where creativity is interwoven with propositions that address the forces of structural inequality and exclusion, unequal wealth and power distribution, the models of growth and extraction of natural resources that are destroying the earth. What do you think have been/are the most significant changes to Aotearoa’s creative sector over the last 5 years? One of the changes I celebrate in our sector is the progressive move towards accessibility and inclusion. Last year He Waka Eke Noa, the Museums in Aotearoa Conference, brought together practitioners from the GLAM (Galleries, Libraries, Archives and Museums) sector with cultural activists who are leading this transformation in New Zealand. And while there is still a lot of work in front of us, it has 30

been great to see more and more arts in action projects opening spaces for all communities to participate. Think about the impact of the Big Girls, or the Illuminated All-Wheels Parade here in Auckland last year. And finally, if you had the power to change one thing for the better in the world, anything, what would it be and why? It would be the perception of the arts as a “nice to have”, that loss of creativity from our everyday lives. Culture is a central aspect of people’s lives. Culture frames the way people and communities determine and understand who we are, the meanings of our interactions with others, with spiritual worlds, our past and future, our interconnections with nature. So I will finish our conversation about the importance of cultural expression with the whakataukī (proverb) Ahakoa he iti he pounamu – Although it is small, it is of great value.


Sat 10 Feb Blake Feeney - Parvus Magnum (debut solo show)

Thurs 1 Feb Nicholas Tarling Commemoration event (gifting of A.R.D Fairburn artwork to the Depot from Tarling Estate) 31

Sat 10 March Sue Nelson - Burned, Julie McGowan - Presence and Susanne Khouri - Escape

Mon 12 March Girls on Key Poetry Reading for International Women’s Day featuring Anne Walsh, Riemke Ensing & Anna Forsyth

Sat 17 March Gl?tch Collective: An exhibition (debut show) 32


The inquiry into a distinctive Aotearoa New Zealand vernacular and its many forms of expression, along with its evolution, has been the subject of the Vernacularist publications. Issues explored and addressed have included the urban-rural divide, the environment, concepts of community, the place of art in an evolving vernacular and women in NZ Aotearoa society. In this, our latest publication, we are taken into a shrouded past, to an environment, landscape, population and settlement patterns profoundly different from those generally recognised as Devonport’s history. The Vernacularist: Whenua Me Te Iwi - The Land and the People of Devonport Before 1840 A social history of Devonport is generally ring-fenced by its colonial past, with scant reference made to the years preceding this. Devonport is

described as one of the oldest settled areas in Auckland, but this relates to its colonial settlement from 1840 when it was initially known as Flagstaff. But settlement took place at least 500 years before this when Maori migrated to this area. This publication acknowledges the extent of Maori settlement and that European Pakeha presence represents a relatively short passage of time, although its influences on the area have been all-encompassing, changing entirely the shape, use and population/ demographics of the land. This is, of course, not a localised phenomenon, but its documentation in this community offers an edifying perspective on the history and impact of settlement. New Zealanders are often surprised by the fact that we have a history. Peter Wells describes us as an ‘ahistorical society’. We exist in a sort of bubble of the present. It’s always intrigued me that we don’t encourage interest in our history. What’s 33

unique about New Zealand is that it’s the last major piece of land on the planet to be settled by humans. We’re at the end of a huge millennial experiment of colonising the planet and you can still clearly see what happened from the arrival of the first Maori and then with large scale European settlement. Dave Veart, NZ Herald 2015 This publication is not intended as comprehensive or rigorous documentation of pre-1840 occupation or settlement. Its intention is to create a respect for the rich past that extends beyond received knowledge about this community by compiling and presenting information research,

stories and snapshots to illustrate life, whenua/land and community before Pakeha populated the area. Its inspiration has a number of sources; the repatriation of the maunga to Maori, the recognition by archaeologists and geologists of the vast history of the land, and local Maori who currently live in this community and who have, over time, shared their whakapapa, knowledge and experiences with us. Proposed release date: July 2018 For more information visit www.depotpress. or contact Linda Blincko

Looking across to Devonport, 1870-1879: In the distance are four maunga; Takarunga (Mt Victoria), Takararo (Mt Cambria), Maungauika (North Head), Takamaiiwaho (Duder’s Hill) 34


The traditional definition of cultural appropriation is the adoption or use of elements of one culture by members of a different culture. Cultural appropriation is controversial, especially when elements of a minority culture are used by members of the cultural majority; this is seen as wrongfully oppressing the minority culture or stripping it of its group identity and intellectual property rights. There are strong arguments for and against cultural appropriation and cultural appreciation. It’s hard for one person to know it all and set the rules for how to not offend anyone and keep everyone happy. We all have different experiences and appreciate different things. The hard part is walking the thin line between appropriation and appreciation. Our role here at the Depot is to nurture, support and educate our artists to make informed decisions about how their

work engages with the community. We met with a local emerging artist recently who was interested in showing work at the Depot. The work was of a quality that at first appealed to gallery staff but further examination of a few works revealed examples of misappropriated traditional Māori motifs and use of Te Reo Māori. As we began discussing the work with the artist it was clear there was no malice in this naive expression of their new found home here in Aotearoa, and we worked with the artist to make pragmatic steps to understanding the significance of the language and traditional art forms to Māori. Some people really appreciate the beauty of a culture and can be inspired by it, maybe they can never understand the struggles and hardships of one culture to another, but taking the time to understand the traditional and historical context is a big part of developing an in-depth understanding


and awareness of cultural sensitivities. Colonisation, which was sanctioned by the western imperial world, actively damaged the culture and traditions of many indigenous peoples through the eradication of language, culture and narratives. To fully grasp the implications of these historic acts we must deepen our understanding and honour the principles of the Treaty of Waitangi to ensure that we are actively preventing appropriation from being perpetuated in a society where unfortunately it has become the norm. Typically, people often think cultural appropriation is the blatant stereotyping of one culture and can be perceived as making fun of


another culture and not properly representing it. This highlights the lack of understanding between two cultures. The appropriator strips away the ‘bad’ parts of a culture and lives in a sugarcoated ideal with no consequence. Cultural appreciation however, is when elements of a culture are used while honouring the source they came from. It is important to note that appreciation involves respect and active participation. It’s okay to find things beautiful. It’s even better to appreciate, participate and learn more about it. Especially before you reproduce it in another form.


One of my key roles as Manager of the Depot is staffing. This involves selection, training, performance appraisal, professional development along with a host of day to day tasks vital to ensuring an effectively functioning team and operation. We currently have eight full time and 3 part time staff. The Depot is a creative hub, responding to and initiating change and for me an aspect of the Depot in perpetual motion is staffing, in particular, responding to staff changes as people have come and gone for a variety of reasons during my time here. Current research indicates that today most people do change jobs 10 – 15 times during their career, and sectors where change is most frequent are media, entertainment, government, marketing and non-profits. Baby boomers (1946 – 1964) change less frequently, Generation X (1961 – 1981) average 2 job changes by 32 years old, millennials and Generation Y (1980 – 2000’s) three to four. We have had staff work at the Depot for less than a year while there are currently 5 staff who have been here from 3 to 21

years, staff spanning the baby boomer to Generation Y. Staff have left for a variety of reasons: OE, further tertiary studies, another position that is a step along or up one’s career path, internal changes resulting in different position requirements, mutual recognition that the role and person fit isn’t working and performance and personal issues. New staff bring fresh ideas and different skills and they can provide an opportunity to reshape the way we work. However, it takes time for new staff to become an effective member of the team with an understanding of and reflecting the culture and values of the Depot. The Depot’s philosophy of encouragement, support and inclusiveness along with its values are critical aspects of the Depot not in perpetual motion. Rather, it is an environment that calls me as a member of the team to be in perpetual motion. To reflect upon, respond to and be enriched by the philosophy and values of this amazing creative hub. I. 37


Ignite Programme established in 2016, is an innovative youth development initiative which nurtures and empowers young people to pursue their passion in music and events. The 12-week programme returns this year once again focusing on the power of mentoring by offering participants aged 15-18 a unique experience and hands-on approach to the music and events industry. Depot Sound Studio Manager Dave Rhodes had a chat with founder Savina Kim about the programme. Tell us about how you got into event coordination and promotion?


It all started when I was 16 at high school. I guess in some ways I stumbled into it as my band wanted to play some more shows outside the Rockquest so got in touch with some other bands to organise some. I connected with some other people who were also putting on all ages shows on the North Shore and ended up being a part of ‘Local Output’ and we put on a bunch of all ages shows, band competitions and fashion shows with bands etc. From there, I split off to form various organisations putting on all ages shows. I studied Live Sound at MAINZ and worked as a sound engineer and AV tech before returning to MAINZ to study Event Management. This all helped me put

on better shows as well as get my foot in the door to the industry in the world of music publishing and music supervision. I then went onto work for a promoter for a few years before working on the venue side of the industry for the past 4+ years. Why did you decide to run this programme? About 6 years ago, I started noticing that people who had come to help me at those all ages shows I put on all that time ago were going onto putting on their own shows and working in the industry and it all really hit me that whilst people had a lot of fun at the shows, I also really helped these young people find their passion and career. IGNITE was born out of this concept of connecting passionate young people to the industry. I think that there are so many great programmes out there for musically-minded people but not for the industry that supports the artists. For me, whilst I loved music, I found the stage terrifying and wasn’t the best musician but I knew I wanted to work with music somehow and it took me many years to find that it was actually a career path! I thought it’d be amazing to be able to help make this connection happen a lot faster for someone out there. What is the value of mentoring over just learning in a classroom? I think there are many layers to education. There are skills you need to learn for that base understanding, but

you also need to be able apply them to a real-life scenario for that knowledge to make sense and having someone experienced help guide you through that process is just so valuable. As the participants in our 2016 programme started to organise their own show, they would remember something their mentor had told them or a skill they had learnt and to see that click was amazing to witness. What are some of the graduates from the last programme up to now? I’m so proud of all of the graduates from the 2016 programme. The winner of the MAINZ scholarship Hunter Keane has gone onto find work at Flying Out, organise another show and I had also sorted out an internship with Under The Radar. Another graduate Elleana received a scholarship to Massey University studying Commercial Music and has also organised other shows. Other graduates have also gone onto further education at tertiary level, organised more shows and released EPs. What’s new with the programme this year? I’m very excited to add a new stream in Music Production this year, which runs parallel to the Event Management stream. It’s an opportunity for three young people to be mentored by some of the best producer/engineers in the country and get studio time to produce a track by the end of the 39

programme under their guidance. These participants will also attend the various seminars, workshops and venue tours with the Event Management participants. Music Production is an area where a lot of people learn by just doing and there are lots of resources out there, but to be able to bounce ideas off experienced people and learn some inside tips is just priceless – and the programme is completely free!

They also all have a good ear (funny that!), are great at fostering new talent and keen to pass on this skills and knowledge to people who are keen to learn. I’m stoked to get Dave on board as not only has he got 20+ years’ experience as a producer, engineer, musician etc, but Depot Sound is also one of the few studios where you can record a full live band, which Dave’s obviously very versed and interested in!

How did you go about choosing mentors for the programme? There were a few things I took into consideration. The main criteria were a producer/engineer who had access to a working studio (vs a home studio) based in Auckland. From there, I considered the variety of genres they can cater for to have a good reach of potential applicants, from pop to indie to hip hop and rock. Across the three mentors Dave Rhodes, Josh Fountain & Djeisan Suskov, we covered this wide range of music and experience.

Tell us about the first gig you ever organised compared to the last gig you were involved in? My first gig I helped to organise was an all-ages show at Howick Recreation Centre with some local bands and the last show I was involved in was Foo Fighters at Mt Smart Stadium where I currently work, where I think a few more people turned up :)


Visit for more information on the programme.

SMART ARTS: A SHORT TAKE ON MAKING THE MOST OF A CREATIVE OPPORTUNITY Article by Linda Blincko We love artists, we do! It’s the Depot’s vocation to support creative practitioners across all disciplines and we’ve done it effectively over 22 years for more than 2000 artists, both with regard to the individual and by observing and continually referencing the ever-changing cultural landscape. And because we take our commitment to artists seriously we develop means to make sure their experience with us is rewarding. At this point a litany of wellworn, but nevertheless appropriate, idioms spring to mind which describe the response to this support; ‘grain of salt’, ‘horse to water’, and which indicates our advice is unheeded. Take the artist contract for a start, the simple first step in ensuring the exhibiting experience is mutually positive; yet invariably it languishes in the back room of the brain, unread despite a signature to the contrary. We provide a much-amended and attended-to document which is, by general contract standards, brief, easy-to-read and full of essential information to help make an exhibition a breeze - from hanging works to holding an opening and clearing up at the end. We’ve avoided loop-holes and double-speak in a real effort to make it

representative of the Depot’s desire to be accessible. And despite the fact that our intention is to inform and protect the artist, most of it is ignored. Why is this? Why do people so easily abdicate responsibility and then become aggrieved when others exploit their chosen ignorance? On occasion we field accusations or excuses prefaced by ‘you didn’t tell me’ or ‘I didn’t know’. It’s hard yakker I tell you, empowering people just in these simple terms. And sadly, this seems to have become the form democracy has metamorphosed, into; rather than government by the people it is a reaction by the people to decisions and actions made by the appointed government or authority. And so many governments are elected on the basis of a bunch of promises that are not kept, partly because they are not monitored and no one is enforcing their being kept. We don’t pay attention or show interest and then we’re kicked in the pants by things we didn’t see coming. So, unlikely as it may appear, there is a connection between reading a contract and standing up for democracy, of asserting ourselves and maximising opportunities in a world where there is increasingly little opportunity to do so.


MUSINGS FROM THE NEW GIRL Article by Vivienne Tregerthan smell horrible) and feeling mortified answering calls from uncles and family friends in broken Japanese.

Hi, my name is Viv, and I am the new Admin and Accounts Coordinator at the Depot. I am enormously grateful for the warm welcome and support I have received since starting here, and while it’s only my third week, I feel so relieved to have arrived at the Depot. I grew up on Auckland’s North Shore, which was for me both intensely local and awkwardly diasporic. It was eating crispy potatoes outside the roast shop when Jacaranda cafe in Murray’s Bay was a roast shop, and it was Japanese after-school school learning kanji. It was getting soaked by crashing waves crossing the pipeline to Mairangi Bay, sneaking out across the field at lunch-time trying to avoid the wrath of Rangitoto College Dean Ms Strang, and it was spaghetti toasties with my friends or “jaffles” to those better acquainted with their grilled cheese. It was also bringing friends home when my mum had been cooking with daikon ( Japanese radish which can 42

I graduated from the University of Auckland in 2014 with a BA/BCom majoring in Art History, Marketing and Information Systems. I got an internship at a software development company in my last year of study, and was offered a full-time job as a Digital Marketer. Here began a life of client meetings, coffees on the company tab, and glossy kitchen taps from which sparkling water flowed freely but I wasn’t happy working in an industry that had nothing to do with the things I really valued. Last year, I returned to study Art History again at Honours level, and wrote my dissertation on Japanese American artist Roger Shimomura, who combines Ukiyo-e and Pop art styles to challenge stereotyping and racism against Asian Americans in the United States. I also did a series of volunteering and brief internships at galleries such as the Gus Fisher, Te Tuhi and the Wallace Arts Trust. The Depot stood out to me for their values of inclusivity and social awareness and I am so excited to be a part of the community moving forward.

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

Membership Form Membership means that you support Depot Artspace and its objectives. Circle the option that applies below: Individual $30 & UB $10

Organisation $40 Family $40 International $35


Name …......................................……………… New member/renewal (Circle one) Landline ……………………………………. Mobile ………………………… Email ……………………………………………………………….........…… Street No ………… Street …………………………………………………. Suburb ………………………………………….. City/Post code ……………. Signature……….……………………………… Date………………………… Office paid ………………………………………………

Thank you!

The art of indulgence


Profile for Depot Artspace

Loud #71 'Arts in Action'  

Loud #71 'Arts in Action'  


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