In 2013 Becca Wood, Spatial Performance Practitioner, and Molly Mullen, Applied Theatre Practitioner, collaborated to create a short ambulatory performance with audio score for a group of drama educators attending a conference workshop on the possibilities of walking as performance. The performance was created remotely from the intended site: Rangi Ruru Girls’ School, in Christchurch, New Zealand. Following the destruction of the 2012 earthquake, this site was in a state of transformation and recovery. The performance walk attended to the histories, geographies and politics of this place, somatically, architecturally and socially. This paper engages with three critical questions: How might mediated listening and walking activate the coming together of bodies and place? What performative shifts occurred for the participants in the walk and workshop? How might we come to our senses? Through a performative practice of mediated site-based listening and walking, this paper is a reflection on the creative process and performance. We consider the potential for technologically mediated performance to offer new modes for learning and creative practice through interdisciplinary and evolving intermedial practices. http://www.tandfonline.com/toc/crde20/current AM - Accepted Manuscript
This paper explores the responses by a group of children to an art project that was undertaken by a small school in New Zealand after the September 2010 and February 2011 Christchurch earthquakes. Undertaken over a period of two years, the project aimed to find a suitable form of memorialising this significant event in a way that was appropriate and meaningful to the community. Alongside images that related directly to the event of the earthquakes, the art form of a mosaic was chosen, and consisted of images and symbols that clearly drew on the hopes and dreams of a school community who were refusing to be defined by the disaster. The paper 'writes' the mosaic by placing fragments of speech spoken by the children involved in relation to ideas about memory, affect, and the 'sublime', through the work of Jean-Francois Lyotard. The paper explores the mosaic as constituted by the literal and metaphorical 'broken pieces' of the city of Christchurch in ways that confer pedagogic value inscribed through the creation of a public art space by children. AM - Accepted Manuscript
This exhibition, eight years in the planning, had the misfortune to open one week before the 22 February 2011 Christchurch earthquake; the exhibition was immediately taken down and never went up again – the Christchurch Art Gallery has still not reopened. Although in my book Fantastica: The World of Leo Bensemann (NRO1) I covered the whole of Bensemann’s career, in the exhibition I took responsibility for the paintings (portraits and landscapes) , while Dr. Noel Waite (University of Otago) looked after Bensemann’s graphic work, book design and printing. This was the most extensive exhibition of Bensemann’s work ever mounted and together with Fantastica will compel a major reassessment of his place in New Zealand culture. Art New Zealand wrote of it: ‘The exhibition (including more than 100 items) is significant in bringing together what has in the past appeared disparate and unrelated; here Bensemann's entire oeuvre - the output of a painter, illustrator, calligrapher, typographer, designer and publisher is given equal billing. Although this exhibition is an important re-assessment and valuable for a new generation unfamiliar with his work, a national touring show would have precipitated an even greater awareness’.
