Nau mai, haere mai, welcome to EyeContact. You are invited to respond to reviews and contribute to discussion by registering to participate.

JH

Moving and Still Photographs

AA
View Discussion
Gavin Hipkins, Erewhon: The Book of Machines, as installed at Starkwhite. Photo: Sam Hartnett Gavin Hipkins, Erewhon: The Book of Machines, (detail) as installed at Starkwhite. Photo: Sam Hartnett Gavin Hipkins, Erewhon: The Book of Machines, as installed at Starkwhite. Photo: Sam Hartnett Gavin Hipkins, Erewhon: The Book of Machines, (detail) as installed at Starkwhite. Photo: Sam Hartnett Gavin Hipkins, Erewhon: The Book of Machines, (detail) as installed at Starkwhite. Photo: Sam Hartnett Gavin Hipkins, Erewhon: The Book of Machines, (detail) as installed at Starkwhite. Photo: Sam Hartnett Gavin Hipkins, Erewhon: The Book of Machines, (detail) as installed at Starkwhite. Photo: Sam Hartnett Gavin Hipkins, Erewhon: The Book of Machines, (detail) as installed at Starkwhite. Photo: Sam Hartnett Gavin Hipkins, Erewhon: The Book of Machines, (detail) as installed at Starkwhite. Photo: Sam Hartnett Gavin Hipkins, Erewhon: The Book of Machines, (detail) as installed at Starkwhite. Photo: Sam Hartnett Gavin Hipkins, Erewhon: The Book of Machines, (detail) as installed at Starkwhite. Photo: Sam Hartnett Gavin Hipkins, Erewhon: The Book of Machines, (detail) as installed at Starkwhite. Photo: Sam Hartnett Gavin Hipkins, Erewhon: The Book of Machines, (detail) as installed at Starkwhite. Photo: Sam Hartnett Gavin Hipkins, Erewhon: The Book of Machines, (detail) as installed at Starkwhite. Photo: Sam Hartnett Gavin Hipkins, Erewhon: The Book of Machines, (detail) as installed at Starkwhite. Photo: Sam Hartnett

In their small gallery the fourteen stills make an interesting horizontal ‘ladder' that traverses the two walls linked by a corner - cutting a dark swathe through the white walls. Juxtaposed tightly together in this right-angled slot the deliciously textured photographs are deliberately denied ‘breathing' room, becoming subservient to the drama of a violent slash, as if caused by a sweeping steel arm.

Auckland

 

Gavin Hipkins
Erewhon : The Book of the Machines

 

1 November - 29 November 2014

This exhibition presents a suite of photographs taken as stills from a ‘chapter’ in Hipkins’ latest film, his 92 minute Erewhon that he presented at the Academy in July during the last New Zealand International Film Festival. They are a form of relief sculpture in the sense that they are of horizontal format, thickly framed in black wood, and butted together in sequence as if a strip of film stock pinned up along a wall.

Hipkins presents his line of fourteen images in one of Starkwhite’s upstairs rooms, and in another across the hall, a 25 minute section from the film entitled The Book of the Machines. The title alludes not only to Samuel Butler‘s famous satirical book, Erewhon, or Over The Range (1872) that referred to his high country station in Canterbury, but to a specific part of it: Chapters 23 - 25, which deal with the notion of machines being intelligent and their potential evolutionary capacity.

This artist has a real flair for making memorable images. This is apparent not only in his static photographs but in his filmwork as well. With a full feature production like Erewhon however, he over-reaches himself. It is too long and Mia Blake’s voiceover, reading Butler‘s text, becomes monotonous, sucking energy away from the screen - particularly in the film’s last third.

The short version is more successful - the long version’s last third now better in isolation. Here there are humorous consequences when comparing image with recited argument. Butler’s concept of a machine is more like a clock or steam engine (seemingly independent, and possibly in the future self-replicating) while Hipkins’ filmed images of cars, aircraft and forklifts for example might now be seen as more obviously human-directed - perhaps as a result of our cumulative familiarity with technology. The apparent incongruity seems to occur at Butler’s expense and be about the vagueness and changeability of language.

In their small gallery the fourteen stills make an interesting horizontal ‘ladder’ that traverses the two walls linked by a corner - cutting a dark swathe through the white walls. Juxtaposed tightly together in this right-angled slot the deliciously textured photographs are deliberately denied ‘breathing’ room, becoming subservient to the drama of a violent slash, as if caused by a sweeping steel arm.

It is strange seeing such beautiful images squashed together along two planes to create a linked linear vector. They lose qualities they have in isolation. However such an architectural intervention seems to be Hipkins’ intention. A resentful form of robotic revenge perhaps; an attempt to take control; a freewheeling mechanism’s gesture of sovereignty and aspired perpetuation?

John Hurrell

Print | Facebook | Twitter | Email

 

Recent Posts by John Hurrell

JH

This Year’s Walters Prize

AUCKLAND ART GALLERY TOI O TAMAKI

Auckland

 

Buchanan, Fraser, Johnson & Ward, Solomona Tyrell
The Walters Prize 2018

18 August 2018 - 20 January 2019

JH
Runo Lagomarsino, If you don't know what the south is, it's simply because you are from the north, 2009, stack of posters, 42 x 32.5 cm each. Courtesy the artist, Francisca Minini, Milano, Mendes Wood DN, Sao Paulo and Nils Stark. Photo: Sam Hartnett

Southern Lights

TE TUHI CENTRE FOR THE ARTS

Pakuranga

 

International Group Show 
From Where I Stand, My Eye Will Send A Light To You In The North


12 August - 21 October 2018

JH
Hikalu Clark, Accurate Community Projections, 2018, on the reeves Rd billboards. Commissioned by Te Tuhi Auckland. Photo: Sam Hartnett

Site Specific Hoardings

Te Tuhi billboards on Reeves Rd

Pakuranga

 

Hikalu Clarke
Accurate Community Projections

 

12 August -21 October 2018

JH
Benjamin Work's Write it on the land, Seal it on the heart, 2018, as installed on Te Tuhi's Project Wall. Photo: Sam Hartnett

Work’s Revamped Tongan Coat of Arms

Te Tuhi's Project Wall

Pakuranga

 

Benjamin Work
Write it on the land, Seal it on the heart

 

12 August - 21 October 2018