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Strange Goods

presenting a selection of publications from Aotearoa

Interview with Samuel Walsh from Strange Goods and Layla Tweedie-Cullen from split/fountain, a spiritual predecessor of Strange Goods.


Can you introduce Strange Goods and split/fountain?

SW: Strange Goods is an online and physical store offering a curated selection of multi-disciplinary arts books, publications and objects from across Aotearoa. We also host events with a focus on publishing and community engagement and collaborate on projects with our friends.

LTC: split/fountain (S/F)1 is an artist-run project founded in 2009, merging at least three forms of production and dissemination: art, design, and print, operating variously as a design studio, project space, curatorial office, niche publishing house, online bookshop, and laboratory for urban aesthetics and collaborative thinking. We work with artists as well as designers and architects, and have a publishing imprint, producing publications, newspapers and artists' editions. S/F aims for experimental exploration of the gradations between commerce, art, ideas, and material thinking. The project initially operated out of a storefront space in a historic retail area of the city on Karangahape Road, next door to a laundromat, in the vicinity of numerous galleries and artist-run spaces, adult shops, and the New Zealand Prostitutes Collective. In 2012, we moved to the second level of a commercial office building on the city fringe. We re-thought our operations for a different location.

Currently, S/F is in a transitional phase, and we are primarily focusing on publishing and research – although there is a plan to take up more exhibition projects in the future. We are particularly interested in the challenges that new technology presents to printed matter, and the physical book, the relationships between physical form, documentation and digital reproduction.


What were your motivations for founding Strange Goods and split/fountain?

SW: We’d been running Strange Haven (project space) for a while and had always wanted to set up a store within the space. Originally it was going to be more arts/object centric but after hosting a series of Art Book Fairs (and with more of our residents working on publishing projects) it started to organically evolve into a bookstore. For us it was a new way to utilise our location and provide a platform for the community to access, share and make $ from their work.

LTC: I co-founded S/F shortly after returning to Tāmaki Makaurau, Aotearoa to live after eight years living overseas. I studied graphic design in the Netherlands, then moved to the USA to take up a design fellowship post at the Walker Art Center in Minneapolis. When I returned to Auckland in 2008, my immediate response to the local situation was that there appeared to be a scarcity of independent publishing projects that encouraged and sustained open criticism around design. S/F was founded as a platform for facilitating collaborative projects and for presenting art publishing happening both locally and internationally.

As a designer, another significant motivation for founding S/F, was the possibility for creative autonomy and critical engagement. Publishing through S/F enables the opportunity for creative agency and the means to take control both intellectually and economically, of the means of production,2 rather than working as a graphic designer and only responding to tasks and problems presented by clients.


When you began, were you following models?

SW: We took a lot of inspiration (and advice) from split/fountain and stole ideas from similar spaces overseas (where it’s pretty common for arts/project spaces to host small shops as part of their infrastructure). I don’t think there’s anything terribly revolutionary about our model, we’ve just been lucky in that it’s all come together in the way it has.

LTC: Although initially based on international models including projects such as Dexter Sinister in New York,3 Roma Publications4 and Metahaven5 in Amsterdam, S/F has developed in unexpected ways due to the unique local conditions in Auckland. When first conceptualising S/F, I was interested in developing a project that could remain in a state of transition, continuing to evolve and make regular changes in response to a particular project's requirements. Another important reference was Marcel Broodthaers' itinerant Musée d'art Moderne, Department des Aigles,6 a nomadic, temporal space that only existed in the time or place where appropriate conditions allowed for one of its 'sections' to take place. The notions of flexibility and agility certainly motivate S/F; we see this as enabling discussion across disciplines, and the ability to connect but also to disconnect in various scenarios.


Does Strange Goods make money? Does that matter? Are these projects about profitability?

SW: We’re lucky in that our project space/studio Strange Haven helps subsidise the shop's rent, otherwise it would be pretty difficult to fully fund Strange Goods on its own merits. We keep our overheads as low as possible and make enough $ to cover staff and running costs but it’s unlikely we’re going to get rich af selling niche art books and ephemera lol. I think making money matters in that you want these types of projects to be sustainable and grow in the way they need to (which has always been our main goal) but it’s definitely not a profit-driven venture.


What type of material does split/fountain publish?

LTC: S/F publishing projects take a range of forms including publications, posters, newspapers, artists' editions etc., that are all connected to the broader S/F programme and focus on cross-disciplinary practices operating at the point of intersection between art and design. S/F exhibition projects often include a publication document as integral to the project, and these aim to present material in such a way that it becomes a parallel project. Design is both content and context (the medium is the message7 and the message is the form). In some instances, documents are produced collaboratively to create connections between people, or 'performed' through the production of a publication at a specific site. Here, the circumstances and processes surrounding production have significance, including the methods for making something public. We also present nomadic exhibitions both in Aotearoa and overseas8 that use transience as a methodology for generating change and new ways of thinking, these enable us to reach diverse audiences and participate in a broader cultural dialogue.

A recent publication we have launched, included in the Strange Goods booth as part of May Fair, is the third issue of an ongoing series called distracted-reader9 that I co-edit with writer Allan Smith. distracted-reader #3: Time to Think Like a Mountain, combines magazine fragments, archival images, interviews, collages and newly commissioned texts, documenting artist Louise Menzies' distracted meanderings through one of the largest collections of underground and self-published material in the United States, The Alternative Press Collection at the University of Connecticut. Each issue of distracted-reader has a changing format to best suit the material being presented.


Who is your audience, who do you want to speak to? Do you only reach artists and designers?

SW: In terms of our day-to-day customers it’s super broad which was kind of unexpected as we initially thought we’d only appeal to a very niche audience. We never want the shop to be exclusive or intimidating or anything as at the end of the day we want as many people as possible to discover and learn more about what’s going on locally in terms of publishing, arts and writing etc so I guess we’re trying to reach anyone curious enough to pop by and say hello.


Is community important?

SW: It’s probably the most important thing for Strange Goods because without a community we wouldn’t really have a purpose, we wouldn’t have any customers and we wouldn’t have any books to sell cause we only stock locally made titles and objects. Outside of the day-to-day stuff we also host events like readings, book launches and parties, and collaborate on projects with other groups and organisations which has really helped us build a community around the store. I think you need that in order for it to work (to make the most of a physical space) and you realise how valuable it is being able to chat to people IRL, answer their questions and offer a platform for people to connect and hang out etc.


Reading seems by nature a somewhat solitary exercise, how is it that projects like S/F are often defined by community participation?

LTC: split/fountain aims to promote thinking as making, and print design as speculative thought, reading as a form of collaboration to encourage artists and designers to break down the boundaries that exist around the theories, practices, and philosophies of art, design, and architecture. We're a physical location and a mesh of metaphors. I am particularly interested in exploring publishing as an active process, action or practice,10 that incorporates multiple methods and platforms such as printed matter, e-publishing and website design. My approach is summed up well in the text titled Here and Now? Explorations in Urgent Publishing (2019),11 where the authors12 suggest that the publishing process is less ‘a production workflow with a clear beginning and end, but rather as an ongoing process punctuated by events such as publication ideas, releases, events, archives etc.’13 They go on to emphasise the importance of ‘slow publishing’, ‘openness’, ‘accessibility of networks’, ‘meaningful structures of contents’, and the building of communities over time.14 These are certainly elements that I also view as important. For S/F, publishing is a means to create a public and bring communities together.


What are the main challenges a publisher faces in 2020?

LTC: Until very recently, S/F has predominantly focused on publishing printed matter; however, in my experience, the distribution of physical books has become increasingly difficult, even more so now with the COVID 19 pandemic. Bookshops in Aotearoa have struggled to compete with international online stores, such as the Book Depository and Amazon, and very few bookshops representing exclusively art and design titles remain. As a consequence, there is now a very reduced opportunity to view and distribute art books locally. However, we are lucky to now have Strange Goods and Samoa House Library, which both opened last year in Tāmaki Makaurau on Karangahape road, and represent local and international art publishing. Art bookshops in Aotearoa that are connected to established city galleries primarily offer publications that specifically relate to their exhibition programme. The closure of the Fine Arts, Architecture, Music and Dance libraries initiated by the University of Auckland in 2018,15 reflect a global decline in specialist libraries. Theorist Marlene Manoff writes; ‘the reality of an ever-growing body of material available only in electronic form has made people more aware that the culture of the book and the book itself are losing their centrality.’16 These issues inform my interest in hybrid publishing methods and investigating the possibilities that new technologies offer for exhibiting and circulating knowledge and information online, and for compiling, activating and interactively organising digital content.17


And Sam, what are the main challenges facing your store in 2020?

SW: Our biggest challenge is going to be external factors - the bits and pieces beyond our control like rent increases, Covid related repercussions and the ongoing construction and changing landscape of Karangahape Rd. Burnout and stress also play a role sometimes too. Like, we obviously love what we do and the community we reside in, but it does take over your life sometimes and so you often question how long you can keep it up. In saying that, the world feels like it’s on fire at the moment and so in many ways escaping overseas or doing something completely different seems less tangible or worthwhile (which is both terrifying and weirdly freeing at the same time), so I think we’ll just keep hoping for the best whilst planning for the worst. OMG.


What are you working on currently?

LTC: S/F is currently working on a publication project with curators Allan Smith and Marcus Moore, focusing on a series of exhibition projects titled: Paul Cullen: Building Structures +, shown at The Engine Room in Wellington (2018), St Paul Street Gallery in Auckland (2018), and Dunedin Public Art Gallery (2020).

SW: We’ve recently launched a new project called Signs in collaboration with Satellites which we’re very excited about and are working with Never Project Space in Kirikiriroa to host a month long pop-up. We’ve got a bunch of book launches and shows coming up too and a few new publications in the pipeline.


1 www.splitfountain.org

2 Lupton, Ellen. (2012).“The Designer as Producer” in Graphic Design Now in Production, Walker Art Center.

3 Dexter Sinister similarly operates as a design studio, publishing imprint, bookstore and distribution centre.

4 Roma Publication is an independent publisher based in Amsterdam.

5 Metahaven is a studio for design, research, and art in Amsterdam.

6 Marcel Broodthaers’ itinerant Musée d’art Moderne, Department des Aigles did not have a permanent location and instead manifested itself in ‘sections’ presented at various locations between 1968 and 1971.

7 A term coined by Marshall McLuhan in Understanding Media: The Extensions of Man, The MIT Press, 1994.

8 Nomadic split/fountain exhibition projects presented overseas include Temporary housing + shelter at the Tokyo Art Book Fair (produced in collaboration with Whatever Press Tokyo), S/F project at the Physics Room in Christchurch, and distracted-workshop, at the 26th International Biennial of Graphic Design Brno in the Czech Republic, and an exhibition of split/fountain publishing at C7C Gallery in Nagoya Japan.

9 https://bit.ly/2NBWThV

10 Annette Gilbert and Hannes Bajohr, eds., Publishing as Artistic Practice (Berlin: Sternberg Press, 2016).

11 Explorations in Urgent Publishing was led by led by the Institute of Network Cultures in collaboration with 1001 Publishers, Amateur Cities, Amsterdam University Press, ArtEZ University of the Arts, Hackers & Designers, Mind Design, Netherlands Institute for Sound and Vision, Open!, Open Set, Puntpixel, Studio BLT, Valiz, and Willem de Kooning Academy. https://bit.ly/3eSsfeZ

12 This text is jointly written by: Cristina Ampatzidou, Marc de Bruijn, Barbara Dubbeldam, Barbara Lateur, Thaïsa de Leij, Silvio Lorusso, Ania Molenda, Pia Pol, Miriam Rasch, Kimmy Spreeuwenberg, Erwin Verbruggen, and Minke Vos.

13 Silvio Lorusso, Pia Pol, and Miriam Rasch, eds., Here and Now? Explorations in Urgent Publishing (Amsterdam: Published by the Institute of Network Cultures, 2020), 119–20.

14 Lorusso, Pol, and Rasch, 119.

15 In 2018, The University of Auckland announced the closure of its specialist Fine Arts, Architecture, Music and Dance libraries (amidst significant opposition from the extended Arts community). Other universities in Aotearoa (such as AUT) have discontinued or radically reduced the budget for the purchase of physical books and now prioritise spending on digital resources, online journals, and so forth. Being an island nation in the south-western Pacific Ocean, international distribution of printed matter is challenging due to the extremely high cost of shipping abroad. Our geographic isolation also means that the promotion of titles can be challenging too, especially if we are working with young or emerging practitioners who may not yet have an international reputation outside of Aotearoa.

16 Marlene Manoff, ‘The Symbolic Meaning of Libraries in a Digital Age’, Portal: Libraries and the Academy 1, no. 4 (2001): 278, https://doi.org/10.1353/pla.2001.0075.

17 The recent COVID 19 pandemic has also heightened the necessity for content to be available and accessible online.

Strange Goods

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    Field Studies #9 (published by Bad News Books)Michael Mahne Lamb
    Hand made booklet featuring 20 photographs from Michael Mahne Lamb’s various travels around Europe, USA, NZ and Australia between 2015-2019. Printed on off white 80gsm stock. Dimensions are 195mm x 135mm, 24 pages, staple bound with bevelled edges. Edition of 100.
    Michael Mahne Lamb (b. 1988, NZ) is an artist currently living and working in Wellington. He holds a Bachelor of Design (Honours) from Massey University and is currently pursuing an MFA in photography at the University of Hartford. His first book Complements, published by Bad News Books in 2018, is an exploration of visual thinking. In particular, how images can stimulate the mind through the activation of amodal perception.
    $25Enquire to purchase
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    Thank You, OK. (published by Bad News Books)Megan Alexander
    Thank You, OK is an alternative travel diary, bringing together scanned notes and objects, iphone pictures, stills from camcorder videos, and 35mm colour photographs into a dizzying narrative of New Zealand-born Megan Alexander’s experience during a month long exchange in Xian, Beijing and Shanghai. This book serves as a visual thank you letter to the people and places that she encountered during her short but intense time in China, 2015.
    Megan Patricia Alexander is an artist currently living and working in Tokyo, Japan. She holds a Bachelor of Design (Honours) from Massey University and has since spent much of her time traveling and documenting her experiences. Her first book Thank You, Ok, published by Bad News Books in 2020, is an alternative travel diary of her time spent in Xian, Beijing and Shanghai on a month long exchange. Her book serves as a thank you letter to the people and places that she encountered during her short but intense time in China, 2015.
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    As Much Gold as an Ass Could Carry (published by split/fountain)Vivienne Plumb with Glenn Otto
    One endless summer when I was fourteen // I began to speak with a great arrogance // as wide as a river mouth, imagining I was // witty and charming and full of my own cream. Plumb creates through the written word, Otto through line; this book combines their two narratives. The image/text conflation moves between form over meaning, and meaning over form. Otto’s exuberant gestures interact with Plumb’s luminous humour, as if two performers are present on the page together. As Much Gold as an Ass Could Carry showcases Plumb’s poetry, fiction and drama, from a twenty-year literary career. Within these large, funny, barbed, affecting themes, the power of the social construct ­­– of what it means to be female ­­– is laid bare. Otto’s graphic wit ornaments and underwrites Plumb’s written traceries. This collaboration between artist and writer was initiated by split/fountain, as part of their ongoing engagement with publishing as a performative act.
    Vivienne Plumb is a playwright, poet and fiction writer. Her writing highlights the fantastic and miraculous in everyday experience. Her work has been widely anthologised and has been translated into Italian, Polish, Slovenian, Cantonese and Mandarin. Plumb has a BA and an MA from Victoria University in Wellington, and holds a Doctorate in Creative Arts at the University of Wollongong, Australia. Glenn Otto's practice employs painting and sculpture to address philosophic and anthropological questions concerning class structure and labour economies. He has an MFA from Elam School of Fine Arts, University of Auckland (2014), and his work has been shown at Fort Delta (Melbourne), Michael Lett (Auckland) and Artspace (Auckland).
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    distracted-reader #3: Time to Think Like a Mountain (published by split/fountain)Louise Menzies with Allan Smith
    Combining magazine fragments, archival images, interviews, collages and newly commissioned texts, Time to Think Like a Mountain documents New Zealand-based artist Louise Menzies’ distracted meanderings through one of the largest collections of underground and self-published material in the United States. Drawing directly on content from the Alternative Press Collection at the University of Connecticut, where she was artist in residence during 2014, this third issue of distracted-reader continues Menzies’ attention to the printed world of the historical fringe. Contributors Pat Arnott, Dan Arps, Elle Loui August, Jon Bywater, Amy Howden-Chapman, Tessa Laird, Barry Rosenberg, Allan Smith, Graham Stinnett, and George Watson provide contemporary responses to aspects of North American counterculture and its echoes in Aotearoa New Zealand. Publication design by Narrow Gauge. distracted-reader seeks readerly parkour through selected terrain of art and design. We see rhythmised literacy of image-text-concepts. We do thinking as making, and publication as speculative thought. With the general art monograph as coffee-table artefact, and university presses not funding experiment, our printed project marshals conjecture, scattered reflections, and textured locale. Less clarion call to a vanishing new, more through-lines with incidents and discernible increments, writing and thinking as marked-up copy, stuttered narration; material view.
    Louise Menzies’ cross-media practice often includes a range of materials presented within installed environments, as well as the use of other public platforms beyond that of an exhibition. Recent exhibitions include Gorgon, Malkin, Witch, Te Uru, Auckland (2017), Primordial Saber Tararear Proverbiales Sílabas Tonificantes Para Sublevar Tecnocracias Pero Seguir Tenazmente Produciendo Sociedades Tántricas – Pedro Salazar Torres (Partido Socialista Trabajador), Regen Projects, Los Angeles (2017). In 2018, Menzies will be the Frances Hodgkins Fellow at the University of Otago, following residencies in Auckland, Sydney, Mexico City and Storrs (Connecticut), during which this publication originated. // Allan Smith teaches at Elam School of Fine Arts, the University of Auckland. He wrote on aspects of contemporary painting for Auckland Art Gallery’s exhibition Necessary Distraction: A Painting Show in 2015, curated Paul Cullen: Provisional Arrangements for Ilam Campus Gallery, University of Canterbury in 2016, and is currently working on a Don Driver exhibition for Hastings Gallery in 2018. He has a particular interest in tracking parallels between the creaking architecture of grand philosophical systems, mercurial capitalism and its crises, and art forms which mimic such elaborate instabilities.
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    Dirt (published by GLORIA Books)Gemma Walsh, Katie Kerr
    Dirt is an experimental cookbook that digs into the relationship between food and words. Twelve earthy recipes from chef Gemma Walsh are accompanied by a collection of stories, poems and conversations from some of New Zealand’s contemporary writers. Contributors include Courtney Sina Meredith, Lana Lopesi, Rosabel Tan, Dominic Huey, Vanessa Crofskey, Natasha Matila-Smith, Owen Connors, Liam Jacobson, Amy Weng, Reem Musa, Gabi Lardies and Sam Walsh. Edited and designed by Katie Kerr.
    Gemma Walsh is a chef and food writer based in Australia. Katie Kerr is a designer who is interested in exploring alternative structures of design practice. Her research-led practice revolves around the multidisciplinary production of experimental paperback books. In opposition to the ‘print is dead’ argument, she believes that books take on an important role in the post-digital context—the physical object creates methods of distribution that disrupts the digital echo-chamber, where analytics are lessening our chances of discovering something unexpected. Katie lives and works in Auckland, Aotearoa New Zealand.
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    Still Looking Good (published by GLORIA Books)Alice Connew
    Still Looking Good is a triadic collaboration between siblings Oliver Connew (dancer/choreographer) and Alice Connew (photographer) that brings together dance, sound and a visual aesthetic that are drawn from and reference pervasive socio-political forces that organise modern human activity, as understood by the artists. Originally presented by Oliver as a performative piece titled Things That Move Me, Oliver invited Alice to aid him in reimagining the concepts as a short film and Still Looking Good was born. The book was initiated by Alice and concludes the collaboration.
    Alice Connew is a photographer whose work transpires from a seemingly unconscious stream of intangible visual connections which occur throughout quotidian life. These links often show themselves at a later—and usually unexpected—time. She believes the photobook is an art form. Alice lives and works in Berlin, Germany.
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    Wishing Well // Ma‘u Pe Kai (Published by Enjoy)Wai Ching Chan, Matavai Taulangau
    Wishing Well // Ma‘u Pe Kai is published alongside solo exhibitions by Wai Ching Chan and Matavai Taulangau held at Enjoy in August 2019. These were the first exhibitions at Enjoy’s new galleries at 211 Left Bank, and the first time in our institutional history that we’ve been able to programme two solo exhibitions concurrently. Accordingly, the publication unfolds as two sets of responses; developed separately, but anchored, like both Chan’s and Taulangau’s projects, in questions surrounding migration, labour, cultural identity and its continuity. Part of an ongoing research project, Wishing Well was developed by Wai Ching Chan following two knotting workshops held at Enjoy in May 2019, during which the artist led participants in learning three traditional Chinese knots 中国结. These events were an invitation to make conversation, to consider the symbolism of these knots and to engage in broad dialogue with others on the relationship between tauiwi and tangata whenua in Aotearoa New Zealand. Chan’s section of the publication includes new texts by Arapeta Ashton, Hēmi Kelly and Kirsten Wong, alongside documentation of Chan’s workshops and Wishing Well. Describing his practice as part of an ongoing effort to “reestablish his connection with [his] culture,” Matavai Talangau’s exhibition Ma‘u Pe Kai documents three kumala harvests: one by the Tongan community in Okaihau in Northland, one by the artist’s mother in nearby Kaikohe, and one by the artist in Tāmaki Makaurau. Taulangau’s section includes new writing from Simone Kaho and John Vea, an extended conversation between Taulangau and filmmaker Vea Mafile‘o, alongside documentation of the exhibition.
    Wai Ching Chan’s research revolves around defending, embracing and respecting differences in culture. Recent projects include: Fluid Borders 流动的边界, Audio Foundation, Tāmaki Makaurau; A temple, a commons and a cave, MEANWHILE, Te Whanganui-a-Tara Wellington ; The River Remains; ake tonu atu, Artspace, Tāmaki Makaurau; What We Do in the Shadows, TONENTON Artspace, Hamburg; BITE ME- Decolonising the Diet, Lowtide Studio, Tāmaki Makaurau, Rabbit on the Moon, Hapori vol. 6, 157 Symonds Street, Tāmaki Makaurau. Matavai Taulangau has a Bachelor of Visual Arts with Honors from AUT University. Recent exhibitions include Salt, Tacit Gallery, Kirikiriroa Hamilton (2018), This time of useful consciousness, The Dowse Art Museum, Te Awakairangi Lower Hutt (2017), On the Grounds, Starkwhite, Tāmaki Makaurau (2017), Ward 3 with Ary Jansen, RM, Tāmaki Makaurau (2016), Offstage 7, Artspace, Tāmaki Makaurau (2016).
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    Look out, Fred! (published by Enjoy)Evangeline Riddiford Graham
    Look out, Fred! revisits Evangeline Riddiford Graham’s exhibition of the same title, held at Enjoy in April 2017. Considering the interplay between contemporary myth-making and classical texts, Riddiford Graham’s exhibition interrogated archetypal characters and modes of storytelling. Drawing on an atmospheric and suggestive script, Riddiford Graham worked with two voice actors to develop spoken word audio pieces questioning the relationship between the cowboy ‘Fred’, and his Echo or alter-ego. The publication, designed by Ella Sutherland, translates this script into a playful typographic score that explores language as material, and blurs distinctions between performance, notation and document. Accompanied by essays by Akil Kirlew and Sophie Davis, Look out, Fred! also includes a newly commissioned photographic series by Tim Wagg, developed in response to the exhibition.
    Evangeline Riddiford Graham is an artist and writer living in New York, where she recently completed an MFA in creative writing at The New School. She is the author of the poetry chapbooks La Belle Dame Avec Les Mains Vertes (Compound Press, 2019) and Ginesthoi (hard press, 2017). Her upcoming and recent exhibitions include hubris ~ humility (Earlid, 2020), Party Line (Te Tuhi, 2019), La Belle Dame Avec Les Mains Vertes (RM Gallery, 2018), Marabar Caves (Gus Fisher Gallery, 2017), and Look out, Fred! (Enjoy Contemporary Art Space, 2017). Evangeline holds a BA-BFA from the University of Auckland and an MA from Te Herenga Waka—Victoria University of Wellington.
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    The sea brought you here (published by Enjoy)Quishile Charan, Salome Tanuvasa
    Published on the occasion of the exhibition Namesake, The sea brought you here brings together newly commissioned responses alongside found photographs, phone snapshots, sketches, texts and previous work by Quishile Charan and Salome Tanuvasa. Elaborating on the concerns of both artists, Hanahiva Rose employs the metaphors of threads and waves to connect the practices of Charan and Tanuvasa in her essay “A Pacific Diaspora: how might we trace the movement?” while Temporary Vanua: Decolonisation and textile making, a revised text by Charan, contextualises her approach to textile-making. Shorter snippets of text by Tanuvasa also give insight to her working process. Finally, Transcribed records an informal conversation between two friends attempting to unpack the way the language of ‘decolonisation’ is currently being employed.
    SALOME TANUVASA is a Samoan-Tongan artist based in Auckland. She completed her Masters in Fine Arts at Elam in 2014, followed by a Diploma in Secondary Teaching. Salome’s work crosses a variety of mediums including moving image, drawing, photography and sculpture. Salome’s work is about her immediate surroundings and often reflects the environments she is in at that time, drawing attention to wider issues among New Zealand-based Pacific people. // QUISHILE CHARAN is an artist of Indo-Fijian heritage living and working in Aotearoa New Zealand. Charan uses traditional modes of textile making to reflect upon the landscape of indentured labour and its ongoing post-colonial effects on the Indo-Fijian community. // HANAHIVA ROSE comes from the islands of Ra’iātea and Huahine and the people of Te Atiawa, Ngāi Tahu, and Ngāti Toa Rangatira. A graduate of Victoria University’s Art History department, she is currently based in New Plymouth, where she is Assistant Curator Contemporary Art and Collections at the Govett-Brewster Art Museum.
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    Goodbye Turmeric LatteMigrant Zine Collective
    Living in diaspora, the health and beauty practices of people-of-colour have often been questioned and made fun of until they catch on to become popular Western fads. Herbs, spices and remedies used by our ancestors are then co-opted and sold at a ridiculous profit margin at your local organic store. "Goodbye Turmeric Latte” is a zine collated by Jasmin Singh @jasminkb and Helen Yeung @chinesgoth which aims to reclaim these health and beauty methods that our families and ancestors have used and shared with us, practices that we may continue today.
    Migrant Zine Collective is an activist-based zine collective aiming to amplify, celebrate and share the voices of migrants of colour in Aotearoa/New Zealand. The collective aims to open up a space where people of colour are able to discuss and unpack topics such as identity, feminism, racism, decolonisation and inequality, in a safe and accessible manner, and connect individuals through art practices, zine workshops and community events. http://www.migrantzinecollective.com/ @migrantzinecollective
    Enquire to purchase
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    Memories Of Mercury PlazaMigrant Zine Collective
    In 2019, Mercury Plaza closed its doors to make way for Karangahape Station as part of the City Rail Link project by Auckland Council. Mercury Plaza has shared significance for many migrants of colour who arrived in Aotearoa in the mid-nineties, and continues to act as a reminder of home for newer migrants, with an array of restaurants which are reminiscent of street food stalls in Asia. In the light of this, Migrant Zine Collective collated “Memories of Mercury Plaza”, a zine to archive memories of the space.
    Migrant Zine Collective is an activist-based zine collective aiming to amplify, celebrate and share the voices of migrants of colour in Aotearoa/New Zealand. The collective aims to open up a space where people of colour are able to discuss and unpack topics such as identity, feminism, racism, decolonisation and inequality, in a safe and accessible manner, and connect individuals through art practices, zine workshops and community events. http://www.migrantzinecollective.com/ @migrantzinecollective
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    Have You Ever Been With An Asian Woman Before?Migrant Zine Collective
    Have you ever been with an Asian woman before?” was curated by Helen Yeung @chinesegoth in collaboration with Gemishka Chetty @chetty_g and Aiwa Pooamorn @mama_aiwa for an interactive art installation for First Thursdays in July, 2019. This zine aims to offer a space for Asian women to release their pent up anger on experiences of being exoticised, fetishised and treated as the Other, and celebrate their unruly, bold and unapologetic voices.
    Migrant Zine Collective is an activist-based zine collective aiming to amplify, celebrate and share the voices of migrants of colour in Aotearoa/New Zealand. The collective aims to open up a space where people of colour are able to discuss and unpack topics such as identity, feminism, racism, decolonisation and inequality, in a safe and accessible manner, and connect individuals through art practices, zine workshops and community events. http://www.migrantzinecollective.com/ @migrantzinecollective
    Enquire to purchase
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    Snack Zine ClubMigrant Zine Collective
    Food plays an important social and cultural role for many migrants-of-colour. It is a way in which we interact with our families, show love to the people around us, teach people about our cultures, and how we remember our homes. Snack Zine Club was established by Helen Yeung @chinesegoth and Eda Tang @eda_tang of Migrant Zine Collective, as a way of building solidarity and bringing together migrant communities in their love for snacks.
    Migrant Zine Collective is an activist-based zine collective aiming to amplify, celebrate and share the voices of migrants of colour in Aotearoa/New Zealand. The collective aims to open up a space where people of colour are able to discuss and unpack topics such as identity, feminism, racism, decolonisation and inequality, in a safe and accessible manner, and connect individuals through art practices, zine workshops and community events. http://www.migrantzinecollective.com/ @migrantzinecollective
    Enquire to purchase