B.
Repair Update - Base Isolation to begin
Gallery
A technology that allows a building to effectively 'float' on its foundations during an earthquake is about to be applied to the Gallery.
The base-isolation building upgrade will be installed during phase two of the Gallery’s repair programme, which gets underway next week. A consortium comprising Fulton Hogan, Ruamoko Solutions, Warren and Mahoney, and Norman, Disney & Young has been awarded the $20 million contract to complete the upgrade. They will also carry out an additional $14 million worth of insurance repairs to the Gallery’s earthquake-damaged interior.
Director Jenny Harper says the base-isolation technology and other measures will mean that Christchurch Art Gallery is one of the safest and most earthquake-resilient galleries in the world. ‘The Gallery is a place for people to visit and enjoy, but it is also a building which needs to protect the city’s irreplaceable and much-loved collection treasures,’ she says. ‘Christchurch has now become known internationally as a seismic city. If we want to attract significant loans of art from overseas, we need to be able to prove that we can keep them safe. To put things in perspective, some works of art we might bring to Christchurch are worth hundreds of millions of dollars — much more than the Gallery building itself. So it’s vital that we meet the highest international standards in terms of earthquake resilience.’
Thomas Jones, Project Director, Christchurch City Council, says the Council is adopting best-practice methods to repair and reinstate the Gallery’s building. ‘The base-isolation technology is well-proven and has been applied to other national buildings such as the Museum of New Zealand Te Papa Tongarewa and the Parliament Buildings, as well as many other museums and galleries in the Pacific Rim,’ he says. ‘It works by installing a large bearing between the building and its foundations. This effectively allows it to float during an earthquake, significantly reducing the seismic stress on the building and its contents.’
In addition to upgrading the building’s foundations, a secondary electrical system will be installed to add greater backup for the Gallery’s essential services, such as lighting and climate-control systems. Repairs will also be carried out to the iconic glass façade and the interior of the Gallery refurbished. Gallery staff will leave the building at the end of this month and relocate to office spaces at 82 Peterborough Street and an area which Canterbury Museum has made available, until repair works are completed next year.
Ms Harper says the Gallery’s second phase of repairs is another step forward for Christchurch’s art lovers and visitors. ‘There’s a sense that the Gallery is on the home straight now,’ she says. ‘It’s another big milestone for us and for everybody looking forward to our reopening late next year.’
Related reading: Earthquake
Commentary
Artists Should Be Giving Business Advice
There has been a healthy debate going in relation to Germany’s Covid-19 emergency fund, which allocated the equivalent of NZ$900 million to artists and freelancers, with extra support from the Berlin municipality, leading some to call it an ‘arts-led’ (as opposed to ‘business-led’) approach to recovery. Some in Germany are claiming this will have better long-term economic outcomes, whilst addressing social and wellbeing recoveries at the same time. Others – without necessarily denying the first claim – fear gentrification and the instrumentalisation of arts, when it’s overtly being used as a tool for the economy.
Commentary
The Lines That Are Left
Of landscape itself as artefact and artifice; as the ground for the inscribing hand of culture and technology; as no clean slate.
— Joanna Paul
The residential Red Zone is mostly green. After each house is demolished, contractors sweep up what is left, cover the section with a layer of soil and plant grass seed. Almost overnight, driveway, yard, porch, garage, shed and house become a little paddock; the border of plants and trees outlining it the only remaining sign that there was once a house there.
Notes
Five years on
Today is the fifth anniversary of the February earthquake of 2011 which devastated Christchurch. During that time, we and our city have been through so many different phases.
Notes
What sort of city do we want our children's children to live in?
Martin Trusttum, project manager for Ōtākaro Art by the River, and founder of temporary gallery space ArtBox, writes on the role of art in Christchurch.
Notes
The regeneration must not be bureaucratised
Aaron Kreisler is Head of the School of Fine Art at the University of Canterbury. He talked to Bulletin about challenges and opportunities for the arts in our city and what art can contribute to the future of Christchurch.
Director's Foreword
Everything is going to be alright
The cover of Bulletin 181 in September 2015 featured a miscellany of crates in storage, several marked fragile, one weighing 156kg, some with arrows indicating which way up they should be, others instructing the reopener to lay it flat first. Some bear an image of what’s inside. Ralph Hotere’s Malady Panels and Julia Morison’s Tootoo are there, one with a label, the other with an image of the installed piece. As I write this our collections remain in storage. A few new works and some which have been on loan are awaiting return from storage within other institutions.
Article
Sparks that fly upwards
Curator Felicity Milburn remembers five years and 101 installations in a gallery without walls.
Article
Regional revitalization with art
Rei Maeda, coordinator of the Echigo-Tsumari Art Triennale, writes on art’s contribution to the regeneration of a remote rural area of Japan.
Article
Transformers
Curator Ken Hall writes about his experience of working with artists Chris Heaphy and Sara Hughes, as part of a small team with other city council staff and Ngāi Tahu arts advisors, on the Transitional Cathedral Square artist project.
Article
Quiet invasion
The idea of peppering the vestigial city centre with portraits from the collection became part of the Gallery's tenth birthday POPULATE! programme, intended to remind all of us that the collection is, indeed, still here and in good shape.
Notes
Earthquake Momento
The latest issue of Photoforum's MoMento journal (issue 14, January 2014) focuses on the work of three photographers with strong ties to Christchurch and their haunting images of this battered city post February 22, 2011.
Article
Street urchins, blue moons and rare visions
Even in a city where surreal scenes have become somewhat routine, the sight of the Isaac Theatre Royal's eight-tonne dome, suspended like a great alien craft, had the power to turn heads and drop jaws. Preserved inside a strange white shroud while the theatre was slowly deconstructed around it was a jewel of Christchurch's decorative arts heritage – a 105 year-old Italianate plaster ceiling featuring a circular painted reverie on the theme of William Shakespeare's A Midsummer Night's Dream. The dome, along with the rest of the theatre, is currently being restored as part of an ambitious rebuild that is expected to be completed in 2015 at a cost of over $30 million.
Interview
The fault is ours: Joseph Becker on Lebbeus Woods
There was a packed auditorium at CPIT in Christchurch this August when visiting San Francisco Museum of Modern Art curator Joseph Becker delivered a lecture on architect Lebbeus Woods. And it wasn't hard to guess why. In addition to many other achievements, Woods is renowned for his highly speculative project, Inhabiting the Quake. Senior curator Justin Paton spoke to Becker about Lebbeus Woods, and what Christchurch might learn from him.
Notes
Repairs start on Christchurch Art Gallery
Repair work has started on Christchurch Art Gallery, with the re-levelling tender that will relieve stress in the building's foundations having been awarded.
Notes
The Army leaves
With the removal of the final cordon around the red zone in the central city last weekend, I came in with my family to have a look around the newly reopened areas of the CBD. We stopped to watch the parade of soldiers who were being thanked by the Prime Minister, the Mayor of Christchurch and Kaiwhakahaere of Te Rūnanga o Ngāi Tahu for their work in controlling the central city red zone and with community welfare in the immediate aftermath of the February earthquake.
Article
Christchurch Art Gallery is ten: highs and lows
In recognition of the anniversary of the move of Christchurch's public art gallery from its former existence as the Robert McDougall in the Botanic Gardens to its new more central city location (now eerily empty), I've been asked by Bulletin's editor to recall some highs and lows of the last ten years. So here goes — and stay with me during this reflection, which takes the place of my usual foreword.
Interview
It’s our party and we’ll cry if we want to
On 10 May 2013, Christchurch Art Gallery Te Puna o Waiwhetū turns ten. Which is fantastic. But it's probably fair to say that there's a bittersweet quality to the celebrations around this particular anniversary, as it also marks two years and eleven weeks of closure for the Gallery, and catches us staring down the barrel of another two years without our home.
It's frustrating. And then some.
However, we're not going to let these little, ahem, inconveniences get in the way of our party. Populate! is our birthday programme, and it's our attempt to bring some unexpected faces and figures back to the depleted central city. Bulletin spoke to the Gallery's senior curator Justin Paton about what he really wants for the tenth birthday, what he finds funny, and what he really doesn't.
Interview
Gregor Kregar: Reflective Lullaby
Justin Paton: As everyone who has seen your works at Christchurch Airport will know, you often make big sculptures with a geometric quality. Gnomes, however large, aren't the first things viewers might expect you to be interested in. What's the appeal of these figures for you?
Gregor Kregar: I'm interested reinterpreting mundane objects, shapes, situations or materials. In my large geometric works I do this by creating complex structures out of basic shapes—triangles, squares, pentagons and hexagons. And with the gnomes I am interested in how something that is usually made out of plastic or concrete and is associated with a low, kitsch aesthetic can be transformed into an arresting monumental sculpture.
Notes
A major boon to the Gallery in the direct aftermath of the earthquake
English artist Sarah Lucas was installing her show in Two Rooms, Auckland, when the 22 February earthquake struck.
Notes
What they did with Christchurch cathedral
Lunchtime on a shining summer's day and you head for the ruin of Christchurch Cathedral. If you get there by twelve you can usually nab one of the bench seats along the back wall, where sun buckets down through the long-gone roof and warms the stonework behind you.
Notes
Earthquake generosity
We recently received this generous gift - from one quakeprone country to another
Article
Laying out Foundations
Looking broadly at the topic of local architectural heritage, Reconstruction: conversations on a city had been scheduled to open at the Gallery but will now instead show on outdoor exhibition panels along Worcester Boulevard from 23 June. Supplementing works from the collection with digital images from other collections, curator Ken Hall brings together an arresting art historical tour of the city and its environs.
Interview
A Dark and Empty Interior
In B.167 senior curator Justin Paton documented his walk around the perimeter of Christchurch's red zone, and we featured the empty Rolleston plinth outside Canterbury Museum at the end of Worcester Boulevard. In this edition, director Jenny Harper interviews English sculptor Antony Gormley, who successfully animated another vacant central-city plinth—the so-called Fourth Plinth in Trafalgar Square, London. Gormley filled the plinth with 2,400 people, who occupied it for one hour each, night and day, for 100 days. Here, Jenny asks him about his practice, the value of the figurative tradition and whether he has any advice for Christchurch.
Article
Cities of Remembrance
Nothing was more fascinating than ruins to me when I was growing up in one of the newest parts of the New World—new, anyway, to extensive buildings and their various forms of lingering collapse and remnant. The native people of California had mostly built ephemeral structures that were readily and regularly replaced and left few traces. Anything old, anything that promised to reach into the past, was magical for me; ruins doubly so for the usual aura of romance and loss that, like death, is most alluring to the young who have not seen much of it yet.
Notes
New Gallery programmes consider a city in transition
The possibilities for a city in transition will be considered in Re:actions for the city – a new series of public events that we are launching.
Notes
The Boulevard of Broken Art
Well before the earthquakes, Christchurch had a reputation as a tough town for public art. The city's public spaces are haunted by the ghosts of several major sculptures that never made it to completion. And several local sculptors still carry some psychological scar tissue from their forays into the public realm.
Article
Here and Gone
In the last issue of Bulletin, senior curator Justin Paton wrote about the way the Christchurch earthquakes 'gazumped' the exhibitions on display at the Gallery – overshadowing them and shifting their meanings. In this issue, with the Gallery still closed to the public, he considers the place of art in the wider post-quake city – and discovers a monument in an unlikely place.
Notes
Doc Ross: photographing the red zone
Sydenham-based photographer Doc Ross and his camera have been investigating the Christchurch urban environment for the past 14 years.
Exhibition
Reconstruction: Conversations on a City
In acknowledging architectural heritage loss in this city's present and past, this visually rich outdoor exhibition unfolds the ways in which dreams and values have been given form in our built environment.
Exhibition
De-Building
Sculptural surprises and architectural double-takes by renowned contemporary artists. De-Building is inspired by a moment usually hidden from viewers – when an exhibition ends and the 'de-build' begins. View it online