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Featuring Lawrence Arabia on Your Gig Is Showing chatting about his solo shows and Demo Gods latest project.

Heidi Brickell (Te Hika o Pāpāuma, Ngāti Kahungunu ki Tāmaki-nui-ā-Rua, Rongomaiwahine, Rangitāne, Ngāi Tara, Ngāti Apakura, Airihi, Kōtimana, Ingarangi, Tiamana) is an Ōtaki-based multidisciplinary artist. 

Her current solo exhibition at the Arts House Trust at Pah Homestead, Wā Dividends, takes pieces from its larger body, which was originally commissioned by Director Sophie Davis at Te Whare Toi o Heretaunga | Hastings Art Gallery for the exhibition, Wā We Can’t Afford, having been developed in a six-week residency in Heretaunga as the gallery’s inaugural visiting artist. 

Bringing this body of work into a new space and context, and retitled as Wā Dividends, here Brickell places these fluent ‘exploded paintings’ in conversation with rimurapa (native bull kelp) sculptural pieces as gathered from the shores of Ōtaki and Te Raekaihau in one space – questioning the value of our time in relation to matauranga Māori, capitalism, and our worsening climate crisis; opening up her practice to fluctuate between the spiritual, relational, and existential. 

Sofia caught up with Heidi Brickell about Wā Dividends, beginning their kōrero by asking Heidi about the origins of this body of work and her experience during her artist residency in Heretaunga at the end of last year.

Hayley Theyers chats with Aimee about her photobook 'Boat with No Ocean' and her first solo exhibition.

Marx, Money and Heavy Metal... Cushla Donaldson's solo exhibition, curated by Ioana Gordon Smith, is on now at Te Uru Waitakere. Titled from a local tourist spot but referencing trickle-down theory, "The Fairy Falls" is a nuanced and visually arresting investigation which seeks to expose the functioning of today’s financial markets.

She suggests for working class politics, environmentalism, feminism and struggles for indigenous self-determination to work together on the Left, an element of romanticism which doesn't elicit nostalgia is needed to exceed the grid-like rigours of the rational/markets. In light of this context, we talk to works such as “Affections,” a portrait of Cliff Curtis barefoot on the red carpet, and “The Great Ngaruawahia Music Festival” a documentary of the time Black Sabbath came to Aotearoa and, of course, the omnipresent grid suspended from the ceiling of the galley.

Janine Eisenaecher has been in town. The Berlin based sound artist presented “Eat Your Enemy #4 I don’t want to want” at Audio Foundation on Saturday. The monologue she presented was delivered to the beat and sounds of dripping coke bottles. It channeled John Cage’s lecture “Composition as Process“ (1958), discussing the invisible work of artists and the need for solidarity and care within a highly competitive field. She discussed her ongoing practice with Theo, and told us how Berlin has come to (re)embrace performance art.

We sound out the line between poetry and music with Rachel, as she plays some tunes PJ Harvey’s “The Wind” and a more recent Laura Marling number.