As part of our programme at Gus Fisher Gallery we have a dedicated site-specific space for artistic response called The Booth. This is an architecturally distinct area which once housed the original telephone booth for the building during the era occupied by TVNZ. Situated in the central Dome Gallery and near to the entrance, The Booth is a two metre high recess which is characteristic of a booth or cubicle. The uniqueness of the space lends itself to artistic responses in all media and will be a repository for new and experimental site-specific practices.
Gus Fisher Gallery circulates an annual call-out for proposals from artists to respond to this space. All proposals are judged anonymously in order to focus on the strength of concept and to counter categories of ‘emerging, mid-career and established’ to delineate an artist’s career stage. Selections are made by the Curator of Contemporary Art.
Submissions for The Booth are now open for 2020. Read about our 2020 intake here.
Send your proposals to email@example.com before December 1st, 2019.
Our Current artist in The Booth:
28 September – 14 December: Matilda Fraser, Poet No. 2
Poet No. 2 is a mechanical sculpture in the form of a Brutalist-style vending machine. Poet No.2 deals with the notion of circulation, in both a textual and monetary sense. Upon inserting a NZ$1 coin, the machine will produce a printed 14-line sonnet, made up of random lines of text generated from an archive of the last 60 years of New Zealand poetry published in national literature journals and periodicals such as Landfall, Sport, Takahe, Turbine, and others. These poems are printed on thermal receipt paper for the viewer or user to take away.
Past Artists in The Booth:
6 July – 7 September: Sophie Mahon, Fault Lines, 2019
Fault Lines is located in the space that housed the building’s original telephone booth. Now used for artists to produce site-specific installations, Fault Lines is the second in a series of works chosen for The Booth.
While temporarily resident in New Zealand, Mahon spent time photographing the visual intricacies of the volcanic and geothermal landscape. Following visits to Rotorua and areas in the South island, Fault Lines speaks of global uncertainties and a human fragility in an environment where Mother Nature continually threatens to take hold. Mahon has carved a fissure in the work, recalling a crack in the ground from a seismic earthquake or the flow of a river or stream. Fault Lines suggests a fragile climate which is prone to snap at any moment, and for the artist this fault extends to people’s ability to connect to each other and the world around them.
The accompanying audio comprises includes those captured underwater, of malfunctioning technology and of clay cracking. the sounds of dried clay cracking and breaking apart underwater alongside recordings of malfunctioning technology.
6 April – 15 June: Elke Finkenaur, Members Club, 2019
Members Club borrows its title from the nearby Northern Club, an exclusive members club built on the site of the first section sold at Auckland’s inaugural controlled land sale in 1841. These clubs were socially and culturally exclusive – the Northern Club did not admit women until 1991. Members Club uses the upholstery style and material of a Chesterfield sofa, an item often seen inside these clubs, to consider forms of exclusion. The upholstered façade symbolises a door or blocked form of entry to a hidden space within.
Members Club is the first in a series of site-specific installations located in the space of the building’s original telephone booth.