A photograph of the Four Corners youth space on the corner of Peterborough and Colombo Streets.
A photograph of the Four Corners youth space on the corner of Peterborough and Colombo Streets.
A photograph of volunteers constructing the Life in Vacant Spaces headquarters.
A photograph of volunteers constructing the Life in Vacant Spaces headquarters.
A photograph of volunteers constructing the Life in Vacant Spaces headquarters.
A photograph of a volunteer laying a foundation for the Life in Vacant Spaces headquarters.
A photograph of the Life in Vacant Spaces headquarters, an off-grid, sub-consent office building.
A photograph of the Life in Vacant Spaces headquarters, an off-grid, sub-consent office building.
A photograph of Mike Hewson's installation 'Homage to the Lost Spaces' on the earthquake-damaged Cranmer Courts building.
A photograph of Mike Hewson's installation 'Homage to the Lost Spaces' on the earthquake-damaged Cranmer Courts building.
A photograph of Mike Hewson's installation 'Homage to the Lost Spaces' being installed on plywood covering the earthquake-damaged Cranmer Courts building.
A photograph of Mike Hewson's installation 'Homage to the Lost Spaces' being installed on plywood covering the earthquake-damaged Cranmer Courts building.
A photograph of part of Mike Hewson's installation 'Homage to the Lost Spaces' on the earthquake-damaged Cranmer Courts building.
A photograph of Mike Hewson's installation 'Homage to the Lost Spaces' being installed on plywood covering the earthquake-damaged Cranmer Courts building.
A photograph of Mike Hewson's installation 'Homage to the Lost Spaces' being installed on plywood covering the earthquake-damaged Cranmer Courts building.
A photograph of Mike Hewson's installation 'Homage to the Lost Spaces' being installed on plywood covering the earthquake-damaged Cranmer Courts building.
A photograph of the LUXCITY 'Sound Cone' performance space on Gloucester Street.
A photograph of the LUXCITY 'Sound Cone' performance space on Gloucester Street.
A photograph of the LUXCITY 'Sound Cone' performance space on Gloucester Street.
A photograph of the LUXCITY 'Sound Cone' performance space on Gloucester Street.
A photograph of musicians on stage in the 'Sound Cone' space at LUXCITY.
To address the provocation provided by the editors I wish to reflect upon the ongoing civic and artistic responses to the earthquakes in Christchurch, New Zealand, 2010-11, in which 185 people lost their lives (largely due to poor engineering and construction practices). Whilst the example is very different in character from that of efforts to memorialize July 22, 2011, I wish to use the case to briefly respond to the issue of temporality as raised by Jacques Rancière in his critique of the ‘endless work of mourning’ produced by testimonial art. The orientation of this mourning, he argues, is always backward-looking, characterized by, ‘a reversal of the flow of time: the time turned towards an end to be accomplished – progress, emancipation or the Other – is replaced by that turned towards the catastrophe behind us.’ How might memorial practices divide their gaze between remembered pasts and possible futures? AM - Accepted Manuscript
A photograph of a singer on stage in the 'Sound Cone' space at LUXCITY.
A photograph of a musician on stage in the 'Sound Cone' space at LUXCITY.
A photograph of a singer on stage in the 'Sound Cone' space at LUXCITY.
A photograph of a musician on stage in the 'Sound Cone' space at LUXCITY.
A photograph of a musician on stage in the 'Sound Cone' space at LUXCITY.
A photograph of a singer on stage in the 'Sound Cone' space at LUXCITY.
A photograph of a musician on stage in the 'Sound Cone' space at LUXCITY.
A photograph of a singer on stage in the 'Sound Cone' space at LUXCITY.