ART BITE WAIHO,RETREAT(2017) 2025
Janine Randerson
This video on exhibition at Christchurch Art Gallery Te Puna o Waiwhetu, is a performance work by an artist who researches and responds to meterology.
Waiho, Retreat 2017
Janine Randerson
Digital video/Colour/Sound
in the exhibition A Handful of soil
https://christchurchartgallery.org.nz/exhibitions/he-kapuka-oneone
CrewRon Bull, Janine Randerson and Rachel Shearer. Post- production
Art Bite by Stephanie Beth
Kia ora.
Remember the grammatical comma.Waiho, Retreat.Think of the word Waiho. Let it be.
My interest today is to suggest some of the values of embracing performance art works and to consider how these formats of expression provide us Art participants with chances to explore biases within ourselves. Without adventure into bias, our imagination may not be freer to perceive acceptance of great forces of nature, for example. We are invited to feel the nature of transcendence.
I spoke with Janine. I asked Janine about collaboration in her work. I wanted to work differently”, said Randerson to me. “I don’t work alone. I collaborate because I want to do things differently - “ tears” for example, as whenu presence”. Susan Wallace, Rununga a Makaawhio, from Ngai Tahu, was the guide for filming and recording here for Janine Randerson. 1 “Ngai Tahu glacier guides protected us from danger. “For example, to be careful not to tread on the head of an ancestor; to follow correct Tikanga. There have been guides walking through this area for centuries,” Sue had reminded her. In the instance of Waiho, there have been tears already for loss to whenua. Grief has been released by the tribe. This was assured to Janine by Ron Bull.2“Bull is a great story teller.” she said. ( He is Kai Tahu. “ He is a professional at the Dunedin school of Art. ) Randerson went on, “ He, a linguist, was part of the writing of the voice track. He helped us frame interaction with the glacier as a gifting, or an entity”. Such assurances provide clearway from Janine to explore her own ideas.
More from Randerson, “ We, that was Rachel, I and the performer, had a helicopter ride in. I was with a camera and mics for the melting noisy river. As to the shots of the river exiting to the sea, there was a hike to get there. Three rivers. No road access. That took a four day wait in Franz Joseph. We walked, in all a 25 kilometer return. “
“Performer, Tru Paraha, appears and disappears in this shifting cryosphere.” writes the entry in the CIRCUIT release data about the film. 3 (Tru walked backwards in crampons on the glacier surface.)
I would like to give you the sound file now, Waiho, Retreat to hear. (nod). Please let it run twice.
I will read to you the CIRCUIT announcement about the film.Waiho Retreat. In Te reo Māori, Waiho means ‘to let be’ or ‘leave alone.’ In Ngāi Tahu cosmology the glacier is formed from the tears of the deity Hinehukatere. Live sound recordings from the glacier and Waiho river form the sound composition.There are few living beings in this grey water, yet it is alive. Since 2008, Ka Roimata o Hinehukatere (Franz Josef glacier) has retreated one and a half kilometers, following a period of advance in the 1990s; a sensitive barometer of climatic shifts in a warming world.Running water follows out along the Waiho river, glacial meltwater from Ka Roimata o Hinehukatere .
What does Janine Randerson do? She is an artist, a senior lecturer and an Associate - professor in Media and Art at AUT, Auckland. She is also, recently, a curator at TE TUHI an East Auckland contemporary gallery quite interestingly involved in exhibitions that decentralise the human from dominance in environmental studies.
What is Randerson's particular practice? Randerson addresses the language of today, the scientific today, then works to produce art empathetically linking science research into the breath of our own living insight for this earth, or us, or of non-human outcomes that may thrive accordingly. She makes documentaries, site-specific installations, and choreographs performances. What are some of her themes of interest? A dominant one is meteorology. How does Randerson express a sharing of the medium, weather, via performance designs? Earth’s atmosphere as a long-term study , in so many different ways, continues to find endearments.I see Janine as a match-maker. She looks for ways to associate viewpoints when she works with the aesthetic of performance. These enactments invariably convey vulnerability. Such is an apt and a laudable stance.
Waiho, Retreat screened in 2018 in an off-site exhibition at Stockholm University, as part of the Bolin Centre program Klimatfestival, arranged as part of the autumn exhibition And Tomorrow And, curated by Bronwyn Bailey-Charteris.4 Bailey-Charteris specialises in water. Dr Bronwyn Bailey-Charteris (PhD) is an Australian and Swedish curator, writer and academic with expertise in the politics and poetics of eco-aesthetics. Based in the Blue Mountains, Australia, she lives within the Ngurra (Country) of the Dharug and Gundungurra peoples.It screens next in Rotterdam in 2026 29 January - 8 February.5It is here now in he kapuka oneone -handful -of -soil, holding a place for a year.6 Randerson was in St Petersburg in 2018 in February at a Youth Educational Center at the State Hermitage, Saint Petersburg Stieglitz State Academy of Art and Design (Henry Hall) after this. Exhibition Project “Proxima” Lectures were at St. Petersburg The topic was 2–12 February 2018.Weather Forecast: Digital Cloudiness. She presented on the Albedo of clouds.7.Their brief stated: Janine Randerson adopts weather as primary material for sensory experiences. This installation included the contributions of scientists, programmers, instrument technicians, social online networks and the vagaries of the weather itself. The project suggests that creative engagement with meteorological science can activate eco-political “networks” in Latour’s sense, productive of knowledge and potentially transformative. 8 To think about Latour, I think, when thinking about such “meteorological art”, that digital networks not only distribute facts about atmospheric data, they also generate affective forms. Weather instrumentation and media art are united in the pursuit of a creative outcome. To build more awareness of any body, the knowledge gives scope to be affected and moved into possible political motion. Such acts become acts of sensitivity, here is the opportunity to be moved by entities, human or non human as the antidote to experiences of feeling negative.If “Dumb, you drop dead”, those last words are not my own, but the writer,Vinciane Despret, a decade ago, writes a lot and cites Latour in writings. 8 Latour is known for his views on interdependence between the Sciences and the Arts. Despret, Belgian, is a philosopher of science, an associate professor at the University of Liège. One book of hers is titled, Our Emotional Make up.(2004)A book description:Broken hearts, edgy nerves, tightened throats—our emotions grab and take hold of us. But if our emotions appear obvious to us, are they necessarily real or universal? This, of course, is what researchers in physiology and psychology assert, but they will ultimately be disappointed.Despret sets out in this book to show how some of our emotions, precisely those we thought were a natural part of our make-up, do not exist unless they have been inscribed in our subjectivity through the mediation of culture.Emotions do not exist per se, but only within relations to others. Anthropologists and ethnologists often return from distant regions and remote islands with emotions unknown to their peers at home, and which can only be expressed in the tribal tongue they have learned. Following such discoveries, one should not be surprised to find that anger does not exist among the Uktus, ( in Russia, 620076 ) and the Ikfalus have to teach fear to their children.One only has to consider the emotions of other cultures and traditions to recognize that they are human productions with wide and significant variations, like good manners. Our emotions, finally, represent the way that we see the world and try to make it our own. 9 Now, that is food for thought. So much rests on each one of us putting mind in life with feelings as enhancers.
What are the times we are living in? They are times when the weather is in control. The vast scale of this is a conundrum. However, the fact of ice is that it is solid. It turns to water and then gas. Ron Bull is philosophical about this, Janine implies. As a state of change at this scale is a natural process, we are invited to see ice disappearing as needing to call upon Scapechange thinking.Scapechanger is in Randerson’s repertoire. A person may read a lot of material on participatory practice, written particularly for young people, as that Russian conference did imply 10
Randerson looks for the potential in change. Science shared about earth is also a metaphor for sharings about the body. Health of attitude comes from participant attitude especially when youth are engaged in a collective or action.
The core shift of weather is, since around 1952. It is often thought of and told about within stories that engage with the new era Anthropocene. The Anthropocene is coined, non-officially, as being the era that is building after the geological epoch called the Holocene. It is denoted as a period of impact of humans upon geology and environment. 11 I quote, the author of a media article from Spain in 2024, that concludes that, 'Although humanity began to significantly and progressively modify the earth's surface with the onset of agricultural societies thousands of years ago in the Neolithic, the European colonisation of the Americas in the 15th century or the Industrial Revolution in the 18th century, the unprecedented increase in the global human footprint began in 1952” 12
The Waiho retreat, as a place of glaciation has retreated, once advanced (between 8000 and 12000 years ago), and has then retreated again in human lifetime. A government paper states, ‘The South Island has hundreds of lakes formed by glacier activity, ranging from tiny mountain tarns to 60-kilometre-long Te Anau, which is over 400 metres deep. 13 Further ‘they reached their minimum size about 6,000 years ago, when the climate was warmer than now. There have been minor advances during cooler periods such as the ‘Little Ice Age’ between the 15th and mid-19th century. Between 1962 and 2018, New Zealand glaciers lost 38% of their volume’ 14 Specifically, Randerson’s videos are built in single channels with audio. In Waiho,Retreat, a performer actively walks backwards wearing crampons on the ice, near a crevice. The performer gingerly, and provocatively walks backwards. When this performance was seen at the Swedish Institute. The posting explains,”Randerson collaborates with dancer Tru Paraha and one New Zealand’s glacial rivers. The river is flowing forwards but it is also retreating backwards – a retreat caused by global shifts in climate. 15.Meteorology is the scientific study of Earth's atmosphere and its phenomena, including weather patterns and climate. It involves observing, understanding, and predicting weather conditions. This field is crucial for understanding and managing weather-related risks, impacting various aspects of life, from daily activities to agriculture and infrastructure.
Performance. 2023-2024
A recent performance that Randerson curated in Auckland at the gallery TE URU, was designed by artist, Phil Dadson. It was titledKōea ō Tāwhirimātea: Weather Choir. Dadson put forward the idea of aeolian harps, something that has been a longtime interest to him. An event was a set of events that took place in 2022 in Tonga other Islands). Other events, internationally, were in New Dehli, Helsinki and many places in between. A number of participants have been writing up data. 28 countries took part in this project. It was first offered by Britain, called World Weather.
I would like to finish by reading a letter from Sealey, a surveyor who visited the great Tasman glacier in 1867. It was curator Ken Hall, one of the curators of Oneone, a handful of soil, who selected this, to take us back in time.
In April 1867, Sealy made his first trip to the Aoraki Mount Cook District, which included visiting the Mueller and Hooker glaciers and ascending the latter to within one-and-a-half miles of the saddle before crevasses halted his group’s progress. He was joined on this excursion by a trainee assistant named Ball, an unnamed ex-prospector, and a Māori man named Jim, whom he had met at a nearby station and was particularly pleased about having along, noting that “he had been living for some time in the neighbourhood & knew the run of the Country very well”. In the same letter to his aunt, he conveyed his utter captivation with glaciers traversed:Fancy a regular Sea of ice many hundred feet in depth filling up a large valley following its windings like a river and ending with an abrupt face almost a wall from beneath a good sized river is gushing with tremendous force—You must not suppose that all this ice is however clear & visible, on the contrary it pushes before it & carries on its surface an immense mass of debris from the mountains … It is as though an army of a million giants had been engaged ever since the creation in tumbling masses of the mountains, titanic rocks varying in size from a cathedral to an egg down into the valley beneath—Even the very ice seems unable to bear the immense burden laid upon it … as you walk over it constant groans, rumblings, cracking and reports testify to the internal agitation of the labouring mass. Ken Hall. Curator 16Janine Randerson’s observations in 2017 were at a different scale and yet of scale for us. Janine’s next project is going into the DCP zone of North Korea with Rachel Shearer. They leave soon. They will enter tunnels so as to emerge into flourishing sounds of birds, wetlands, frogs, rabbits and more animals.
If we have time, I wish to mention the exciting large project that Randerson worked on at Te Tuhu. *Listen to the prime motive, the Aeolian harp in the wind. This recording is 13 years old. Audio appreciation stands alone as reinforcement of listeningI have put on file a recording of the Irish play of an Aeolian harp listening to wind, a soundtrack from Interceptor and Waiho, Retreat. A weather system station was put online at Te TUHI contemporary Art Gallery. In 2023
It was titled Kōea ō Tāwhirimātea: Weather Choir
Special thanks to John Cousins for sharing aeolian insights.https://www.circuit.org.nz/work/k-ea-o-tawhirimatea-weather-choirhttps://garlandmag.com/article/singing-the-wind/
Aeolian Harp sound plays. Thank you.
My interest today is to suggest some of the values of embracing performance art works and to consider how these formats of expression provide us Art participants with chances to explore biases within ourselves. Without adventure into bias, our imagination may not be freer to perceive acceptance of great forces of nature, for example. We are invited to feel the nature of transcendence.
I spoke with Janine. I asked Janine about collaboration in her work. I wanted to work differently”, said Randerson to me. “I don’t work alone. I collaborate because I want to do things differently - “ tears” for example, as whenu presence”. Susan Wallace, Rununga a Makaawhio, from Ngai Tahu, was the guide for filming and recording here for Janine Randerson. 1 “Ngai Tahu glacier guides protected us from danger. “For example, to be careful not to tread on the head of an ancestor; to follow correct Tikanga. There have been guides walking through this area for centuries,” Sue had reminded her. In the instance of Waiho, there have been tears already for loss to whenua. Grief has been released by the tribe. This was assured to Janine by Ron Bull.2“Bull is a great story teller.” she said. ( He is Kai Tahu. “ He is a professional at the Dunedin school of Art. ) Randerson went on, “ He, a linguist, was part of the writing of the voice track. He helped us frame interaction with the glacier as a gifting, or an entity”. Such assurances provide clearway from Janine to explore her own ideas.
More from Randerson, “ We, that was Rachel, I and the performer, had a helicopter ride in. I was with a camera and mics for the melting noisy river. As to the shots of the river exiting to the sea, there was a hike to get there. Three rivers. No road access. That took a four day wait in Franz Joseph. We walked, in all a 25 kilometer return. “
“Performer, Tru Paraha, appears and disappears in this shifting cryosphere.” writes the entry in the CIRCUIT release data about the film. 3 (Tru walked backwards in crampons on the glacier surface.)
I would like to give you the sound file now, Waiho, Retreat to hear. (nod). Please let it run twice.
I will read to you the CIRCUIT announcement about the film.Waiho Retreat. In Te reo Māori, Waiho means ‘to let be’ or ‘leave alone.’ In Ngāi Tahu cosmology the glacier is formed from the tears of the deity Hinehukatere. Live sound recordings from the glacier and Waiho river form the sound composition.There are few living beings in this grey water, yet it is alive. Since 2008, Ka Roimata o Hinehukatere (Franz Josef glacier) has retreated one and a half kilometers, following a period of advance in the 1990s; a sensitive barometer of climatic shifts in a warming world.Running water follows out along the Waiho river, glacial meltwater from Ka Roimata o Hinehukatere .
What does Janine Randerson do? She is an artist, a senior lecturer and an Associate - professor in Media and Art at AUT, Auckland. She is also, recently, a curator at TE TUHI an East Auckland contemporary gallery quite interestingly involved in exhibitions that decentralise the human from dominance in environmental studies.
What is Randerson's particular practice? Randerson addresses the language of today, the scientific today, then works to produce art empathetically linking science research into the breath of our own living insight for this earth, or us, or of non-human outcomes that may thrive accordingly. She makes documentaries, site-specific installations, and choreographs performances. What are some of her themes of interest? A dominant one is meteorology. How does Randerson express a sharing of the medium, weather, via performance designs? Earth’s atmosphere as a long-term study , in so many different ways, continues to find endearments.I see Janine as a match-maker. She looks for ways to associate viewpoints when she works with the aesthetic of performance. These enactments invariably convey vulnerability. Such is an apt and a laudable stance.
Waiho, Retreat screened in 2018 in an off-site exhibition at Stockholm University, as part of the Bolin Centre program Klimatfestival, arranged as part of the autumn exhibition And Tomorrow And, curated by Bronwyn Bailey-Charteris.4 Bailey-Charteris specialises in water. Dr Bronwyn Bailey-Charteris (PhD) is an Australian and Swedish curator, writer and academic with expertise in the politics and poetics of eco-aesthetics. Based in the Blue Mountains, Australia, she lives within the Ngurra (Country) of the Dharug and Gundungurra peoples.It screens next in Rotterdam in 2026 29 January - 8 February.5It is here now in he kapuka oneone -handful -of -soil, holding a place for a year.6 Randerson was in St Petersburg in 2018 in February at a Youth Educational Center at the State Hermitage, Saint Petersburg Stieglitz State Academy of Art and Design (Henry Hall) after this. Exhibition Project “Proxima” Lectures were at St. Petersburg The topic was 2–12 February 2018.Weather Forecast: Digital Cloudiness. She presented on the Albedo of clouds.7.Their brief stated: Janine Randerson adopts weather as primary material for sensory experiences. This installation included the contributions of scientists, programmers, instrument technicians, social online networks and the vagaries of the weather itself. The project suggests that creative engagement with meteorological science can activate eco-political “networks” in Latour’s sense, productive of knowledge and potentially transformative. 8 To think about Latour, I think, when thinking about such “meteorological art”, that digital networks not only distribute facts about atmospheric data, they also generate affective forms. Weather instrumentation and media art are united in the pursuit of a creative outcome. To build more awareness of any body, the knowledge gives scope to be affected and moved into possible political motion. Such acts become acts of sensitivity, here is the opportunity to be moved by entities, human or non human as the antidote to experiences of feeling negative.If “Dumb, you drop dead”, those last words are not my own, but the writer,Vinciane Despret, a decade ago, writes a lot and cites Latour in writings. 8 Latour is known for his views on interdependence between the Sciences and the Arts. Despret, Belgian, is a philosopher of science, an associate professor at the University of Liège. One book of hers is titled, Our Emotional Make up.(2004)A book description:Broken hearts, edgy nerves, tightened throats—our emotions grab and take hold of us. But if our emotions appear obvious to us, are they necessarily real or universal? This, of course, is what researchers in physiology and psychology assert, but they will ultimately be disappointed.Despret sets out in this book to show how some of our emotions, precisely those we thought were a natural part of our make-up, do not exist unless they have been inscribed in our subjectivity through the mediation of culture.Emotions do not exist per se, but only within relations to others. Anthropologists and ethnologists often return from distant regions and remote islands with emotions unknown to their peers at home, and which can only be expressed in the tribal tongue they have learned. Following such discoveries, one should not be surprised to find that anger does not exist among the Uktus, ( in Russia, 620076 ) and the Ikfalus have to teach fear to their children.One only has to consider the emotions of other cultures and traditions to recognize that they are human productions with wide and significant variations, like good manners. Our emotions, finally, represent the way that we see the world and try to make it our own. 9 Now, that is food for thought. So much rests on each one of us putting mind in life with feelings as enhancers.
What are the times we are living in? They are times when the weather is in control. The vast scale of this is a conundrum. However, the fact of ice is that it is solid. It turns to water and then gas. Ron Bull is philosophical about this, Janine implies. As a state of change at this scale is a natural process, we are invited to see ice disappearing as needing to call upon Scapechange thinking.Scapechanger is in Randerson’s repertoire. A person may read a lot of material on participatory practice, written particularly for young people, as that Russian conference did imply 10
Randerson looks for the potential in change. Science shared about earth is also a metaphor for sharings about the body. Health of attitude comes from participant attitude especially when youth are engaged in a collective or action.
The core shift of weather is, since around 1952. It is often thought of and told about within stories that engage with the new era Anthropocene. The Anthropocene is coined, non-officially, as being the era that is building after the geological epoch called the Holocene. It is denoted as a period of impact of humans upon geology and environment. 11 I quote, the author of a media article from Spain in 2024, that concludes that, 'Although humanity began to significantly and progressively modify the earth's surface with the onset of agricultural societies thousands of years ago in the Neolithic, the European colonisation of the Americas in the 15th century or the Industrial Revolution in the 18th century, the unprecedented increase in the global human footprint began in 1952” 12
The Waiho retreat, as a place of glaciation has retreated, once advanced (between 8000 and 12000 years ago), and has then retreated again in human lifetime. A government paper states, ‘The South Island has hundreds of lakes formed by glacier activity, ranging from tiny mountain tarns to 60-kilometre-long Te Anau, which is over 400 metres deep. 13 Further ‘they reached their minimum size about 6,000 years ago, when the climate was warmer than now. There have been minor advances during cooler periods such as the ‘Little Ice Age’ between the 15th and mid-19th century. Between 1962 and 2018, New Zealand glaciers lost 38% of their volume’ 14 Specifically, Randerson’s videos are built in single channels with audio. In Waiho,Retreat, a performer actively walks backwards wearing crampons on the ice, near a crevice. The performer gingerly, and provocatively walks backwards. When this performance was seen at the Swedish Institute. The posting explains,”Randerson collaborates with dancer Tru Paraha and one New Zealand’s glacial rivers. The river is flowing forwards but it is also retreating backwards – a retreat caused by global shifts in climate. 15.Meteorology is the scientific study of Earth's atmosphere and its phenomena, including weather patterns and climate. It involves observing, understanding, and predicting weather conditions. This field is crucial for understanding and managing weather-related risks, impacting various aspects of life, from daily activities to agriculture and infrastructure.
Performance. 2023-2024
A recent performance that Randerson curated in Auckland at the gallery TE URU, was designed by artist, Phil Dadson. It was titledKōea ō Tāwhirimātea: Weather Choir. Dadson put forward the idea of aeolian harps, something that has been a longtime interest to him. An event was a set of events that took place in 2022 in Tonga other Islands). Other events, internationally, were in New Dehli, Helsinki and many places in between. A number of participants have been writing up data. 28 countries took part in this project. It was first offered by Britain, called World Weather.
I would like to finish by reading a letter from Sealey, a surveyor who visited the great Tasman glacier in 1867. It was curator Ken Hall, one of the curators of Oneone, a handful of soil, who selected this, to take us back in time.
In April 1867, Sealy made his first trip to the Aoraki Mount Cook District, which included visiting the Mueller and Hooker glaciers and ascending the latter to within one-and-a-half miles of the saddle before crevasses halted his group’s progress. He was joined on this excursion by a trainee assistant named Ball, an unnamed ex-prospector, and a Māori man named Jim, whom he had met at a nearby station and was particularly pleased about having along, noting that “he had been living for some time in the neighbourhood & knew the run of the Country very well”. In the same letter to his aunt, he conveyed his utter captivation with glaciers traversed:Fancy a regular Sea of ice many hundred feet in depth filling up a large valley following its windings like a river and ending with an abrupt face almost a wall from beneath a good sized river is gushing with tremendous force—You must not suppose that all this ice is however clear & visible, on the contrary it pushes before it & carries on its surface an immense mass of debris from the mountains … It is as though an army of a million giants had been engaged ever since the creation in tumbling masses of the mountains, titanic rocks varying in size from a cathedral to an egg down into the valley beneath—Even the very ice seems unable to bear the immense burden laid upon it … as you walk over it constant groans, rumblings, cracking and reports testify to the internal agitation of the labouring mass. Ken Hall. Curator 16Janine Randerson’s observations in 2017 were at a different scale and yet of scale for us. Janine’s next project is going into the DCP zone of North Korea with Rachel Shearer. They leave soon. They will enter tunnels so as to emerge into flourishing sounds of birds, wetlands, frogs, rabbits and more animals.
If we have time, I wish to mention the exciting large project that Randerson worked on at Te Tuhu. *Listen to the prime motive, the Aeolian harp in the wind. This recording is 13 years old. Audio appreciation stands alone as reinforcement of listeningI have put on file a recording of the Irish play of an Aeolian harp listening to wind, a soundtrack from Interceptor and Waiho, Retreat. A weather system station was put online at Te TUHI contemporary Art Gallery. In 2023
It was titled Kōea ō Tāwhirimātea: Weather Choir
Special thanks to John Cousins for sharing aeolian insights.https://www.circuit.org.nz/work/k-ea-o-tawhirimatea-weather-choirhttps://garlandmag.com/article/singing-the-wind/
Aeolian Harp sound plays. Thank you.
Go to: The Exhibition broadcast at Te Tuhi. Auckland.
(Look up archives there)
During 2023- 2024 Randerson led a project that was a New Zealand invitation for artist to address ideas about meteorology at the international level. Artist teams were invited from several counties to collectively participate. The project was titled
WORLD WEATHER NETWORK 2023-2024
(See a brief framework below) The New Zealanders became known as the Breath of Weather Collective).
Janine RandersonOCEANIA Her specific academic brief in 2018 established itself by seeing weather as a medium, as
I have mentioned.
2024 on
Randerson is also now curating artists with whom she aligns interest. One advanced manifestation of this is an exhibition that she ran 2023 to 2024, as a curator of one of 28 agencies around the world for the WORLD WEATHER NETWORK 2023 - 2024.
. https://tetuhi.art/world-weather-network/haupapa-project/
WORLD WEATHER NETWORK 2023-2024Stations*Reports
EventsFrom June 2022 to June 2024, the World Weather Network has reported on the weather and our changing climate from around the globe.Formed in response to the climate emergency, 28 organizations across the world joined forces to invite artists, writers and communities to look, listen, learn and act. During this time, the network hosted a constellation of weather stations, each featuring works by artists and writers invited to reflect on their local weather by the partner network around the globe.Over the next 12 months, the World Weather Network will draw to a close. All commissioned artworks and accompanying conversations will be available on our online platform until May 2025. The archive of conversations will be available on the World Weather Network YouTube channel. Thank you to all those who have supported this programme.
– Partner Statement, 21 June 2024THE WORLD.https://worldweathernetwork.org/?desktop=1The world weather network was supported by the British Council’s Creative Commissions for Climate Action, a global programme exploring climate change through art, science and digital technology. Artists and writers across the globe will write, read, image, sound, respond and perform a continuous planetary dawn from Aotearoa, New Delhi to Helsinki and many places in between over 17 hours, producing a living text that reflects on a biosphere in crisis.
Janine Randerson was the curator of the Pacific section. Curator at one of 28 agencies around the world. The principal designer was Phil Dadson. New Zealand and Islands. The design was for latitude 36.8509° S, 174.7645° EA weather system station was put online at Te TUHI contemporary Art Gallery. In 2023
It was titled Kōea ō Tāwhirimātea: Weather Choir
Kōea ō Tāwhirimātea: Weather Choir installs an array of wind instruments in eight climate- challenged locations around Tonga, Niue, Samoa, Rarotonga and Aotearoa. The Breath of Weather Collective will create a ‘weather choir’ of winds using a kit-set resonator of Aeolian harp components.
Phil Dadsonhttps://trishclark.co.nz/artists/dadson-phil/His highly inventive trans-disciplinary approach to making art includes solo performances and exhibitions, building experimental musical instruments and sonic objects, digital video/audio and installation, music composition, graphic scores and drawing, sound sculptures and improvisations with invented instruments. Video remains a constant passion as much for its ability to synergistically combine image and sound as for its unique physicality.
BREATH OF WEATHER COLLECTIVEhttps://tetuhi.art/world-weather-network/koea-o-tawhirimatea-weather-choir/
This project is a collaborative group called the Breath of Weather Collective. Regional locations ana participant-contacts are:– Cook Islands: Te Ipukarea Society; Kelvin Passfield, Paris Tutty, Pouri Tanner, Sam Thomas, Terena Koteka-Wiki, Matt Blacka– Kingdom of Tonga: Uili Lousi– Island of Niue: Mark and Ahi Cross– Samoa: Maina Vai– Whakatane, Aotearoa: James McCarthy– Haumoana, Aotearoa: Dianne Reefman, Ricks Terstappen– Taranaki, Aotearoa: Pasha Clothier– Tāmaki Makaurau, Aotearoa: Phil DadsonSpecial thanks to John Cousins for sharing aeolian insights.https://www.circuit.org.nz/work/k-ea-o-tawhirimatea-weather-choir
https://garlandmag.com/article/singing-the-wind/
. https://tetuhi.art/world-weather-network/haupapa-project/
WORLD WEATHER NETWORK 2023-2024Stations*Reports
EventsFrom June 2022 to June 2024, the World Weather Network has reported on the weather and our changing climate from around the globe.Formed in response to the climate emergency, 28 organizations across the world joined forces to invite artists, writers and communities to look, listen, learn and act. During this time, the network hosted a constellation of weather stations, each featuring works by artists and writers invited to reflect on their local weather by the partner network around the globe.Over the next 12 months, the World Weather Network will draw to a close. All commissioned artworks and accompanying conversations will be available on our online platform until May 2025. The archive of conversations will be available on the World Weather Network YouTube channel. Thank you to all those who have supported this programme.
– Partner Statement, 21 June 2024THE WORLD.https://worldweathernetwork.org/?desktop=1The world weather network was supported by the British Council’s Creative Commissions for Climate Action, a global programme exploring climate change through art, science and digital technology. Artists and writers across the globe will write, read, image, sound, respond and perform a continuous planetary dawn from Aotearoa, New Delhi to Helsinki and many places in between over 17 hours, producing a living text that reflects on a biosphere in crisis.
Janine Randerson was the curator of the Pacific section. Curator at one of 28 agencies around the world. The principal designer was Phil Dadson. New Zealand and Islands. The design was for latitude 36.8509° S, 174.7645° EA weather system station was put online at Te TUHI contemporary Art Gallery. In 2023
It was titled Kōea ō Tāwhirimātea: Weather Choir
Kōea ō Tāwhirimātea: Weather Choir installs an array of wind instruments in eight climate- challenged locations around Tonga, Niue, Samoa, Rarotonga and Aotearoa. The Breath of Weather Collective will create a ‘weather choir’ of winds using a kit-set resonator of Aeolian harp components.
Phil Dadsonhttps://trishclark.co.nz/artists/dadson-phil/His highly inventive trans-disciplinary approach to making art includes solo performances and exhibitions, building experimental musical instruments and sonic objects, digital video/audio and installation, music composition, graphic scores and drawing, sound sculptures and improvisations with invented instruments. Video remains a constant passion as much for its ability to synergistically combine image and sound as for its unique physicality.
BREATH OF WEATHER COLLECTIVEhttps://tetuhi.art/world-weather-network/koea-o-tawhirimatea-weather-choir/
This project is a collaborative group called the Breath of Weather Collective. Regional locations ana participant-contacts are:– Cook Islands: Te Ipukarea Society; Kelvin Passfield, Paris Tutty, Pouri Tanner, Sam Thomas, Terena Koteka-Wiki, Matt Blacka– Kingdom of Tonga: Uili Lousi– Island of Niue: Mark and Ahi Cross– Samoa: Maina Vai– Whakatane, Aotearoa: James McCarthy– Haumoana, Aotearoa: Dianne Reefman, Ricks Terstappen– Taranaki, Aotearoa: Pasha Clothier– Tāmaki Makaurau, Aotearoa: Phil DadsonSpecial thanks to John Cousins for sharing aeolian insights.https://www.circuit.org.nz/work/k-ea-o-tawhirimatea-weather-choir
https://garlandmag.com/article/singing-the-wind/
breath of weather set up at te tuhi. auckland 2023 - 4
https://tetuhi.art/world-weather-network/koea-o-tawhirimatea-weather-choir/