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When I heard the announcement this week by Arts, Culture and Heritage Minister Carmel Sepuloni that painters and other visual artists whose work is resold will get 5% in royalties from the sale, under a new scheme called Artist Resale Royalty Scheme. I thought, about time. When you pause and think about it, it's shocking this hasn't happened sooner. That currently everyone benefits from the talent, career and increased value of an artist's work except the artist seems unfair and unethical. How galling must it be, for artists and artists' estates to see the value of their original creations increase on the secondary market and not to benefit from these transactions. 5% seems about the right amount. For some artists it won't add up to much, for others it will be a considerable sum; but it's a scheme that protects and encourages both up-and-coming artists and those who are more established. Surely, dealers, galleries and auction houses can't complain about 5% - even though it will make a difference to those who haven't already started implementing a copyright royalty. Arguably, the percentage could have been higher. I'm sure those buying and selling, and sometimes making a small fortune, will agree it's time to recognise the artists' contribution in the secondary market. Much as I was delighted to read the announcement, it's worth noting that a lot of hard work has gone into getting this scheme up and running. It's been 15 years since the Ministry produced a discussion paper on Artist Resale Royalties. The scheme was originally introduced to Parliament as the Copyright Amendment Bill in 2008 and failed to pass in 2009 – and the issue just disappeared from public view. Last year, as the NZ and global art market took off again after stalling at the beginning of Covid, the topic came to the fore again - driven by the advocacy of groups such as Equity For Artists set up by Judy Darragh, Dane Mitchell and Reuben Paterson. Good on them for continuing the fight. New Zealand is now catching up to the rest of the world; over 80 countries already have schemes like this. France's version first became law in 1920, while the practice – known as Driot de suite (or “right to follow”) - actually began after the sale of Jean Francois Millet's 1858 painting Angelus in 1889. The wealthy owner at the time made a huge profit from the sale, while Millet's family lived in poverty. While it's good to see New Zealand finally step up to treasure its visual artists, I don't understand why it needs more than two years to set the scheme up. Yes, the law needs to be put in place and a not-for-profit organisation be put in place for administration, but surely two things can be prepped at the same time. Collecting royalties isn't new to creative industries; it is standard in the music, publishing and entertainment industries. There are plenty of existing organisations who can offer advice and support, such as APRA AMCOS which protects musician's copyright and collects royalties. Surely we can do better than wait for this to be in place by the end of 2024. See omnystudio.com/listener for privacy information.
Arts commentator Nina Tonga joins Lynn to talk about how galleries around the country have reopened their doors at level two - and got creative online. She'll look at Dane Mitchell's installation Post Hoc, which he reimagined as a new daily radio show, which listeners can tune into here at 5pm NZ time. Tai Moana Tai Tangata is a solo exhibition by Brett Graham which opened at City Gallery in early August, and If you're stuck in Auckland you can take the virtual tour of his exhibition at Govett Brewster, which launched late last month. Nina will also share her wish list of events happening around the country for the rest of the year.
Dane Mitchell, also known as DJ Marvel, is someone of many talents. More than that, he has always mustered the courage to confront the obstacles that stand in the way of pursuing his passions.Dane and I talk about the bumpy yet conquered road to becoming a mobile phone expert, the official DJ for a Power Rangers-themed convention called RangerStop and the investment he has made into his own mental health.Shout out to the Highland Cafe in Cincinnati where we first met - barista Jay Noel who traveled the world playing keys for Burning Spear, Caleb Hughes who edits these podcasts, not to mention the many friends who make this coffee shop special including Julian, Dale, Karin, Doc, Rob, Celeste, Sean, Matt H, Erica, Marty, Kiel, Mike S, Kelly K, Michael (Wie geht's?), Kenna, Melissa B., Tim and countless others.
This week we chatted with the head of S&C at Leeds Beckett University; Dane Mitchell. We wanted to know how he approaches strength and conditioning in an endurance specific environment. Dane has worked with elite athletes, Olympic medal winners (including our very own Ali and Jonny) and everyone in between. Dane's journey is very karmic as well, just like we like! He's thriving now because he gave so much of his time and passion up front with no expectation of receiving back. What a guy!
This episode of our series, episode 13, I speak with Dane Mitchell, AKA DJ Marvel! He shares with us his life as a professional DJ, his love for conventions, racism in cosplay, and some experiences of being invalidated as a Black man. Rate and review this podcast on Apple Podcast and share with your friends!
New Zealand artist Dane Mitchell‘s artwork – Post Hoc, is currently on as part of the Venice Biennale in Italy. Known as the Olympics of art, the Venice Biennale is pretty much the ‘top’ for artists. New Zealand’s 2019 representative is Dane Mitchell, whose project delivers cryptic lists of the vanished, the lost, or the destroyed. Mitchell’s work broadcasts a vast inventory of bygone things to locations throughout the city via fake tree cell towers, providing smartphone access via hotspot which you can hear the lists. At the Palazzina Canonica – the epi-center of the work, scrolling lengths of paper lists emerge from a printer placed high upon a structural frame, they cascade down settling in ripples on the floor, forming an elegantly minimal installation of all that which has been lost.
New Zealand artist Dane Mitchell‘s artwork – Post Hoc, is currently on as part of the Venice Biennale in Italy. Known as the Olympics of art, the Venice Biennale is pretty much the ‘top' for artists. New Zealand's 2019 representative is Dane Mitchell, whose project delivers cryptic lists of the vanished, the lost, or the destroyed. Mitchell's work broadcasts a vast inventory of bygone things to locations throughout the city via fake tree cell towers, providing smartphone access via hotspot which you can hear the lists. At the Palazzina Canonica – the epi-center of the work, scrolling lengths of paper lists emerge from a printer placed high upon a structural frame, they cascade down settling in ripples on the floor, forming an elegantly minimal installation of all that which has been lost. This podcast was made with the help of Liquid studios. --- Send in a voice message: https://anchor.fm/art-ache/message
Zara StanhopeCuratorial ManagerAsian and Pacific Art As a curator practising within institutions and independently Zara Stanhope focuses on expanding engagement with contemporary art across the Global South. She is currently the Lead Curator for Post hoc by Dane Mitchell, New Zealand’s pavilion at the 58th Venice Biennale. Currently Curatorial Manager, Asian and Pacific Art at Queensland Art Gallery|Gallery of Modern Art (QAGOMA), Stanhope is the lead curator on the 10th Asia Pacific Triennial (APT) for 2021 and led the 9th Asia Pacific Triennial in 2018. Other recently curated exhibitions and collaborations include Dane Mitchell’s Iris, Iris, Iris (Mori Art Museum, Tokyo and Auckland Art Gallery Toi o Tāmaki, New Zealand, 2017–18, co-curator Mami Kataoka); Ann Shelton: Dark Matter (Auckland Art Gallery 2016–17); Out of Office, Public Share collective, RMIT Project Space, Melbourne 2017); Space to Dream: Recent Art from South America (Auckland Art Gallery, 2016, co-curator Beatriz Bustos); Yang Fudong: Filmscapes (Centre for the Moving Image and Auckland Art Gallery, 2014–15, co-curator Ulanda Blair), and TransVersa: Artists from Australia and New Zealand (Museo de Arte Contemporáneo, Santiago, Chile, 2006, co-curator Danae Mossman). Stanhope is commissioning editor of and has contributor to: Ann Shelton: Dark Matter, Auckland Art Gallery (2016); The Māori Portraits: Gottfried Lindauer’s New Zealand, co-edited with Ngahiraka Mason, Auckland University Press and Auckland Art Gallery (2016); and collected symposium papers Artmatter 01: Engaging Publics/Public Engagement, Auckland Art Gallery and AUT University, 2014 and Artmatter 2: Agency and Aesthetics, co-edited with Ann Shelton, Auckland Art Gallery and Massey University (2018). Her other recent publications include: ‘Living in These Times’ in Gregor Kregar, Gow Langsford Gallery and Gregor Kregar, Auckland (2018); ‘Everything Now’ in Us V Them: Tony de Lautour, Christchurch Art Gallery Te Puna o Waiwhetū (2018); ‘We Journey on through These Rough Waters’ in APT9, Queensland Art Gallery|Gallery of Modern Art (2018), Found in Translation (for Richard Maloy: Things I Have Seen) Youkobo Art Space, Tokyo (2017). She is a regular contributor to art magazines and journals, recently publishing: ‘Curating APT9: Staying with the Questions’, Art Monthly Australasia, iss 313, Summer 2018–19: 34–39 and ‘Home Truths: The Politics of Debility in Recent Projects by Shannon Novak’, Art New Zealand, iss 68, Summer 2018–19: 62–65. Institutional roles Stanhope has held include: Deputy Director and Senior Curator at Heide Museum of Modern Art, Melbourne, Australia (2002−08); inaugural Director of Adam Art Gallery, Victoria University of Wellington, New Zealand (1999–2002); and Assistant Director, Monash University Gallery, Melbourne, Australia (1993–99). She is an Adjunct Professor in the School of Art and Design at AUT University, Auckland and at RMIT University, Melbourne, and holds a PhD from the School of Arts and Social Sciences at the Australian National University, Canberra which focused on the international development of socially engaged art practices. Dancers, part of Women's Wealth' in The 9th Asia Pacific Triennial of Contemporary Art (APT9)Queensland Art Gallery | Gallery of Modern Art (QAGOMA)Start date 24 November 2018End Date 28 April 2019OPENING WEEKEND Vuth Lyno, 'House-Spirit' 2018, installation viewThe 9th Asia Pacific Triennial of Contemporary Art (APT9)Queensland Art Gallery | Gallery of Modern Art (QAGOMA)Start date 24 November 2018End Date 28 April 2019OPENING WEEKEND
Guest curator, Chris Sharp discusses the curatorial process developing and realising 'Dwelling Poetically: Mexico City, a case study' at ACCA (21 April–24 June 2018). Chris reflects more generally on the subject of curating, and in relation to his curatorial projects and co-direction of Lulu, a project space in Mexico City. ABOUT CHRIS SHARP: Chris Sharp is a writer and independent curator currently based in Mexico City, where he runs the project space Lulu with Mexican artist Martin Soto Climent. He has curated numerous international exhibitions, including most recently, Against Nature, co-curated with Edith Jerabkova at the National Gallery of Prague, 2016; A Change of Heart at Hannah Hoffman gallery, Los Angeles, 2016, and As if in a foreign country, at Galerie Nächst St. Stephan Rosemarie Schwarzwälder, Vienna, 2016. A contributing editor of Art Review and Art Agenda, Sharp was recently appointed co-curator (with Dr Zara Stanhope) of New Zealand artist Dane Mitchell’s presentation for the 58th Venice Biennale. ABOUT ACCA MASTERCLASSES: ACCA’s masterclasses are a series of presentations designed to cater to art and curatorial students at a postgraduate tertiary level. This particular masterclass is suited for artists and students studying art history, curatorial practice and arts management at postgraduate tertiary level. Recorded on Monday 23 April 2018 Further information: http://www.luludf.com/ http://acca.melbourne/exhibition/dwelling-poetically-mexico-city-a-case-study/
System Theory is the latest addition to the PsynOpticz family, based in Cape Town, South Africa. He puts together powerful psychedelic sets that attract many wondering minds to the dancefloor to let their energy thrive to the beats! System Theory, aka( Dane Mitchell) was formed from the undergrowth of the Eastern Cape psychedelic music scene. After years of success with the minimal/techno act, Dane Mitchell, System Theory was bred as a psychedelic side project which soon blossemed into the act it is today. Having co founded Port Elizabeth's first and largest monthly psytrance event, running the psytrance Eastern Cape forum to holding residencies at top outdoor festivals such as Wacky woods, Tunnel vision festival, Hug a tree, Earthdance and playing main sets at nearly every psychedelic party in the area as well as the garden route and all the way up to Cape Town. Expect powerful, well planned, energetic sets with top class mixing. Track list: 01 / Nukleal - 666 02 / Dharma - Psylomeiosis 03 / Unreleased 04 / Dirty Saffi - Walk Through Walls 05 / Aardvark - Punchdrunk 06 / Unreleased 07 / Dharma - Orchidea 08 / Module Virus - Circle of life 09 / Ingrained instincts - Just a Ride 10 / Module Virus - Prodigious Euphoria 11 / Ajja & Earthling - Puddle Jumper 12 / Chromatone & Virtual light - Swingception 13 / Earthspace & Manipulation - Lick the Future 14 / Tristan - Time & Space 15 / K.I.M - Pop Fiction 16 / Ninesense & NaiLik - Polymorphic --------------------------------------------------------------------------- Follow System Theory : www.facebook.com/SystemTheory https://soundcloud.com/system_theory ---------------------------------------------------------------------------- Follow PsynOpticz Records: Website: www.psynopticz.com Facebook: www.facebook.com/PsynOptcz Soundcloud: @psynopticz Youtube: www.youtube.com/PsynOpticz Twitter: twitter.com/PsynOpticz Instagram : www.instagram.com/psynopticz
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