THURSDAY, 26 JUNE, 7PM
Entry $8 / $6 Full/conc. Door sales only.

Nau Mai! Haere Mai! You are invited to attend a showcase of
contemporary Maori short films, fresh from their premiere at the
Wairoa Maori Film Festival 2008. Introduction by Bruce Hopkins. Short
films screening are:

TAUA Director Tearepa Kahi
RUA Director Garth Watene
BLACK BOOK Director Apirana Ipo Te Maipi
ONE MORE TRY Director Apirana Ipo Te Maipi
THE WORD Director Quentin Parr

Galatos, Galatos Street, Newton, Auckland

HOMEGROWN - Call for Entries.

Deadline April 18th 2008

The Moving Image Centre in collaboration with the 2008 Telecom New Zealand International Film Festival is pleased to announce a call for submissions for Homegrown, New Zealand’s premiere showcase for local short films, video and animation.

In the spirit of promoting, distributing and exhibiting innovative media art, the Moving Image Centre annually presents Homegrown as a well-established and always dynamic platform for bringing the innovative work of the independent film and digital media community to a diverse national and international audience. All three categories within the Homegrown programme consistently attract the most cutting-edge and eminently viewable talent from both up-and-coming and established filmmakers wanting to present their work at the highest level of film festival exhibition in this country. From the poignant to the skillfully irreverent the Homegrown programme always aims to support a uniquely contemporary New Zealand cinematic vision.

We are interested in receiving submissions from all those who would like the opportunity to have their film screened to a diverse and discerning audience as part of this year’s International Film Festival.

Download entry forms for entry details and technical requirements.

All submissions, documentation and preview material should be sent by mail to:

New Zealand Film Festival Trust, Attn. Submissions, PO Box 9544, Marion Square, Wellington 6141, New Zealand

By courier: New Zealand Film Festival Trust, Attn. Submissions, Level 2, Embassy Theatre Bldg, 2 Majoribanks St, Wellington 6011, New Zealand

For HOMEGROWN selection a duplicate submission should be sent to:

MIC Toi Rerehiko, Attn. Homegrown Submissions, PO Box 168 030, Newton, Auckland 1145, New Zealand

*Works in progress are also considered, but please include a detailed description of any proposed changes.

*Filmmakers who do NOT live in New Zealand, Australia or the Pacific Islands OR hold a New Zealand passport should use the International entry form.

MIC Toi Rerehiko
(aka Moving Image Centre)
Galatos Bar and Venue: 17 Galatos St
Office and Gallery: 1st floor, 321 Karangahape Rd, Newton
Auckland,
New Zealand

Lesley Kaiser’s art exploration involves preserving and renewing philosophical texts in public sites – as light projections on a four-storey high projection wall in Light Bytes, Auckland, NZ; the text are further disseminated as video works shown in the OUTVIDEO 07 night programme on 39 screens in 16 Russian cities; on public screens in France; on ceramics plates; and archived into the artists’ book / catalogue box installation.

Philosophers and thinkers have sought to have their voices heard in public places through the ages. Diogenes of Oenoanda (southwest Turkey) in the year 120CE revived texts of the Greek philosopher Epicurus (341-270 BCE) and had them carved and painted in red on a specially built wall around the local agora or market place, which functioned as a giant billboard might today. How this desire to communicate wisdom from past thinkers might translate into today’s culture and “mediasphere” is explored in this project that finds links and transitions from the “logosphere”, which saw the dawn of writing, to the “graphosphere”, dominated by the printed word, to the “videosphere” wherein the visual triumphs (the terms are those proposed by French writer Regis Debray in “Socialism: a Life-cycle” New Left Review 46, July-August 2007).

These works are a way of attempting to revivify the public sphere outside of the narrow market interests that have come to dominate that sphere, and they also explore ways to transforming and archiving the texts by piggybacking on existing commercial distribution networks.

Lesley Kaiser is an artist who has used various publication modes to disseminate aphoristic texts, including on supermarket rollouts, in newspapers, and on electronic signs and television. Publications, often in collaboration with John Barrett, range from the international bestselling pop-up book The Naughty Nineties (first published 1982) to a study of joking culture in NZ (The Penguin Book of NZ jokes, 1996 and Shark Infested Custard. A kiwi kids joke boo, 1997) and a number of small edition, artists’ books.

Group exhibitions include OUTVIDEO 07, Russia; Antipodes [JAM], Strasbourg, France (2006); and Art Now – The first biennial review of contemporary art at the Museum of New Zealand (1994).

Leilani Kake explores the tivaevae and its method of construction as a symbolic cultural art process; weaving women together, creating and strengthening relationships and sharing cultural identity. Like each hand-sewn stitch, each individual arrives at the tivaevae with their own unique story. The video installation documents the making of her first tivaevae.

In Ariki her son awaits his haircutting, a Cook Island ritual of letting a boy’s hair grow until his family decide he is ready for his hair to be cut.A transition from child to manhood is a ceremony, which is to be celebrated and deeply experienced by his family members and community.

“Who is this man child in my arms? He is my ancient Tangaroa, waiting in the sea of Te Kore for the separation of Rangi and Papa, to emerge and stand strong in his Whakapapa.” Leilani Kake

Lonnie Hutchinson’s life has become nomadic, her ideas more fluid and her production more technologically dependent. Shrinking global business and the space where art and life divide, technology has become her friend. Every lived experience is a creative reason to congregate, to share the homespun charms of nana and the kids, stories and references to previous works and travels.
Here the personal, the handmade and the everyday seem more fragile and precious then before. So we may like to curse the speed and the darker side of globalism but our rapidly changing environment doesn’t appear to have hampered our creativity. Instead it has enhanced what being creative means, where and how it manifests allowing a new sense of fellowship and belonging.