18 January 2010
Hi friends,
It is with great regret that we must inform you of the impending closure of Cross Street Studios. Due to a recent unrealistic and non-viable rent increase from our landlord, we are forced with no other option than to move on from our beloved space at the end of this month. It is a sad time for us, but we would like to thank you for you ongoing support and enthusiasm for the space over these last few years - without this support, the space would not have been what it was, or been able to achieve what it has - and for this we truly and sincerely thank you. We have had a great time, and learnt a lot from this experience; and we hope that you got as much out of is as we have.
We will be back in some shape or form in the near future; all the best until then.
x The team at Cross Street Studios.
To see some of the things that we got up to, you can check out the Cross Street group on Facebook here.
Monday, January 18, 2010
Thursday, December 17, 2009
Garage Sale/Xmas Party
This tuesday at Cross Street, we will be selling misc goods and useful stuff at our garage sale. As well as this, we will be celebrating a successful year with an xmas party of epic proportions!
Bands such as:
Dole Day Rage
Dr Octopuss
Swampy Tonk
Ivy Rossiter
Sam Hamilton
Vegan BBQ
Dan's jerk chicken shack
Infamous Cross Street Punch
Cleo from First Thursday's jump rope play team
Mikey from Smoking Hot Bitch Fight's rap workshop
Cross Street ping pong tournament - mc'd by Damian from Stress Cadet
Also! Come bring a tshirt and get it screen printed with Tes!
See you there!
Facebook invite here!
Bands such as:
Dole Day Rage
Dr Octopuss
Swampy Tonk
Ivy Rossiter
Sam Hamilton
Vegan BBQ
Dan's jerk chicken shack
Infamous Cross Street Punch
Cleo from First Thursday's jump rope play team
Mikey from Smoking Hot Bitch Fight's rap workshop
Cross Street ping pong tournament - mc'd by Damian from Stress Cadet
Also! Come bring a tshirt and get it screen printed with Tes!
See you there!
Facebook invite here!
Tuesday, November 17, 2009
Cross Street Resident Artist Uri Davillier will be participating in the first ever First Thursdays on December 3rd - an initiative by Cleo Barnett who is aiming to create a "social arts gathering on K rd."
Check it:
First Thursdays is a community-conscious collaboration of artisans and art lovers whose ultimate goal is to showcase new and exciting talent in the fields of visual arts, music and performance.
On the first Thursday of every month, First Thursdays at St Kevin’s Arcade will bring together visual artists, performance artists, photographers, musicians, DJs, and hopefully... you! If you live in Auckland or just visiting for the summer, come be a part of the collaboration!
www.firstthursdays.co.nz
And Uri's website:
http://www.neptuneglassworks.com/
Check it:
First Thursdays is a community-conscious collaboration of artisans and art lovers whose ultimate goal is to showcase new and exciting talent in the fields of visual arts, music and performance.
On the first Thursday of every month, First Thursdays at St Kevin’s Arcade will bring together visual artists, performance artists, photographers, musicians, DJs, and hopefully... you! If you live in Auckland or just visiting for the summer, come be a part of the collaboration!
www.firstthursdays.co.nz
And Uri's website:
http://www.neptuneglassworks.com/
Sunday, October 18, 2009
Upcoming group exhib!
It's pretty much gonna blow your mind. See you thursday!!
Brought to you by members of the Cross Street Artist Collective and friends.
Tes Clark / Sam EJ / Nick Boyd / Nacho Perez / AlaniZ / Savannah MacIntosh / Tessa Stubbing / Mikey Krumins / Zara Sigglekow / Dan Carey / Uri Davillier / Sam Hamilton
Wednesday, July 29, 2009
Auckland Zinefest!
Oh my gosh, biggest and baddest event since...Cross Street's last event!
Check the Zinefest Blog for more details, or visit the Facebook Event
Check the Zinefest Blog for more details, or visit the Facebook Event
Sunday, June 21, 2009
Uni and her Ukelele
Wednesday 10th of June 2009.
Chris from Dont Die on my Doorstep very kindly organised this wonderful show with Uni and her Ukelele with the Wildwood lights.
Chris from Dont Die on my Doorstep very kindly organised this wonderful show with Uni and her Ukelele with the Wildwood lights.
Uni and her Ukelele
Wildwood Lights
Chris from Dont Die on my Doorstep. swe.More updates from the last 3 months at cross street to come soon. xx
Thursday, February 19, 2009
Interview with Jess Haugh, of The Fanny Waterman Collective
Last year Jess and her outfit, The Fanny Waterman Collective performed their show, The Cohabitation Project, Part One: Urban Sacrifices at Cross Street Studios.
Rachel Ruckstuhl-Mann asked Jess a few questions about the show.
CSS: How did the subject matter of your performance come about?
JH: The subject matter was secondary to the form of the show, as the original idea show originated from a performance band I was involved in. We wanted to explore how the use of music, sound and images could be used to create a bodily experience for the audience, create feelings rather than thoughts. The subject matter developed from these ideas, as we thought ideas of living in a city were often a visceral experience, the idea of a forced co-habitation and the experiences that arise from that.
CSS: Why did you use the forms of performance you used to communicate your ideas.
JH: As I said above the forms of performance were a means to explore different ways that music, movement and images could come together or not together to create a bodily experience for the viewer. As the idea of the show was to portray a surface of cohesiveness as what we thought of as a city but when you delve deeper there is only disorder and disconnectedness. The use of the various forms of performance was an attempt to rub different forms up against each other to portray the disconectedness and disorder of
the city we were trying to portray.
CSS: Why did you choose Cross Street Studios as your performance venue?
JH: For few reasons, it was within the budget for our show. Also I had a positive experience previously with a show I was involved in. Also it was an open space that allowed flexibility in how it was used.
CSS: Do you think this venue adds/changes the way your show is understood?
JH: It did have an impact in how the show was understood, as it allowed a more improvisational feel to the show. There was also a proximity with the audience, they felt much more involved, the lines between audience and performer were not so formal. Also as stated above one of the aims for the show was to create a feeling of disorder a kinda jumble of performance and the openess of Cross St allowed this
CSS: Could this piece have been performed in a theatre?
JH: Yes but it would have been different as it would make the division between audience and performer much more distinct. There would be higher expectations of the performance, so we may have lost some of the improvisational, jumbled feel that we were aiming for in the Cross St space.
CSS: Who was your performance aimed at, who was your audience?
JH: We didnt really think in terms of audience as we felt it was important to
create something different, so were unsure who would like it.
CSS: What kinds of reactions did you think they would have to the performance? We were aiming to create moments of visceral entertainment which would end up confusing and sometimes distressing as parts of the performance would lead to things that did not make sense.
CSS: Can you explain how the dance sections related to the rest of the piece as a whole.
JH: The dance sections were trying to portray versions of the community, an expression of biological and temporal commonality that when brought together could become ridiculous but also disturbing and destructive.
CSS: Where does the name Fannywaterman come from?
JH: It actually comes from a series of piano books that Fanny Waterman wrote in the 70s which I am currently using to learn piano.
CSS: What are the backgrounds of the performers?
JH: There is a huge range, from some having being trained professionally at
Unitec, to some doing workshops and others just learning from being
involved in prior shows.
Rachel Ruckstuhl-Mann asked Jess a few questions about the show.
CSS: How did the subject matter of your performance come about?
JH: The subject matter was secondary to the form of the show, as the original idea show originated from a performance band I was involved in. We wanted to explore how the use of music, sound and images could be used to create a bodily experience for the audience, create feelings rather than thoughts. The subject matter developed from these ideas, as we thought ideas of living in a city were often a visceral experience, the idea of a forced co-habitation and the experiences that arise from that.
CSS: Why did you use the forms of performance you used to communicate your ideas.
the city we were trying to portray.
CSS: Why did you choose Cross Street Studios as your performance venue?
JH: For few reasons, it was within the budget for our show. Also I had a positive experience previously with a show I was involved in. Also it was an open space that allowed flexibility in how it was used.
CSS: Do you think this venue adds/changes the way your show is understood?
JH: It did have an impact in how the show was understood, as it allowed a more improvisational feel to the show. There was also a proximity with the audience, they felt much more involved, the lines between audience and performer were not so formal. Also as stated above one of the aims for the show was to create a feeling of disorder a kinda jumble of performance and the openess of Cross St allowed this
CSS: Could this piece have been performed in a theatre?
JH: Yes but it would have been different as it would make the division between audience and performer much more distinct. There would be higher expectations of the performance, so we may have lost some of the improvisational, jumbled feel that we were aiming for in the Cross St space.
CSS: Who was your performance aimed at, who was your audience?
JH: We didnt really think in terms of audience as we felt it was important to
create something different, so were unsure who would like it.
CSS: What kinds of reactions did you think they would have to the performance? We were aiming to create moments of visceral entertainment which would end up confusing and sometimes distressing as parts of the performance would lead to things that did not make sense.
CSS: Can you explain how the dance sections related to the rest of the piece as a whole.
JH: The dance sections were trying to portray versions of the community, an expression of biological and temporal commonality that when brought together could become ridiculous but also disturbing and destructive.
CSS: Where does the name Fannywaterman come from?
JH: It actually comes from a series of piano books that Fanny Waterman wrote in the 70s which I am currently using to learn piano.
CSS: What are the backgrounds of the performers?
JH: There is a huge range, from some having being trained professionally at
Unitec, to some doing workshops and others just learning from being
involved in prior shows.
Wednesday, December 3, 2008
Team!
After a succesful meeting, the tem poses for happy photo times.
L-R: Briar, AJ, Mikey, Aimee (guest), Tessa, Phill, Rachel, Michael, Nick, Re-usable shopping bags.
Sunday, November 30, 2008
Studiola
"The European studio, as illustrated by the Parisian studio at the end of the nineteenth century is generally a spacious place characterised by its rather high ceiling… access is such that large works can be brought in and taken out.”
“The studio of American artists has a more recent origin…natural light plays a much smaller role …electric light is on day and night”
The 4th of November saw the start of Michelle Osborne of Cross St Studios' exhibition Studiola feat. Holy Balola. Here are a few snapshots from the course of the exhibition.
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