Now Showing: Exhibits

An Audacious Decade

The Auricle Sonic Arts Gallery
Showing: Friday 2-23 June 11am-4pm
Saturday 3-24 June 1-4pm 2017
Opening: Thursday 1st June, 5:30pm
Facebook event

An Audacious Decade Exhibition — Festival Opening — Magazine Launch

An Audacious Decade celebrates ten years of the Borderline Ballroom – an arts collective and group of friends who have been instrumental in building Canterbury’s Sound Community. This group exhibition both documents the decade through images and sonic artefacts, and features new ambisonic, intermedia, and oenosthetic installations by Malcolm Riddoch, Nicolas Woollaston, Adam Willetts and Jo Burzynska.

Join us for a preview of the exhibition, the opening of An Audacious Decade four-day festival, as well as the launch a special commemorative publication, An Audacious Decade, featuring documentary photography from CSSA members and essays from Jo Burzynska, Bruce Russell, David Khan, James Hope, and Malcolm Riddoch.

Wines for the opening supplied by Pegasus Bay.

Documenting a Decade 2007–17
Documentary photographs contributed by the following CSSA members and sympathisers: Chris Andrews, Marine Aubert, Rustle Covini, Helen Greenfield, David Khan, Malcolm Riddoch, Jan Titus, Peter Wright, and Nicolas Woollaston

Ghosts of Auricles Past
Malcolm Riddoch

Featuring spatial recordings of audience outtakes from Auricles past, this sonic intervention mixes the present and past of the gallery’s sonic space and time. The artwork seeks to immerse a present audience in a living, shared sonic heritage, and invites an openness to the sonic future of Auricles past and present.

Malcolm Riddoch’s sonic arts practice melds experimental electroacoustic techniques and phenomenological method in an investigation of acousmatic listening and the electronic transformation of soundscapes; notions of indeterminacy in composition for installation and performance; the use of whole acoustic spaces in sound art installation and music performance; and electroacoustic feedback as an embodied, intentional, temporalizing process. His medium is non-tonal, timbrally focused and technologically organised sound, where thematic dissolution is his sonic theme.

Light Chimes
Adam Willetts

Adam Willetts is exhibiting two pieces in the Audacious Decade exhibition. A new work called Light Chimes in which a number of simple solar engines perform an evolving sound work on pentatonic chimes, and also a DIY synth that he built in 2008 using circuit designs by Nicolas Woollaston.

Adam Willetts is a sonic and visual artist based in Christchurch. He works across a wide range of media from the high tech to the very low tech and handcrafted.

The Fall of Water
Nicolas Woollaston

Listen to the rhythms of water whose periodic patterns have been the governor for all of human history and indeed all of life’s time on Earth. Listen for the rhythmic patterns, listen for the chaotic missteps. The ways of water tread a fine line between order and chaos, which perhaps tells us less about water and more about the way our minds distinguish order from chaos. Water is the yard-stick that humanity can use to calibrate all our relations with the Earth.

Nicolas Woollaston is a Christchurch artist.

Jo Burzynska

Amazuppai uses the interactions between sound and wine to explore the physical sensations, conceptual contrasts and subconscious synergies of ‘sweet and sour’. The knife-edge balance between these two contrary but often complimentary tastes and their semantic associations is explored in Amazuppai (the Japanese for sweet-sour, comparable to the idea of bittersweet); reinforced and destabilised through the interplay of a crisp off-dry Riesling with a modulating soundscape. Presented over the Audacious Decade festival days.

Jo Burzynska is a sound artist and wine writer whose work in these areas has increasingly converged in the production of multisensory art. Her installations and performances are regularly created at the intersection of the senses, combining sound and taste, which is also the topic of her current doctoral research.

An Audacious Decade Festival

The Auricle Sonic Arts Gallery
Thursday June 1 – Sunday June 4
Facebook event

On May 31st 2007, the Borderline Ballroom hosted its first event in the crumbling dancehall that was Christchurch’s Media Club. This gathering initiated ten years of regular sonic happenings in the city, culminating in the establishment of our own permanent artist-run space and the South Island’s first sonic arts gallery, The Auricle. Before The Auricle in its current form closes its doors at the end of June, the Cantabrian Society of Sonic Artists invite you to join us for a four-day celebration of An Audacious Decade!

Before the festival’s full programme appears on this page in the coming weeks, here’s a taste of the exciting events in store: which include an exhibition, live performance nights, film screening and symposium.

Thursday 1st June – 5.30-7.30pm – An Audacious Decade
Exhibition Opening and Audacious Decade Magazine Launch
Facebook event
Past and present intermix in this group show by members of the Cantabrian Society of Sonic Artists (the group behind The Auricle), which both documents the decade through images and sonic artefacts, and features new works by Malcolm Riddoch, Nicolas Woollaston, Adam Willetts and Jo Burzynska. Join us for a preview of the exibition and the opening of the festival, accompanied by wines supplied by Pegasus Bay.

Friday 2nd and Saturday 3rd – 7.30pm – Audacious Evenings

Facebook Event 1
Facebook Event 2
Two nights of performance from CSSA members and friends from beyond the city:
Adam Willetts
Motoko Kikkawa / Joanna Osborne
Bruce Russell
Months w/ guests
Aletheia Ensemble
Roy Montgomery

Sunday 4th – 2-5pm – An Audacious Exchange
Sunday Matinee featuring a post-Fluxus Happening and Symposium, followed at 3.30pm by a screening of Zev Asher’s documentary, “What About Me: The Rise of the Nihilist Spasm Band”.

All events are free.

Anthony Charles Lynton Blair by Kraus

The Auricle Sonic Arts Gallery
Showing: Friday 12th, 19th May, 11am-4pm
Saturday 13th, 20th May, 1-4pm
Opening: Thursday 11th May, 5:30pm
Facebook event


Anthony Charles Lynton Blair by Kraus

Anthony Charles Lynton Blair (born 6 May 1953) was a British serial killer who murdered an unknown number of victims between 2003-2007. Many of his victims were subject to dismemberment, torture and rape. An Oxford graduate and successful lawyer, Blair was regarded by many as handsome, charismatic, and intelligent, traits that left his victims with little chance to overcome him. He was
found sane and guilty at his trial and executed on 20 March 2023.

Blair was an unusually organized and calculating criminal who used his extensive legal and political connections to avoid capture for years. He was skilled at minimizing physical evidence – his fingerprints were never foundat a crime scene, a fact he repeated often during his trial.

After Blair’s death was confirmed at 12:58 a.m. on March 20, 2023, his brain was removed. It is in the possession of Dr. Helen Morrison, a witness for the defense at Blair’s trial, who interviewed Blair and other serial killers in an attempt to isolate common personality traits of violent sociopaths.

Blair’s metallic grey 2002 Vauxhall Omega is presently on exhibit at the The Museum of Modern Crime.

A study published in The Lancet in 2006 estimated the number of Blair’s victims at 654,965. The true victim count remains unknown, and could be much higher.

This sound work for four-channels was featured in the Discovery Channel documentaries “The New Detectives: Case Studies in Epidemiology” and “Most Evil: Blair”. It is in seven parts:

1. Fuck You
2. I Kill You Tony Blair
3. The Courage of Our Convictions
4. Murder
5. A Journey (Into the Mind of a Serial Killer)
6. I Fucking Kill You Tony Blair
7. Watch Out

The Antarctic Convergence

The Auricle Sonic Arts Gallery
Showing: Friday 7, 14, 21 April, 11am-4pm
Saturday 8, 15, 22 April, 1-4pm
Opening: 6th April, 5:30pm
Facebook event

The Antarctic Convergence

The Antarctic Convergence is a group exhibition of sound works recorded in Antarctica, curated by noted Melbourne artist Philip Samartzis. Samartzis has visited the Australian Antarctic and sub-Antarctic islands twice, and is well-known for his work with multi-channel field recordings.

The show features a range of compositions by half a dozen international artists responding to the unique physical, spatial and natural attributes of the Antarctic continent and its surrounding ocean. While Antarctica can be deafening in its silence, it is also a place of unusual sonic encounters generated by variable weather, diverse wildlife, and the sound of human enterprise.

The Antarctic Convergence demonstrates the diversity of experience one can have across the continent through artworks generated by first hand encounters with the frozen continent. In addition works have been composed through the translation of scientific data measuring atmospheric or oceanic conditions and variations. The Antarctic Convergence seeks to advance our understanding of the South Pole, and to explore how sound art can be used in the interrogation of one of the most isolated, hazardous, and environmentally diverse continents on earth.

Featured artists include: Phil Dadson (NZ), Werner Dafeldecker (Ger), Lawrence English (Aus), Robin Fox (Aus), Doug Quin (USA), Philip Samartzis (Aus), and Chris Watson (UK).

Mixtape by CSSA

The Auricle Sonic Arts Gallery
Thursday 2nd March
5:30 pm
Facebook event

The ‘mixtape’ is a familiar idea: a compilation of pre-existing recordings that expresses the taste and identity of the compiler, and which often is intended as a gift to a particular recipient. Compiling a mixtape is a creative act analogous to that performed by a DJ or, indeed, any art curator. It involves all manner of practical and aesthetic decisions in selection and sequencing of material, and in the way this is presented. Making a mixtape is like constructing an art museum group show in miniature – one, however, that takes place in a non-institutional and amateur setting. ‘Mixtape’ at the Auricle seeks to bridge personal and public spheres in the form of a gift from its contributing artists to any receptive ears.

Reuben Derrick
Alex Donnithorne
David Khan
Greg Malcolm
Tony Miles
Bruce Russell
Stanier Black-Five
Adam Willetts

Sonic Poem by Paul Timings

The Auricle Sonic Arts Gallery
Thursday 2nd Feburary
5:30 pm
Facebook event


Sonic Poem is an interactive sound installation that transposes Malaysian sound artist Kok Siew-Wai’s improvisational vocal techniques onto the phonological properties of the alphabet. These properties are then engaged with through the written expressions of the participant via a 140-character audiovisual interface.

Paul Timings is a New Zealand artist who develops installations and recordings via algorithmically generated soundscapes, using source material primarily derived from field recordings.


Ecologies of Transduction by Charlotte Parallel

The Auricle Sonic Arts Gallery
Showing: 6th-27th October, 2016
Opening: 6th October, 6-8pm
Facebook event
Interactive sound installation


On ecologies of transduction

Looking back, you could say it all started from growing up in the middle of nowhere listening to power poles. Putting my ear up to the wooden pole I was compelled by its voices and the accompanying hum. Thirty years later I am still engaged in the practice of listening as a form of attunement to any given place.

The process of mapping, sensing, detection and transformation are a kind of aural forensics. My ongoing interest in participatory sound works is a means of directing attention to the active forces of a place; in particular, the ways in which we exist in a continuum of and specific concentration within the electromagnetic field through our capacity as a transducer.

Transduction is defined as the transformation of one energy state to another. As a process transduction occurs in everything from our human ear to plants to viruses to our cellphone, articulating a field of relations between one thing and another. Adrian Mackenzie describes this field of relations as a “knotting together of commodities, signs, diagrams, stories, practices, concepts, human and non-human bodies, images and places.”[1]

The activation of sound, linked to a cartographic object has the potential to relay the intersecting and often unseen operations of geo-political, economic, ecological and social infrastructures. The corresponding implications are considered ecologies of transduction.

[1] Adrian Mackenzie, “Theory, Event, Transduction,” 2015.

Charlotte Parallel is a recent MFA graduate at Otago School of Art and a practicing artist in the fields of sculpture, sound installation, collaboration and performance. Often choosing to respond to site in a temporal way. She has been exhibiting within New Zealand consistently over the last 13 years and internationally since 2010.

Since 2003 Dunedin has been the home base for Charlotte Parallel’s artistic activity which includes a range of curatorial and community initiated collaborative art projects. From 2010 specifically with The Anteroom, a project art space based in Port Chalmers. The Anteroom is an artist run space committed to representing experimental projects with a national and international network of exhibiting artists.

Image courtesy Gilbert May

Jetzt by John Chrisstoffels

The Auricle Sonic Arts Gallery
Showing: 1st – 24th September, 2016
Opening: 1st September, 6-8pm
Facebook event
Interactive sound installation


Jetzt, a German word that means ‘now’ but it sounds and looks a bit like ‘jets’.

‘Now’ or ‘jetzt’ might suggest the ever present moment and for some Germans (perhaps a Hegel or a Heidegger) they might suggest that we pause to think a little deeper about ‘being in time’. Let us imagine that ‘now’ is indeed a ‘jet’. We are passengers seated on a long journey, perhaps the dream destination of our lives. We put our feet up and rest in the knowledge that our safe flight has been measured and calibrated with pinpoint accuracy and we will arrive at our destination on ‘time’. This gives us peace of mind to relax. However, when we think about that something about ‘free will’ appears to gnaw at us inside as we realise we are trapped in a pressurised cabin at 20 000 feet (or a planet hurtling around the sun).

Closing our eyes, we tune into the sounds around us. We hear the hum of the jet engines, and perhaps we catch part of a conversation in a foreign language. There is always the ubiquitous disembodied cry of a baby and importantly the white noise of oxygen pumped around the fuselage. Concentrate hard on the rush of air. We hear it go in and out of phase. Imagine a strange Doppler effect as the sound travelling in the fuselage effected by any number of relative speeds. Yes the speed of sound can be measured but there is at this moment a symphony of infinite possibilities in this moment of being.

John Chrisstoffels has been involved in music and cinematography for over 30 years and presently is a Senior Lecturer in Film at the Canterbury University School of Fine Arts. His research into ‘transient places’ such as Aircraft Fuselages and Airport Terminals are central to his current DocFA thesis.

On the Constant Dissolution of the Same by Malcolm Riddoch

The Auricle Sonic Arts Gallery
Showing: 4th-25th August, 2016
Opening: Thursday 4th August, 6-8pm
Facebook event
Live audio recording cycling into electroacoustic decay


“Only those who already understand can hearken [zuhören]”
Martin Heidegger, Being and Time

On entering this world there is contact as sound objects impact one’s sense organs of hearing, the ear but also the body. On contact there arises the familiar sensation of hearing  the sounds in this world. With the constant arising of sensation there arises feeling, belonging and understanding. With the arising of understanding, one has already entered into this world of the familiar sounds themselves, the world of our everyday being, and so the cycle of becoming continues without beginning. And yet having always already entered this world, there was already contact of sound objects with the sense organs of hearing, and with this fading contact there is the constant fading away of the sensation of hearing. With the fading away of sensation there is also the constant fading away of feeling, belonging and understanding. With the constant dissolution of understanding, one has already entered into this everyday world of the familiar sounds themselves, and so the cycle of becoming is constantly dissolving into the same.

Dr Malcolm Riddoch’s sonic arts practice melds experimental electroacoustic techniques and phenomenological method in an investigation of acousmatic listening and the electronic transformation of soundscapes; notions of indeterminacy in composition for installation and performance; the use of whole acoustic spaces in sound art installation and music performance; and electroacoustic feedback as an embodied, intentional, temporalizing process. His medium is non-tonal, timbrally focused and technologically organised sound, where thematic dissolution is his sonic theme.