The Star: September 28, 2017

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10 | arT In/Visible Landscape 2017 by Wayne Barrar Part of a Whole by Nina Overg Humphries, which is part of the ‘ARE Pasifika programme. New & current works included in public art exhibition Included in the public art display in Hagley Park is this impressive stainless steel sculpture, Terminator T-Rex by gregor Kregar The 2017 season of SCAPE Public Art in Christchurch, which runs for six weeks from October 7 until November 18, will again showcase a wide range of art and art-related activities for the public to enjoy and marvel at. SCAPE Public Art moved from its biennial model to an annual, six-week season of Public Art in 2016, launching new works and showcasing the extensive current catalogue of major public artworks. Over the past 19 years SCAPE has become the largest producer of new contemporary artwork in New Zealand. Providing a unique point of difference for the city, the artworks are ambitious and high impact, enhancing the urban centre and raising the profile for public art in Christchurch. Christchurch-born artist Wayne Barrar and Aucklandbased Anton Parsons have been named as part of Time in Space (territories and flow), the curated element of the SCAPE Public Art 2017 season. Wayne Barrar’s In/Visible Landscape 2017 drawn from his extensive series of photographs, The Glass Archive, will feature on a large banner on the outside of the Canterbury Museum, and billboards at seven locations across Hagley Park, with further pieces displayed inside the museum. The Glass Archive is a large body of photographs exploring the extraction, arrangement and circulation of diatoms and other microfossils for scientific study. Diatoms are comprised of tiny silica skeletons, remnants of algae from millions of years ago and are often found as fossils in diatomite deposits. Glass slides of diatoms were sold to amateur Victorian microscopists, and have been photographed by Barrar through a microscope, enabling us to view the detailed forms and patterns not normally visible to the naked eye. Seven-large billboard works in Hagley Park including ones of fossil marine diatoms photographed through a microscope complement a large banner on the front of the Canterbury Museum, and a giant colour pigment print in the main foyer, both featuring arranged diatoms. Anton Parsons’ work comprises two impressive sculptures, Myopia 2017 and Acquiesce 2017, which are forged from metal. They are located at Christ’s College Quadrangle. Myopia 2017 explores ideas about distance (both physical and metaphorical) and perceptions of the world depending on where you see things from. Acquiesce 2017 also features patterning that is in braille, but the meaning of the text is more ambiguous. The 2017 artworks will be on show in a range of spaces around Christchurch, with the Canterbury Museum acting as the starting point for the exhibition’s Public Art Walkway. The works by Barrar and Parsons bring visual and symbolic impact to these pockets of the city, connecting to form an integral part of the SCAPE Season 2017 Public Art Walkway. The season will also feature a number of performance workshops, and there will be a strong focus on Pacific art with the ‘ARE Pasifika programme. Other highlights include free walking tours on October 12 and 14 and Art By Tram on Friday, November 3, from 6pm-7.30pm. Full details of all the events and exhibits are on the SCAPE website, scapepublicart.org.nz AWAITING COPY Ad Number: FG10453 Artwork: FG6882 Size: 9x4 Enjoy Dunedin with us Aaron Lodge TOP 10 Description: AARON LODGE MOTOR CARAVAN PARK Account: Forward 50 Colour: F Filename: FG6882 • Heated Swimming Pool • Pentanque Court • Playground • Barbeques • Activities Booking Service • Reading Room • TV Lounge • Spa Pool • Mini ‘Park Golf’ Course • Under 5’s Playroom • Picnic Tables • Games Tables • Internet Station • Laundry www.aaronlodgetop10.co.nz AWAITING COPY Ad Number: AP25834-V3 Artwork: AP25834 Size: 9x4 Description: COTURA FASHIONS Account: Colour: F Filename: AP25834 FASh I onS WOMEN’S WEAR CLEARANCE CASUAL & DRESSY • SIZES 10-26 LOTS OF BARGAINS FABRIC BONANZA DESIGn ER DRESS FABRICS At VERY REASonABLE PRICES FABRIc BONANz A & cOTu RA 113 MAIn S o U th RoAD o FF St REEt PARKIn G 03 366 6958 Mon-FRI 8AM-4PM
moToring | 11 new-generation OF Suzuki Swift By Ross Kiddie Bang on cue a new-generation Suzuki Swift has landed. If my memory serves me well, the last time a complete newcomer arrived here was mid-way through 2011. Sure, there have been upgrades and enhancements along its lifecycle, but a model with a completely new shape and new engineering has been a while coming. Yet, Suzuki know the value of Swift in the markets where it is well-established, and the concept hasn’t been tinkered with, it is still the cheeky, small liftback that will slot into its market segment, easily filling the role of its predecessor. The new model arrives in four variations with the option of manual transmission in the entry-level car (GL). It lists at $19,990; $2000 adds automatic transmission. An automaticonly GLX lists at $24,500, while a sporty RS model, sits at $25,990. The latter is a three-cylinder 1-litre model which has a turbocharger to promote that sporty feel. The test car was the latter and I’m not convinced it will be the volume seller. The entry-level and mid-grade models share a 1.2-litre, four-cylinder engine, and I’m picking the GLX will be the car of choice. I’m due to drive it soon but in the interim the wee turbo three-potter is a great deal of fun and, once again, I must relate to the honesty of Suzuki’s small engine. My old work car was a Suzuki Alto and I just adored the sound and harmonics of the engine. The new Swift’s unit is obviously quite a lot more refined and quieter, but you can’t help but notice that there is something out of the ordinary. Suzuki rate it with 82kW and 160Nm. Peak power is developed low in the rev band at 5500rpm, while maximum torque is available all of the way from 1500rpm to 4000rpm, which means a broad spread of power. These are healthy figures that will promote a 9.5sec standstill to 100km/h acceleration time, which is pretty good for a 998cc engine. Add into that a miserly 5.1-litre per 100km (55mpg) combined cycle fuel usage average and you have a car that is both fun and thrifty. Unlike the continuously variable transmission in the 1.2-litre Swift, the RS gets a traditional six-speed automatic, which incorporates steering wheel-mounted paddle shifters that enhance the sporty experience. Of course, if you select the standard drive mode the engine management protocols provide the impetus to suit each and every driving condition, but the point I’m making is that if you feel like a spirited drive, select the manual setting and the wee RS takes on a different demeanour. The engine responds willingly, and while the turbo boost isn’t dramatic there is a long sensation of forced induction, it feels lively and to a subdued extent, forceful. Until I drive the GLX, I’m suggesting that the RS version has spring and damper rates slightly firmer. Not that they take away any of the occupant comfort levels, but there is a feel within the suspension set-up that suggests there is some connection to the high-performing Suzuki Swift of eras gone by. The RS also gets wheels an inch bigger than that of the entry-level model, and even though they don’t carry a huge tyre size (185/55 x 16in), there is direct steering feel and controlled handling. A lot of the latter can be put down to the fact that the new Swift as a series is quite light (945kg), therefore there isn’t a lot of load going on the tyres, which promote a neutral handling feel. I took the test car on my usual Hororata loop, and although it isn’t a demanding drive the Swift RS quickly grew on me as a competent highway traveller. It works quietly and will corner briskly without complaint, all the time providing the driver with solid steering feel. The new Swift series has been built with the latest safety advances and new technology to improve safety. I particularly like the emergency braking back-up that detects an imminent collision if it appears the driver isn’t going to react in time. In terms of the interior, the controls are located sensibly and the in-cabin detailing is fresh and high quality. It’s a mixture of the successful formula Suzuki has developed in its small cars along with the additional components that modern car buyers are demanding. I’m referring to the large touch screen display, which commands attention in the central console. It is home to the communication functions, audio and satellite navigation. It also allows the connection of Apple Car Play and Android Auto. When I look at Star Media’s car park I see a solid representation by Suzuki, we have Altos and Swifts, which were chosen for reliability and economy, exactly the criteria which Suzuki values highly as a manufacturer. I wonder how long before the newcomer joins our fleet. 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The Star: September 28, 2017

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