Everybody Eats – Everybody Helps

Street Wise Presents: Everybody Eats – Everybody Helps

Hosted by Exchange Christchurch – XCHC

Saturday, August 4, 3pm – 9pm

Exchange Christchurch – XCHC: 376 Wilsons Road North, Waltham, Christchurch

On Saturday, Street Wise and Exchange Christchurch – XCHC are joining forces with a bunch of other good folks to host an event that brings a number of communities together, and to celebrate the things that unite us and create a space where people, including the city’s street whānau, can come together and share food, experiences and skills. As part of the Everybody Eats – Everybody Helps project, members of the RAD Collective have helped transform the XCHC space, covering the walls in graffiti and street art in a transformative gesture that brings the outside in and encourages us to ask questions about our assumptions of the streets. This is only one aspect of the wider programme, but it is an important reminder of the way urban art can serve as a transformative, subversive communicative visual culture, one that traditionally has a connection to the experience and reading of public space in ways very different to the grandeur of large scale commissioned murals that might be viewed as having been co-opted as tools of gentrification.

We caught up with Preston Hegel from the XCHC to talk about the event, what it will mean, and how urban art has a role to play…

Preston, how did Everybody Eats – Everybody Helps come together?

It was inspired by Everybody Eats in Auckland and seeing the sensibility of diverting food waste and repurposing it, seeing people wanting to contribute, chefs wanting to volunteer some time to make it happen for people who maybe weren’t seen as worth being given that time. I didn’t think that was something we could pull off here, but I still knew that there’s a similar need here, people have immediate needs. Maybe we can’t organise diverting waste from supermarkets and the strategies that go into something like that, but I knew that there were probably enough people here wanting to help so that if everybody did their little bit, we could achieve something, which is why we are doing the potluck concept. The potluck idea is something we as a community do at the XCHC once a month. We all make a dish and put down the tools and just have a meal together. We all get to know what each other is working on. We all take the time to listen, and we always end up really excited and having a good time. So, I just figured, that works for us here, so why not try to do something like that for the street whānau. I don’t know anything about the situation here, I just know that it’s bad. So, I started to look around and see who was really doing the hard yards for the street whānau, and I came across Street Wise because they were new and are higher up on the thread of activity in the city. So, immediately I just reached out and said: ‘I don’t really know much about this, but we do have a building and we have a pretty tight community and were keen to help out if there are any opportunities…’ So, I met with River from Street Wise and we found similar things inspired us and that we wanted to achieve the same thing, so we put our heads together, out came a few ideas, and we decided on a date just like that.

Headlines are so often framed in ways that ‘solve’ homelessness by moving people out of sight, by banning begging in areas, but this approach isn’t about ‘solving’ anything, it is about a positive, communal experience, and central to this is bringing people together. Often, we pass by people on the street and we may contribute something, or we may not, but I think that ability to actually come together and share an experience is really telling. So, what does the actual event entail?

I think another thing to add to the ‘sometimes we do, sometimes we don’t’ thing, is that nine times out of ten we actually want to, we just don’t know how. So, this event is about addressing how you can help in a small way, because money isn’t really the right option, but some people don’t know that. You know, you see a sign that says this is what I need, and you are kind of like, ok, but it can be confusing. So, I guess the idea is to make that process a little bit easier, not that we’re going to be walking around the streets with our baked goods every day. The XCHC is a place where people are supposed to be able to come together and have the freedom to be themselves without judgement and to have a supportive community around you. No matter what someone’s creative practice is here, you’re surrounded by people all developing their own practice, so there’s a very automatic sense of acceptance and support. You come in and the walls are down, and that is kind of a driving idea of this event as well. This event started as a way to use food to bring people together, but then we realised that it was about much more than that, it was about being able to spend time in a place where you actually feel looked after and you actually feel like you have enough time to get to know people, so it’s actually more about a social setting. So, then we thought, what pieces of a social setting do we enjoy? What might others enjoy? So, things like haircuts, I love being cleaned up, I love talking to my barber, and just the pieces of it, you know you come out looking good, and feeling even better, on the other side. But there’s also that social element, and that was automatically part of it. We knew how much My Father’s Barber has been involved with the City Mission, and the regular things they do for them, so that was something we thought we could put out there and see if it was able to come together. It’s the same with coffee. I didn’t know this, but a real thing of choice for our street whānau is coffee. They love coffee, and I had no idea, and our roaster [Mark Chirnside of Chirny Coffee] is an incredibly talented young barista and all-round coffee lover, and when we said we wanted to do something around coffee, he was just like: ‘Can I give you the beans? Can I give you support? I want to be able to give one on one attention to people who just show up.’ The haircuts, the coffee, it isn’t just for the street whānau, it is actually for anyone to come in and be a part of. It doesn’t make sense for me to arrange an entire day for this particular community I don’t intimately understand, so the idea is to open this up and then it won’t feel like it is for them, it will feel like a day of activity for everyone.

And that comes back to the idea of the communal experience, it’s not about isolation in that sense, it’s about actually engaging together as a community in a broad sense…

And we see it in a lot of ways too, we see it with Arts Access and creative organisations helping disabled communities. If you do something for the disabled, then you are really singling them out, and they want to be involved in stuff as much as anybody, and it’s exactly like you said, it’s about coming together and not being about one specific community, the XCHC is a bridge between communities, between people…

In terms of the RAD Collective, they have been working out of the XCHC for a month, what was the idea of getting them involved as part of Everybody Eats – Everybody Helps?

The RAD Collective moved in about a month ago, and I was just so blown away by their ambition and determination. There are quite a few in the group and a number of them had been exploring quitting their jobs and focusing on their creative outlets full time, which is exactly what XCHC wants to support. You know, they are going into that vulnerable stage, they need support, they need some business, to be around other creatives to stay motivated and I guess with the showcase space not being used for the couple of weeks coming up to the event we had a perfect opportunity to give them the freedom to do what they do best. This is really what the XCHC is about, you really have that support to develop and produce your work but also to showcase it and the public can come and see what you are working on and get involved themselves, so it was really a perfect invitation to come into the XCHC as a whole unit and do what they do best and contribute to something that the XCHC cares about and they were all keen. They were grateful for the opportunity, to do what they do, to do something which I think is kind of unheard of in this city, I don’t go to a lot of cafés where people are painting the walls on a regular basis. But also, to get behind this event and what it represents, and they were so willing to do it.

You have touched on the duality of this element as well. As you say, there is a chance for the RAD Collective to exhibit in a unique way. You are presenting them with the chance to be quite authentic in their presentation, because often in that transition into a full-time creative role, formative roots can be washed out somewhat, things have to look nicer, have to fit a certain expectation, so there’s a recognition of where these young creative people are coming from. But, there is also an inherent reflection of street cultures, the streets as a space for people to occupy, and to utilise as a creative expressive forum, so there is a conceptual relationship too, right?

Absolutely, the ability to bring the best of what they do into where they work and in front of an audience in a supportive space, but also for the event, to bring a community into a space who aren’t necessarily used to this sort of space, to become a home, to give a positive space, surrounded by street art, and we are in that space there with them. I don’t know if I’m going to follow through, but one of the ideas for the night was for everyone to bring to the potluck a mat or a pillow and we’re going to put all the chairs away and we’re going to be on the same level and all eat together on that same level, and appreciate the art, we’re going to have music on the night and bring all the senses together, in an experience that shows that the streets have a different look and feel to them in a positive way.

It’s not just bringing the streets inside, it is also making us think about our preconceived perceptions of urban spaces as well. We are often conditioned to think that when we are surrounded by graffiti, we are in a dangerous space, but that’s a construction, not necessarily a reality. So that’s another value, by transforming an interior space it is playing with the expectation of an exterior space, our expectation of shared environments…

I’m completely blown away at how the RAD Collective took that to another level by hosting the Coffee and Cans event on the night the exhibition was being built. They gave the opportunity to people to engage with street art and graffiti and the whole process, to grab a can and give it a try, or to meet the artists who are behind some of the work in the city. I think that’s actually the point, not to just come in and enjoy it as a finished product, but actually inviting people to come along on that whole journey and how it excites us and inspires us in that process, and I thought that was such a cool way for them to do it. I’m not an artist, so I kind of assumed that an artist doesn’t want their work to be seen until it is finished, and with my experience running the studios here, that’s usually the case, an exhibition isn’t seen until it is all ready to go, so I don’t see things through this lens, but to see them do it that way was really cool.

For sure, it is an interesting landscape now, generally speaking, with process videos and public performance elements a significant part of urban art at a number of levels, it allows a new level of consideration, both for those who haven’t had a chance to be a part of it, but also for those who are fascinated by process. So, what are the key things you want people to know, to get out there, about Everybody Eats – Everybody Helps?

I want people to know that this project and having the RAD Collective here is a perfect representation of what the XCHC is all about and to explore that over this couple of weeks. As for the event, I really want people to know that it is about more than the XCHC and it’s a very small prototype of something that is being worked on in the city. Nick Loosley, who started Everybody Eats in Auckland, talked about wanting to spread across the country, so this is about eventually honing into that model of diverting food waste, which is so important for Christchurch right now, and leveraging the talent of the chefs in Christchurch. It is not a replica of what Nick has done, it is just something that’s inspired by what he has started, but I want people to know that there is more to come on that front and I want the city to be as active in supporting it as Auckland has been, so it is about being in on it, bringing a plate, if you can’t make it, make a donation to go towards helping make future Everybody Eats events in Christchurch happen.

Get along to the XCHC on Saturday and be part of a special event. If you can’t make it on the day, you can still contribute by donating, so find out more through the Facebook event page: https://www.facebook.com/events/230716677577645/

And check out a selection of progress shots from the RAD Collective’s take over of the XCHC for the Everybody Eats – Everybody Helps event. Photos courtesy of Josh H. Jones (@harryj_jones)…

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The RAD Collective – All Together Now

In late 2017 I started to notice a new name popping up across my social media feeds. I wasn’t even completely sure what the RAD Collective was; a collection of visual artists? A promotional entity? A clothing brand? Something to do with skateboarding? As I delved deeper into the world of the RAD Collective, the answer didn’t necessarily become any clearer, they seemed to be all of those things and more. Even when I asked people about them, I got a range of descriptions and explanations. I explored the artists, some familiar, others new, and found a range of approaches, often tinged with a rebellious, playful or acerbic edge, but always distinctly independent. The RAD Collective remained something of an intriguing mystery.

Eventually I was introduced to the RAD Collective’s co-founder Becca Barclay. When we finally sat down to talk about how the collective came to be, how it functions, and the group’s goals, her passion and energy for the concept was clear. What also became clearer were the collective’s diverse identities and operations. Made up of a number of young creatives, including artists, designers, illustrators, graffiti writers and street artists, photographers, filmmakers, musicians and writers, the RAD Collective facilitates collaboration and cross-pollination, while also allowing members to retain their individuality and flourish independently. Although not an explicit element of their formation, the RAD Collective in some regards reflects the evolution and influence of urban art. They span subcultures and decline singular definitions, while embracing and celebrating the subversive qualities of diverse street cultures among other influences. Where once it seemed everyone belonged to a ‘tribe’, adhering and dissolving into expected activities and appearances, the RAD Collective might represent an eroding desire for labels, a new willingness to be all things and nothing.

So Becca, the RAD Collective seems like a pretty fresh approach in Christchurch’s creative scene, obviously it is distinct from the likes of graffiti crews, where did the inspiration come from? Was there a specific influence that set an example to follow?

The RAD’s initial idea was born at Design School at ARA. It was originally, and still will hopefully be, a collaborative ‘alternative’ underground magazine, focusing on different creative practices and sub-cultures and how they intertwine with one another.  Within each issue, numerous creatives will work together on one artwork or article. My third-year research project was focusing on how sub-cultures were represented in print media from the 1950’s until now (so that was me diving into A LOT of David Carson’s work on alternative publications Beach Culture and Raygun, but also various culture prints like Monster Children and i-D, and even skateboard magazine Thrasher).  But I wanted the RAD to really reflect the idea that all these ‘groups’, whether they might be skaters, artists, musicians, street artists, don’t conform just to their own sub-culture, and they each feed the others. We have really tried to keep that as the essence of what we do as a collective. We have our main inner group, but with each exhibition or event we collaborate on, we invite other artists or work with diverse businesses to create alternative or urban showcases. I don’t think any of our members would even refer to themselves as a part of only one sub-culture. We are huge fans of Young, Gifted and Broke (YGB) from Auckland, and the idea that all these creative people are among one team, I think is a really awesome and inspiring approach.

 I have been wondering, is RAD an acronym?

 Hahaha, no! I just think it looks cooler and way more ‘oomphy’ in capitals!

I have often wondered if a defined subculture such as hip-hop could come into existence anymore. Obviously there have always been localised versions within subcultures, with distinct elements based on the specific environment in which they are embedded, but in the digital age, it seems that influences and information are so accessible and diverse, that people will not necessarily seek any singular sense of definition. But, with that said, is there something that defines the members of the RAD Collective, or at least a common thread that unifies them? Or is diversity the defining element? Is there a concerted idea around who ‘fits’ stylistically, or is it more a question of who does something conceptually or materially that adds to the group’s potential?

That is a really hard question to answer because I would usually describe the common thread throughout the RAD as ‘urban’ and ‘alternative’, two words not necessarily used together often and probably a bit of a cop-out on my behalf as they’re both extremely broad! I’ve never really seen diversity as our defining element as we truly are one big team. But in saying that, our diverse skill set is why we work so well and can offer value, to not only our members, but also to the community and the events we work on. As I mentioned earlier, I doubt any individual members of our team would conform themselves to one subculture. I love to use Harry King, otherwise known as A Tribe Called Haz, as an example of this. He is a full-time builder, but loves urban art and is a graffiti artist, his ‘crowd’ are skaters, he’s been skating since he was ten. But our running joke within the RAD is that all his paintings and illustrations are made with him wearing black double denim, listening to pre-1980’s AC/DC and sinking twelve cans of Diesel bourbon and cola, because he ‘looks’ like a bogan! So, no, there is no idea around who ‘fits’ stylistically, whether that is the artist or their art. It is definitely more about the person who is involved, who can add value, and who we can help out. A lot of our team now are friends of friends or people who we’ve approached to join with an idea or project in mind that might crossover into their specialty, so that is pretty cool. But not only does that add value by making our team more diverse and skilled, but it also opens the potential for collaboration across creative fields people might have never dabbled in before.

RAD Collective member, Tomoki ‘Moki’ Peters in front of a series of his photographs at the RAD exhibition at Papa Hou at YMCA, late 2017. Photo Credit: The RAD Collective

Who makes up the RAD Collective, and what roles do people play? I know you have a large number, but does it need delegation, or even a consensus around projects, or do people sort of pick and choose what they want to be involved in?

The collective is made up of around twenty people; we have some more involved members than others, but that’s just because we have pushed out a lot of visual art exhibitions so far, so our schedule has suited certain members more than others. We would usually put a call out to the team to come over or meet us for a Bodgie Beer (the famous house brew at Christchurch’s Smash Palace) and from there we discuss new projects and exhibition ideas. We then clean the idea up, present it to everyone else and people pick and choose if they want to be involved and their level of involvement. Some members will only exhibit occasionally whereas others are involved in every exhibition, and the whole exercise, from helping with branding, to setting up and packing down.

You mentioned that the magazine is still a driving goal, and I look forward to seeing how it materialises, but how did some of the other events come to fill the gap, so to speak, from art exhibitions to being involved in the King of the Square event (an invitational street skating competition staged in Cathedral Square)? There are always a lot of necessary tasks behind getting anything done, so are responsibilities shared around, or do people have specialist roles?

Thank you, we are excited to see what comes of it as well! I was very lucky that one of my close friends and influences, Billy McLachlan, is the organiser of King of the Square, and he knew about the RAD and basically encouraged me to get involved and for us to sort it out and get into it. At this point we had a team together but didn’t have too much going on.  Alongside King of the Square, also in November 2017, we staged an opening exhibition at Papa Hou, the arts venue at the YMCA. From there we approached Audrey Baldwin to become a part of First Thursdays and then Ōtākaro approached us about doing something for the Evolution Square launch. It all happened in quite quick succession, so that was a full on eight weeks of planning and organising. Myself and Jimirah Baliza, who is the collective’s co-founder, will usually do most of planning and administrative things, but there are heaps of people in the team who help us out along the way! At the end of the day we’re asking a lot of these creatives to turn around exhibition pieces in the time that they do, so we try keep their workload at a minimum.

Members of the RAD Collective at the King of the Square event in Cathedral Square, November 2017. Photo Credit: The RAD Collective

How do the group shows come together? Is there generally a theme that artists work to, or is there a sense of trying to pin down what members are doing in the presentation? Do you take the lead from a curatorial point of view?

In the past, we’ve been approached to do group shows and there has been very little turnaround, which means it has been a couple of hectic, stressful weeks! With our upcoming show, Under the Influence, we have had full control from start to finish and the idea came from having a catch up at Smash Palace with some of the team. With past shows where we’ve had such a tight turnaround we haven’t asked artists to work to a theme, but we did with this new show. People seem to have interpreted it two ways: looking at their influences in life or art, or from a drinking or party culture point of view. We usually don’t want to pressure the artists into doing too much other than making their exhibition pieces, but with big shows like this one they will probably have a small job on the evening. I would love to say I do take the lead from a curatorial point of view, but usually it is launch day and Jimirah and myself and whoever else is running around, usually Kophie Hulsbosch and Lucia Kux, are all hands on deck getting as much done as we can! For this show Jimirah, Kophie, Lucia, McChesney-Kelly Adams and I will be doing equal parts curating and setting up.

What makes Christchurch, and specifically post-quake Christchurch, the place for the RAD Collective to work? I know one member has recently relocated, that is always going to be a reality, especially for young creatives, but do you think it is now a place that might be able to retain and sustain people and their creative appetites and goals?

 We are so lucky being from Christchurch as the art and design community have really helped us out and welcomed us with open arms! ARA, other creatives, event organisers and even Ōtākaro have all helped us out along the way and really embraced what we are doing. We have been incredibly lucky in that respect, but I think that reflects the sort of environment the RAD was born into. People want to see a more creative Christchurch, people want events and interactivity within the city and, luckily for us, they are stoked when they see young people at the forefront of it all. If it wasn’t for that, The RAD would never have been nearly as busy or successful as what it has been to date.

But yes, we are so gutted Tomoki Peters, who is a really talented photographer, has left for the bigger, brighter lights of Melbourne, he was definitely a team favourite. But we’re lucky we live in the digital age, so he will still be exhibiting with us and will still be a huge part of the RAD. But as you said, that’s the reality of it, of course some of the crew will move and travel. But yeah, I genuinely believe Christchurch is an attractive place to stay or to come back to, now more than ever. There are so many creative opportunities, events to work on and co-working spaces popping up, and that momentum and energy within the city keeps building.

The RAD Collective take over the store front window of Sydenham skate store Embassy for First Thursdays, December 2017. Photo Credit: The RAD Collective

As a collection of young people, how does the RAD serve as an example for others? Will it be an evolving concept with a lengthy life span and constantly expanding roster, or is it a celebration of the now, an embrace of the potential to combine and get stuff done in the immediate environment?

Hahaha, oh man, I’m not sure if I’ve ever seen the RAD being an example for others to follow, but I would hope people see us and realise that with a bit of determination, a good mindset and kindness to others, as cheesy as that sounds, you can almost do anything! I love framing everything I do regarding the RAD within a sort of mantra: Do it with passion, do it with compassion, do it with humour and do it with style. If people can see us out there doing it with a smile on our faces, then that’s all that really matters to me. Again, I know it sounds so cheesy, but it’s true! Also, I like to think a bit of naivety never hurt nobody, ya know?

I do think the RAD will be forever evolving. That’s the beauty of a collective, people will always come and go, but I think the true essence of this sort of rebellion, these alternative ways of presenting art, will stay the same. For me, this is my dream, I will do whatever I can to not only one day make the RAD into our magazine, but also grow the RAD apparel, promotions and events, and even develop a RAD artist fund where we can continue to work with super talented young people through workshops, exhibitions, projects, events and collaborations together. That’s the dream anyway!

The lifespan of the collective and the idea of having goals for the RAD does matter to me and some of the other members, although maybe not all of them, but the main attitude within the group is to definitely make the most of now and get stuff done, most def!

With all that said, what is next for the RAD? What is the long-term plan for world domination and what are the shorter-term projects coming up? You have already mentioned the exhibition Under the Influence coming up… 

Yep, next up for the RAD is our exhibition Under The Influence. The show opens 6pm on Friday, April 13th, at the Boxed Quarter, on the corner of Madras and St Asaph Streets. What we have planned is not your average art exhibition, we have light projections from our motion designers within the courtyard, we have some up and coming DJ’s playing, we have three of our street artists doing live painting, we have a heap of food vendors and a courtyard bar to get yourself a cheeky Friday night beer! And, of course, we have our exhibition, there are twenty artists contributing and we are all so excited! We are also going to be rolling out more winter merchandise. Once that is done, then it’s time to focus on the other exhibitions and events we want to execute for the year. As I mentioned, in the long term we would love to do more event promotion, we’re also aiming to paint some murals around the city, do more pop-up shops, more digital and immersive exhibitions, more collaborations with local businesses, and then about half way through this year we are really going to knuckle down and figure out how we can make a somewhat eco-minded, alternative, honest, underground publication that isn’t half-full of advertising! We are also currently working to find our full-time artists a home to work from, so it truly is all go! We are super excited, so whoever wants to come down and check out Under the Influence, we would all love to have a beer with you!

Head down to the Boxed Quarter (corner of Madras and St Asaph streets in the central city) on Friday, April 13th, from 6pm to see Under the Influence. For more information, check out the RAD Collective’s Facebook page: https://www.facebook.com/events/812991845578842/

 Over the next few weeks, we will be featuring interviews with a number of artists from the RAD Collective, so keep tuned and get to know some of Christchurch’s up and coming talents…

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