Writing

Crossing Currents: Episode 3

By Contemporary HUM

06.07.2024

Contemporary HUM interviews artist Caitlin Devoy about BODYOBJECTS, her presentation in the 2024 edition of Personal Structures in Venice. Speaking to HUM in April 2024, Devoy discusses using humour as a feminist strategy to challenge the power relations encoded in gallery spaces, resulting in works that refuse disembodied objectivity in favour of tactility, subjectivity and intuition.

Writing

Crossing Currents: Episode 2

By Contemporary HUM

29.06.2024

Contemporary HUM interviews Brett Graham (Ngāti Koroki Kahukura, Tainui) about Wastelands (2024), his work in Stranieri Ovunque – Foreigners Everywhere, the 60th International Art Exhibition of the Venice Biennale. Graham discusses Wastelands as a commentary on extractive attitudes to land, the logistics of exhibiting at the Venice Biennale and what it’s like to be included alongside an intergenerational selection of Māori artists, including his father, Fred Graham.

Writing

Crossing Currents: Episode 1

By Contemporary HUM

22.06.2024

Aotearoa New Zealand artist Areez Katki speaks to HUM about The Rhapsode’s Tools Will Build the Rhapsode’s House, his presentation in the 7th edition of Personal Structures. Katki discusses the processes and politics of exhibiting in Personal Structures and the two series he produced for the exhibition, which take migrant and queer positionalities as points from which to restore notions of pedagogy and learning from patriarchal, religious dictates to an affectual, instinctual realm of care.

Calendar

Ruth Buchanan for Artspace Aotearoa: 292 Karangahape Road

09 March 2024 —
01 January 2029

GfZK, Leipzig, Germany

Calendar

Miranda Bellamy and Amanda Fauteux, Collective

21 June —
17 August 2024

MSVU Art Gallery, Halifax, Canada

Calendar

Sorawit Songsataya, Orbiting body

13 June —
08 September 2024

Bangkok Art and Culture Centre, Bangkok, Thailand

Calendar

Lisa Reihana, GLISTEN

14 June 2024 —
30 March 2025

National Gallery Singapore, Singapore

Calendar

Tamsen Hopkinson, The Wishing Well

20 June —
20 July 2024

Connors Connors, Naarm Melbourne, Australia

Calendar

Alicia Frankovich, I wanna be your anti-mirror

23 May —
18 August 2024

La Trobe Art Insitutue, Bendigo, Australia

Writing

Living Things

16.03.2024

In this short piece, originally put together as a HUMcard mailout for Contemporary HUM's Publishers Circle, Aotearoa-based artist Yukari Kaihori reflects on her two-week residency at Ma Umi Residencies on Ishigaki Island, Japan. The impacts of climate change and marine debris on the subtropical island offer the context for a meditation on the ecological entanglements between objects, animals, and places.

Calendar

Kate Newby, anything, anything

09 June 2024 —
27 April 2025

Klosterruine, Berlin, Germany

Calendar

Andy Leleisi’uao, Archipelago Area 51

28 May —
27 July 2024

Bergman Gallery, Rarotonga, Cook Islands

Writing

We Work Well Together

By Julia Craig

11.02.2024

Presented at Phillida Reid, Claudia Kogachi’s Labour of Love and Nova Paul’s Hawaiki offer frames through which to view the role of collaborative practice in building worlds of love, care, and self-determination.

Calendar

Areez Katki, The Rhapsode’s Tools Will Build the Rhapsode’s House in Personal Structures

20 April —
24 November 2024

Palazzo Mora, Venice, Italy

Calendar

Caitlin Devoy, BODYOBJECTS in Personal Structures

20 April —
24 November 2024

Palazzo Mora, Venice, Italy

Calendar

Mizuho Nishioka, Movement_17; Tasman Sea in Personal Structures

20 April —
24 November 2024

Palazzo Mora, Venice, Italy

Calendar

Caroline Earley and Kate Walker in Personal Structures

20 April —
24 November 2024

Palazzo Bembo, Venice, Italy

Calendar

Elisapeta Hinemona Heta, Re-Stor(y)ing Oceania

23 March —
13 October 2024

Ocean Space, Venice, Italy

Writing

A Film Glossary

By José B. Segebre

29.11.2023

After a conversation with Frankfurt-based, Waipukurau-born artist Juliet Carpenter, José B. Segebre shaped the ideas discussed into this experimental glossary. The entries highlight the ways in which Carpenter’s practice is informed by film and theatre history, and is deeply engaged in the friction of contemporary politics and technologies.