HUM turns 6! Support the next 6

Join us as we celebrate turning SIX on 08 December 2022!! Visit our Support page to find out how you can contribute to the future of HUM and receive exclusive rewards. By choosing to support us, you’ll help us continue championing New Zealand's creative practitioners working in an international context, increasing their—and Aotearoa’s—visibility on the world stage.


Kate Newby, So close,come on

25 November 2022 —
21 January 2023

The Sunday Painter, London, UK


Wesley John Fourie, New Paradigms of Happiness, 28th Slavonian Biennale

15 December 2022 —
28 February 2023

Museum of Fine Arts, Osijek, Croatia


Sarah Rose, Plastic: Remaking our World

29 October 2022 —
05 February 2023

V&A Dundee, Dundee, Scotland


Richard Lewer, Lisa Reihana and Francis Upritchard, Sydney Modern Project

02 December 2022 —
02 December 2024

Art Gallery of New South Wales, Sydney, Australia


Patrick Lundberg, ∙∙ ∙∙

12 November —
10 December 2022

Goya Curtain, Tokyo, Japan


Fiona Pardington, Wairua o te hau

12 November —
23 December 2022

1301SW, Melbourne, Australia


Brian Fuata at Singapore Biennale 2022

16 October 2022 —
19 March 2023

Tanjong Pagar Distripark and various locations, Singapore


Yuki Kihara, Going Native

01 November 2022 —
08 January 2023

Museum Volkenkunde, Leiden, the Netherlands


Taipei Popcorn, L’œil du cyclone (Eye of the Cyclone)

07 October 2022 —
08 January 2023

Le Lieu Unique, Nantes, France


Aotearoa Reviews its Official Participation in the Venice Biennale

By Anna Brown, Bruce Barber, Heather Galbraith, Hutch Wilco, James Goggin, Jennifer Flay, Jhana Millers, Julia Holderness, Laura Preston, Michael Stevenson, Ron Hanson, Sophie Thorn, Tessa Giblin, Tessa Laird


In light of the current review of Aotearoa New Zealand’s ‘official’ presence at the Venice Biennale, HUM invited responses from New Zealanders on- and off-shore who have visited or been involved in ‘New Zealand at Venice’ projects, as artists, pavilion attendants, exhibition installers or designers, to enable insights into how involvement in (or experience of) our previous national pavilions have influenced people’s own careers, and the profile of contemporary art from Aotearoa.


Simon Denny, Dotcom Séance

16 October —
04 December 2022

Now Building, London, UK


Peter Stichbury, Limited hangout

21 October —
03 December 2022

Fine Arts Sydney, Sydney, Australia


Karma Barnes and Sarah Hudson, Wild Pigment Project

17 September —
03 December 2022

form and concept, Santa Fe, USA


Ann Shelton, i am an old phenomenon

04 November —
22 December 2022

Denny Dinim, New York, USA


FAFSWAG at documenta fifteen

By Will Fredo


Berlin-based artist and writer Will Fredo discusses the decolonial gestures at play in Aotearoa-based art collective FAFSWAG’s contributions to documenta fifteen, encompassing works that champion unapologetic self-expression, queer joy and the power of futurity in rejecting colonial inheritances.


Forever Fresh Talanoa Series 2


Following on from our 2021 talanoa series, this is a new round of four edited online talanoa (conversations) between several tagata Moana (Māori and Pasifika people) across the globe, once again produced in collaboration with In*ter*is*land Collective.

Each talanoa in this series focuses on different topics central to life in the diaspora and is individually responded to in writing by Ioana Gordon-Smith, a Sāmoan/Pākehā arts writer and curator living in Aotearoa.


Ella Sutherland, Berlin Visual Arts Residency

01 October 2022 —
01 October 2023

Künstlerhaus Bethanien, Berlin, Germany


On Wet Ontologies, Fluid Hierarchies and Hope-Soaked Propositions at the 23rd Biennale of Sydney

By Emma O'Neill


This year’s Biennale of Sydney, titled rīvus, included the work of Aotearoa-based artists Sopolemalama Filipe Tohi and Mata Aho Collective. Emma O’Neill, a writer working on Gadigal Land, responds to the exhibition and some of the work presented by the 89 participants invited to interact with different forms and bodies of water.


documenta fifteen or lumbung one?

By Bruce E. Phillips


For documenta fifteen, the arts collective FAFSWAG were invited to participate as members of the lumbung process established by this year’s curatorial collective ruangrupa. In the absence of the trophy artist phenomenon so entrenched within mega-exhibitions, Bruce E. Phillips responds to the work of different participating collectives exhibiting in Kassel and discusses how introducing a non-European exhibition-making concept into the heart of arguably Europe’s most revered art event was bound to confound those unwilling to consider a differing perspective.