Calendar
Calendar
The HUM calendar features exhibitions & events by New Zealand arts practitioners working or living abroad.
Lisa Walker juwelierster / Jewellery Star
International Jewellery Art Fair, Amsterdam, the Netherlands
18 May —
21 May 2023
To celebrate the Sieraad Art Fair's 20th anniversary, Amsterdam-based artist and historian Liesbeth Den Besten has curated a central exhibition featuring the work of Lisa Walker (b. 1967 Wellington Te Whanganui-a-Tara).
Lisa Walker juwelierster / Jewellery Star gives an overview of Walker’s work from the past 20 years, from her academy years in Munich to her present practice in Aotearoa. Using a vast range of materials and construction methods, Walker is known for creating wearable art pieces that are odd, humorous, and disruptive.
From sourcing materials at markets, such as a stack of brochures and postcards from a trip to Europe, and toys and knickknacks too beautiful to throw away, Walker uses remnants of our consumers’ society, and waste from her own workshop or that of others, to push the boundaries of what jewellery is and can be.
To celebrate the Sieraad Art Fair's 20th anniversary, Amsterdam-based artist and historian Liesbeth Den Besten has curated a central exhibition featuring the work of Lisa Walker (b. 1967 Wellington Te Whanganui-a-Tara).
Lisa Walker juwelierster / Jewellery Star gives an overview of Walker’s work from the past 20 years, from her academy years in Munich to her present practice in Aotearoa. Using a vast range of materials and construction methods, Walker is known for creating wearable art pieces that are odd, humorous, and disruptive.
From sourcing materials at markets, such as a stack of brochures and postcards from a trip to Europe, and toys and knickknacks too beautiful to throw away, Walker uses remnants of our consumers’ society, and waste from her own workshop or that of others, to push the boundaries of what jewellery is and can be.
Alexis Hunter, An Emergency Exit Sealed Shut
Kunstverein, Amsterdam, the Netherlands
22 April —
03 June 2023
This exhibition begins with a plot twist: an emergency exit, sealed shut. In the first instance, a crisis. Fashioned as a safety measure, the emergency exit should be able to be relied upon, the last resort and a first point of call wrapped up in one. But when that falters, when the structure supposedly there for your protection fails you and there is no possibility of escape, what next? "Taunt the structure", said New Zealand artist Alexis Hunter (1948–2014), whose work spanning photography, painting and organising was a key contribution to the feminist art movement of Britain in the 1970s.
On show at Kunstverein are a collection of her ‘narrative photo sequences’ made between 1974 and 1978, produced in Hunter’s quintessentially serial fashion. The works forensically detail her manhandling of artifacts of patriarchal oppression. In each individual series, she serves up the objects and their accompanying contexts on a photographic platter, storyboarding her fornication with mechanical instruments, bulging crotches and domesticity as a way to subvert the dominant narrative of the male gaze, instead writing her own path to independence and sexual expression.
"Fetishism and a hint of S&M lurk just beneath the surfaces of Alexis Hunter’s photographs… Her rage at capitalism is focused upon the mass media which have, as Judith Williamson puts it, been ‘selling us ourselves’ for profit." — Lucy Lippard
This exhibition begins with a plot twist: an emergency exit, sealed shut. In the first instance, a crisis. Fashioned as a safety measure, the emergency exit should be able to be relied upon, the last resort and a first point of call wrapped up in one. But when that falters, when the structure supposedly there for your protection fails you and there is no possibility of escape, what next? "Taunt the structure", said New Zealand artist Alexis Hunter (1948–2014), whose work spanning photography, painting and organising was a key contribution to the feminist art movement of Britain in the 1970s.
On show at Kunstverein are a collection of her ‘narrative photo sequences’ made between 1974 and 1978, produced in Hunter’s quintessentially serial fashion. The works forensically detail her manhandling of artifacts of patriarchal oppression. In each individual series, she serves up the objects and their accompanying contexts on a photographic platter, storyboarding her fornication with mechanical instruments, bulging crotches and domesticity as a way to subvert the dominant narrative of the male gaze, instead writing her own path to independence and sexual expression.
"Fetishism and a hint of S&M lurk just beneath the surfaces of Alexis Hunter’s photographs… Her rage at capitalism is focused upon the mass media which have, as Judith Williamson puts it, been ‘selling us ourselves’ for profit." — Lucy Lippard
Anh Trần, Now that we have settled by the water’s edge
Galerie Fons Welters, Amsterdam, the Netherlands
15 October —
09 November 2022
Anh Trần's new solo show at Galerie Fons Welters in Amsterdam draws on the history of Western postwar painting, including American Abstract Expressionism and 1980s German abstractionism. Rather than mine the discursive, theoretical, or technical aspects of this history, the artist responds to the emotive quality of these works. Trần is interested in liberating the expressive capacity of painting from formal and academic stricture and in decentering art history to question the false dualisms of original and replica, centre and periphery, authenticity and forgery, while also responding to Western modernism's appropriation of other aesthetic traditions.
Anh Trần's new solo show at Galerie Fons Welters in Amsterdam draws on the history of Western postwar painting, including American Abstract Expressionism and 1980s German abstractionism. Rather than mine the discursive, theoretical, or technical aspects of this history, the artist responds to the emotive quality of these works. Trần is interested in liberating the expressive capacity of painting from formal and academic stricture and in decentering art history to question the false dualisms of original and replica, centre and periphery, authenticity and forgery, while also responding to Western modernism's appropriation of other aesthetic traditions.
Tash Keddy, everything feels like just feeling everything all the time
Mutter, Amsterdam, The Netherlands
12 May —
28 May 2022
A new solo exhibition by Aotearoa artist, Tash Keddy. Tash is a current resident at De Atelier's at Amsterdam.
A new solo exhibition by Aotearoa artist, Tash Keddy. Tash is a current resident at De Atelier's at Amsterdam.
Stephen Whittaker, A Moment
The Tesoro Collection, Amsterdam, The Netherlands
08 April —
17 April 2022
A collective show featuring 8 artists, including Aotearoa artist Stephen Whittaker. Organised by collector Thom Oosterhof, also from Aotearoa.
A collective show featuring 8 artists, including Aotearoa artist Stephen Whittaker. Organised by collector Thom Oosterhof, also from Aotearoa.
Anh Trần, Group show at Galerie Fons Welters
Galerie Fons Welters, Amsterdam, The Netherlands
12 March —
30 April 2022
Galerie Fons Welters proudly presents a group exhibition with work by Kerstin Brätsch, Ryo Kinoshita, Sarah Księska, Natasja Mabesoone and Anh Trần. The exhibition brings together artists that challenge, alter, reject, and reflect upon the tradition of modernist painting. Each artist approaches painting from their own perspective and together they show the width of the medium’s possibilities. The painterly language is simultaneously challenged and confirmed. In their work abstraction and figuration, decoration and ‘high-art’, the artist as a genius (artisthood) and artisanship are no longer separated; they extend and reinforce each other.
Anh Trần employs painting as a medium to challenge Western ideas about abstract painting. Trần reflects on and utilises painting methodologies and materials used by abstract painters of the Western canon, to engage with the fluctuating distances between critical discourses in contemporary painting and non-Western or hybrid painting practices. Often creating large scale works, her practice draws on a painterly-language that responds to spontaneous energy and sensations. The titles, symbols, and words visible in her recent work allude to personal experiences and practice that Trần is developing while doing the residency at the Rijksakademie van beeldende kunsten, Amsterdam (NL).
Galerie Fons Welters proudly presents a group exhibition with work by Kerstin Brätsch, Ryo Kinoshita, Sarah Księska, Natasja Mabesoone and Anh Trần. The exhibition brings together artists that challenge, alter, reject, and reflect upon the tradition of modernist painting. Each artist approaches painting from their own perspective and together they show the width of the medium’s possibilities. The painterly language is simultaneously challenged and confirmed. In their work abstraction and figuration, decoration and ‘high-art’, the artist as a genius (artisthood) and artisanship are no longer separated; they extend and reinforce each other.
Anh Trần employs painting as a medium to challenge Western ideas about abstract painting. Trần reflects on and utilises painting methodologies and materials used by abstract painters of the Western canon, to engage with the fluctuating distances between critical discourses in contemporary painting and non-Western or hybrid painting practices. Often creating large scale works, her practice draws on a painterly-language that responds to spontaneous energy and sensations. The titles, symbols, and words visible in her recent work allude to personal experiences and practice that Trần is developing while doing the residency at the Rijksakademie van beeldende kunsten, Amsterdam (NL).
Yonel Watene, Needles in the Hay
Prinsengracht 675, Amsterdam, The Netherlands
12 December 2021 —
31 January 2022
The Curators Room presents Needles in the Hay, a group show curated by Sasha Bogojev, featuring work from Aotearoa artist Yonel Watene.
With an extensive overview of numerous studio practices and the positioning of people working there, Juxtapoz magazine’s contributing editor eye-picked a selection of international artists whose works deserve their own time in the spotlight. Hailing from all over the world, from New Zealand, over Australia, Japan, China, South Korea, to the USA, and across Europe and the UK, the exhibition is meant to provide a focused digest of exciting practices taking place at (mostly painters’) studios at the present time.
The Curators Room presents Needles in the Hay, a group show curated by Sasha Bogojev, featuring work from Aotearoa artist Yonel Watene.
With an extensive overview of numerous studio practices and the positioning of people working there, Juxtapoz magazine’s contributing editor eye-picked a selection of international artists whose works deserve their own time in the spotlight. Hailing from all over the world, from New Zealand, over Australia, Japan, China, South Korea, to the USA, and across Europe and the UK, the exhibition is meant to provide a focused digest of exciting practices taking place at (mostly painters’) studios at the present time.
Anh Trần in residence at The Rijksakademie
The Rijksakademie, Amsterdam, the Netherlands
01 January 2020 —
30 May 2022
Anh Trần is the first artist from New Zealand to participate in the Rijksakademie, which offers residencies to around fifty artists for each two-year period with the goal of providing space for research, experiment and production. Apart from facilities such as a studio, work budget and stipend, there is a research and production infrastructure. There is no standard program, predominant style or ideology. The Rijksakademie provides time, people and possibilities. Roughly half of the resident artists come from outside the Netherlands. In 2020 from Cambodia, Chile, Egypt, Finland, Germany, Greece, Great Britain, Haiti, Iceland, Indonesia, Iraq, Ireland, Japan, Marocco, Mexico, New Zealand, Nigeria, Palestine, Peru, Poland, Russian Federation, South Africa, South Korea, Spain, Surinam, Taiwan, Turkey, United States, Vietnam. The average age when applying is 29.
Anh Trần is the first artist from New Zealand to participate in the Rijksakademie, which offers residencies to around fifty artists for each two-year period with the goal of providing space for research, experiment and production. Apart from facilities such as a studio, work budget and stipend, there is a research and production infrastructure. There is no standard program, predominant style or ideology. The Rijksakademie provides time, people and possibilities. Roughly half of the resident artists come from outside the Netherlands. In 2020 from Cambodia, Chile, Egypt, Finland, Germany, Greece, Great Britain, Haiti, Iceland, Indonesia, Iraq, Ireland, Japan, Marocco, Mexico, New Zealand, Nigeria, Palestine, Peru, Poland, Russian Federation, South Africa, South Korea, Spain, Surinam, Taiwan, Turkey, United States, Vietnam. The average age when applying is 29.
Simon Morris: A Whole and Two Halves
PS Projectspace, Amsterdam, The Netherlands
05 November —
02 December 2017
Simon Morris presents work for the first time in Amsterdam bringing two works together, a painting A Whole and Two Halves (Yellow Ochre), and a wall drawing Walking Drawing, Amsterdam. Gravity is an essential part of Morris' process, dispersing pigment over time, creating edge and shape. The wall drawing Walking Drawing Amsterdam explores Morris’s interest in the relationship between painting and architecture. Painting directly on to the walls of the gallery, Morris uses reduction and repetition as a way of simplifying things, while bringing the spatial qualities of light, time and space of painting into focus.
Morris is in Amsterdam after completing a three-month residency at Headlands Centre for the Arts just north of San Francisco.
Simon Morris presents work for the first time in Amsterdam bringing two works together, a painting A Whole and Two Halves (Yellow Ochre), and a wall drawing Walking Drawing, Amsterdam. Gravity is an essential part of Morris' process, dispersing pigment over time, creating edge and shape. The wall drawing Walking Drawing Amsterdam explores Morris’s interest in the relationship between painting and architecture. Painting directly on to the walls of the gallery, Morris uses reduction and repetition as a way of simplifying things, while bringing the spatial qualities of light, time and space of painting into focus.
Morris is in Amsterdam after completing a three-month residency at Headlands Centre for the Arts just north of San Francisco.