Calendar
Calendar
The HUM calendar features exhibitions & events by New Zealand arts practitioners working or living abroad.
Alexis Hunter: Sexual Warfare
Goldsmiths CCA, London, U.K.
23 November 2018 —
03 February 2019
Sexual Warfare is a posthumous exhibition of Alexis Hunter's work from the 1970s. This will be the first solo presentation of her work in the UK since 2006, and first in London since 1981. An influential figure in the feminist art movement in Britain in the 1970s, Hunter is best known for her conceptual photographic works in which she used the medium as a tool to manipulate normative power dynamics within society through gender role play and fetishised objects Her images draw upon the violence within capitalism’s abuse of gender stereotypes and sexuality for the pursuit of profit. This exhibition will show a number of key works, bringing her acerbic critique into dialogue with the contemporary moment and reinforcing her importance as an artist and a feminist.
Alexis Hunter was born in 1948 in Auckland, New Zealand and attended Elam School of Fine Arts, Auckland (1966-69). She moved to London in 1972 where she joined the Women’s Workshop of the Artists Union and remained here until her death in 2014. She was an active and influential figure in the feminist art movement in Britain in the 1970s. Since 2006 her photographs have been introduced to a new generation and have been shown in the Norwich Gallery, WACK! Art and the Feminist Revolution in the United States and in the Cologne Art Fair in Germany. Hunter’s work is represented in the Scottish National Gallery of Modern Art, Museum of New Zealand Te Papa Tongarewa, University of Otago and the Arts Council of Great Britain collections.
Sexual Warfare is a posthumous exhibition of Alexis Hunter's work from the 1970s. This will be the first solo presentation of her work in the UK since 2006, and first in London since 1981. An influential figure in the feminist art movement in Britain in the 1970s, Hunter is best known for her conceptual photographic works in which she used the medium as a tool to manipulate normative power dynamics within society through gender role play and fetishised objects Her images draw upon the violence within capitalism’s abuse of gender stereotypes and sexuality for the pursuit of profit. This exhibition will show a number of key works, bringing her acerbic critique into dialogue with the contemporary moment and reinforcing her importance as an artist and a feminist.
Alexis Hunter was born in 1948 in Auckland, New Zealand and attended Elam School of Fine Arts, Auckland (1966-69). She moved to London in 1972 where she joined the Women’s Workshop of the Artists Union and remained here until her death in 2014. She was an active and influential figure in the feminist art movement in Britain in the 1970s. Since 2006 her photographs have been introduced to a new generation and have been shown in the Norwich Gallery, WACK! Art and the Feminist Revolution in the United States and in the Cologne Art Fair in Germany. Hunter’s work is represented in the Scottish National Gallery of Modern Art, Museum of New Zealand Te Papa Tongarewa, University of Otago and the Arts Council of Great Britain collections.
Handshake: Terra in/cognita – Te Ao hurihuri
The Crypt, London, U.K.
22 October —
28 October 2018
Eight artists from Handshake 3 and three from Handshake 4 collaborate with London based “Dialogue Collective”. In October 2018, as part of the events marking the 250th anniversary of Captain James Cook’s first voyage to the Pacific, two groups of artists from opposite sides of the world are meeting to exhibit their works in collaboration at The Crypt Gallery in London. Artist group and ‘home’ team – Dialogue Collective – and ‘away’ team– HANDSHAKE– are mooring their boats side-by-side in The Crypt to discuss, amongst other concepts, their responses to the thorny issues of cultural identity & appropriation, colonial legacy & guilt, land ownership & theft.
Both sides acknowledge the importance of objects as active tools for communication and each crew member will be exploring – often through their use of materials – their individual responses to themes such as voyaging, discovery, mapping, identity, navigation, baggage, trade, gifting, adornment, artifact, survival, and natural resources.
Both artist groups explore their differences, prejudices, grudges, and similarities in an open and welcoming collaborative environment. The outcome of this significant cultural exchange is anticipated to be one of mutual learning, understanding, and enlightenment with both parties moving forward whilst holding hands.
Eight artists from Handshake 3 and three from Handshake 4 collaborate with London based “Dialogue Collective”. In October 2018, as part of the events marking the 250th anniversary of Captain James Cook’s first voyage to the Pacific, two groups of artists from opposite sides of the world are meeting to exhibit their works in collaboration at The Crypt Gallery in London. Artist group and ‘home’ team – Dialogue Collective – and ‘away’ team– HANDSHAKE– are mooring their boats side-by-side in The Crypt to discuss, amongst other concepts, their responses to the thorny issues of cultural identity & appropriation, colonial legacy & guilt, land ownership & theft.
Both sides acknowledge the importance of objects as active tools for communication and each crew member will be exploring – often through their use of materials – their individual responses to themes such as voyaging, discovery, mapping, identity, navigation, baggage, trade, gifting, adornment, artifact, survival, and natural resources.
Both artist groups explore their differences, prejudices, grudges, and similarities in an open and welcoming collaborative environment. The outcome of this significant cultural exchange is anticipated to be one of mutual learning, understanding, and enlightenment with both parties moving forward whilst holding hands.
RA Lates: Cosmic Ocean
Royal Academy of Arts, London, U.K.
7.00PM — 9.00PM
20 October 2018
In association with Oceania, the exhibition of Oceanic art at the Royal Academy, join us for a special RA Late event celebrating contemporary Oceanic culture and the unique natural landscape of the pacific islands, from seas to skies. Covering nearly one third of the Earth’s surface, the pacific ocean is home to hundreds of islands, each with unique cultures and histories. Join us in celebrating these living cultures, from cosmologies and navigation, performance and ritual as well as the vast surrounding ocean.
Think pacific night star-gazing, coral reef drawing, traditional dance performances, street food and cocktail bars, lively talks and discussions plus DJs and music until late.
In association with Oceania, the exhibition of Oceanic art at the Royal Academy, join us for a special RA Late event celebrating contemporary Oceanic culture and the unique natural landscape of the pacific islands, from seas to skies. Covering nearly one third of the Earth’s surface, the pacific ocean is home to hundreds of islands, each with unique cultures and histories. Join us in celebrating these living cultures, from cosmologies and navigation, performance and ritual as well as the vast surrounding ocean.
Think pacific night star-gazing, coral reef drawing, traditional dance performances, street food and cocktail bars, lively talks and discussions plus DJs and music until late.
John Tendai Mutambu curates film program for British Fil Festival 2018
ICA Cinema, Screen 1, London, U.K.
9.00PM — 10.00PM
16 October 2018
The Experimenta film program is curated by Tendai John Mutambu and has a total running time of 84min.
Two young African-American women investigate the French poet’s response, as sympathiser and ally, to the Panthers’ call for solidarity. A seamless mix of iPhone images, recorded video and live conversation, the film poses two fundamental questions: what does it mean to bear witness, and how might we transmit the historical voice of resistance and collective liberation into the present?
TWENTY-TWO HOURS: Bouchra Khalili’s meditation on revolutionary histories considers the poet Jean Genet’s secret 1970 visit to the United States at the invitation of the Black Panther Party.
ANOTHER DECADE: Dir Morgan Quaintance. A montage of 1990s-era archival video and recent footage, exhuming cultural debates from history’s grave to re-animate a once-promised future, still to arrive.
NAMIBIA TODAY Dir Laura Horelli. This nuanced and layered work presents, with spellbinding fluency, the history of Namibia’s liberation movement journal (1980-85), published by East Germany as an act of anticolonial solidarity.
PROMISED LANDS Dir Emma Wolukau-Wanambwa. A video essay combining memory, language and land to reflect on the colonial, the utopian and the little-known history of WWII refugees in Uganda.
LUX and not/nowhere are also hosting a public programme with artists working with the moving image to discuss their positions on representation in visual culture on the 12th October from 1-5 pm at ICA.
The Experimenta film program is curated by Tendai John Mutambu and has a total running time of 84min.
Two young African-American women investigate the French poet’s response, as sympathiser and ally, to the Panthers’ call for solidarity. A seamless mix of iPhone images, recorded video and live conversation, the film poses two fundamental questions: what does it mean to bear witness, and how might we transmit the historical voice of resistance and collective liberation into the present?
TWENTY-TWO HOURS: Bouchra Khalili’s meditation on revolutionary histories considers the poet Jean Genet’s secret 1970 visit to the United States at the invitation of the Black Panther Party.
ANOTHER DECADE: Dir Morgan Quaintance. A montage of 1990s-era archival video and recent footage, exhuming cultural debates from history’s grave to re-animate a once-promised future, still to arrive.
NAMIBIA TODAY Dir Laura Horelli. This nuanced and layered work presents, with spellbinding fluency, the history of Namibia’s liberation movement journal (1980-85), published by East Germany as an act of anticolonial solidarity.
PROMISED LANDS Dir Emma Wolukau-Wanambwa. A video essay combining memory, language and land to reflect on the colonial, the utopian and the little-known history of WWII refugees in Uganda.
LUX and not/nowhere are also hosting a public programme with artists working with the moving image to discuss their positions on representation in visual culture on the 12th October from 1-5 pm at ICA.
Talanoa Ancient Futures with Sopolemalama Filipe Tohi
Moku Pacific HQ, Raven Row, London, U.K.
6.00PM — 8.00PM
10 October 2018
The In*ter*is*land Collective are hosting a TALANOA with the University of Auckland on Wednesday 10 October with honoured Tongan Artists Sopolemalama Filipe Tohi & Dagmar Dyck and their collaborators Phyllis Herda, Arne Perminow, Billie Lythberg and Andy Mills.
Sopolemalama Filipe Tohi was born in Ngele‘ia, Nuku‘alofa, Tonga, and immigrated to New Zealand in 1978. His contemporary paintings and sculptures are imbued with his Pacific island heritage. The incorporated Pacific and Maori iconography in his work goes deeper than the immediate visual reaction. Filipe is a master craftsman of the traditional art of lalava - the Pan-Pacific technology used on houses, canoes, and tools before the introduction of Western materials.
Dagmar Dyck is a well-known painter and printmaker of Tongan German descent. As a first-generation New Zealander, she has been brought up to respect and acknowledge her unique ancestry. Dyck's work continues to explore within the realm of Tongan culture koloa, a general term that encompasses Tonga's tangible and intangible heritage of textile and material wealth.
This TALANOA event is the conclusion of a three-week tour of European and UK based collections—Weltmuseum Wien, Vienna; Grassi Museum, Leipzig; The Forster Collection in Dessau-Woerlitz; Etnografiska Museet, Stockholm; Musée du quai Branly – Jacques Chirac, Paris; Museum of Archaeology and Anthropology, Cambridge; British Museum, London; Pitt Rivers Museum, Oxford; and the Oceania exhibition at the Royal Academy of Arts, London.
The In*ter*is*land Collective are hosting a TALANOA with the University of Auckland on Wednesday 10 October with honoured Tongan Artists Sopolemalama Filipe Tohi & Dagmar Dyck and their collaborators Phyllis Herda, Arne Perminow, Billie Lythberg and Andy Mills.
Sopolemalama Filipe Tohi was born in Ngele‘ia, Nuku‘alofa, Tonga, and immigrated to New Zealand in 1978. His contemporary paintings and sculptures are imbued with his Pacific island heritage. The incorporated Pacific and Maori iconography in his work goes deeper than the immediate visual reaction. Filipe is a master craftsman of the traditional art of lalava - the Pan-Pacific technology used on houses, canoes, and tools before the introduction of Western materials.
Dagmar Dyck is a well-known painter and printmaker of Tongan German descent. As a first-generation New Zealander, she has been brought up to respect and acknowledge her unique ancestry. Dyck's work continues to explore within the realm of Tongan culture koloa, a general term that encompasses Tonga's tangible and intangible heritage of textile and material wealth.
This TALANOA event is the conclusion of a three-week tour of European and UK based collections—Weltmuseum Wien, Vienna; Grassi Museum, Leipzig; The Forster Collection in Dessau-Woerlitz; Etnografiska Museet, Stockholm; Musée du quai Branly – Jacques Chirac, Paris; Museum of Archaeology and Anthropology, Cambridge; British Museum, London; Pitt Rivers Museum, Oxford; and the Oceania exhibition at the Royal Academy of Arts, London.
Lana Lopesi, False Divides book launch
Moku Pacific HQ, Raven Row, London, U.K.
6.00PM — 8.00PM
08 October 2018
During this period of time, while events in London focus on our ocean, In*ter*is*land Collective will facilitate and encourage discussions around Tangata Moana, the people of the Pacific.
FALSE DIVIDES BY LANA LOPESI
While we may talk back to the empire, we can’t talk to each other.
Te Moana-nui-a-Kiwa is the great ocean continent. Today, most of us think of the ocean as something that divides land and separates people. However, for those Indigenous to the Pacific (or the Moana), the sea was traditionally a connector and an ancestor. Writer Lana Lopesi’s new book False Divides explores how these connections were dismantled by colonialism and describes how imperialism in the Moana created false divides between islands and separated their peoples. Lopesi argues that technology is crucial to how Tangata Moana will connect again and explores the latest research on how Moana peoples use social media and highlights the importance of platforms like Facebook, Twitter and Instagram for forging and maintaining relationships across the ocean. The online world is turning the ocean back into the unifying continent that it once was.
Lana is currently in the United Kingdom thanks to Contemporary HUM and their second public panel discussion, Whose Oceania? which coincides with the opening of the Oceania exhibition, on at the Royal Academy of Arts in London.
During this period of time, while events in London focus on our ocean, In*ter*is*land Collective will facilitate and encourage discussions around Tangata Moana, the people of the Pacific.
FALSE DIVIDES BY LANA LOPESI
While we may talk back to the empire, we can’t talk to each other.
Te Moana-nui-a-Kiwa is the great ocean continent. Today, most of us think of the ocean as something that divides land and separates people. However, for those Indigenous to the Pacific (or the Moana), the sea was traditionally a connector and an ancestor. Writer Lana Lopesi’s new book False Divides explores how these connections were dismantled by colonialism and describes how imperialism in the Moana created false divides between islands and separated their peoples. Lopesi argues that technology is crucial to how Tangata Moana will connect again and explores the latest research on how Moana peoples use social media and highlights the importance of platforms like Facebook, Twitter and Instagram for forging and maintaining relationships across the ocean. The online world is turning the ocean back into the unifying continent that it once was.
Lana is currently in the United Kingdom thanks to Contemporary HUM and their second public panel discussion, Whose Oceania? which coincides with the opening of the Oceania exhibition, on at the Royal Academy of Arts in London.
Whose Oceania? - HUM's panel discussion
Penthouse, New Zealand House, London, U.K.
3.00PM — 5.00PM
29 September 2018
Contemporary HUM is proud to present its second public panel discussion, Whose Oceania?
The discussion will respond to the Royal Academy of Arts upcoming exhibition Oceania, on from 29 September - 10 December 2018. This is a major international show for Aotearoa and the Pacific, and HUM is well placed from its European base to facilitate critical discourse around this significant occasion. The panel discussion will address questions surrounding the presentation of historical and contemporary works in foreign contexts, such as the Royal Academy, and discuss the link to the 250th anniversary of Captain Cook's first voyage to the Pacific.
Our panelists are UK-based historian and Beit Professor of Imperial and Commonwealth History at Oxford University James Belich, award-winning artist exhibiting in Oceania Fiona Pardington and Curator Mātauranga Māori at Te Papa Matariki Williams. The New Zealand-based art critic and Editor-in-Chief of The Pantograph Punch Lana Lopesi will be joining the discussion as co-chair, along with HUM's own editor Pauline Autet.
Whose Oceania? will take place just a few blocks away from the Royal Academy, in the Penthouse of the NZ High Commission, on Saturday 29 September at 3pm.
Registration is required to attend. For those interested in joining us for what promises to be an afternoon of dynamic and thought-provoking discussion, please don't forget to register as entry to the NZ High Commission is by invite-list only!
Contemporary HUM is proud to present its second public panel discussion, Whose Oceania?
The discussion will respond to the Royal Academy of Arts upcoming exhibition Oceania, on from 29 September - 10 December 2018. This is a major international show for Aotearoa and the Pacific, and HUM is well placed from its European base to facilitate critical discourse around this significant occasion. The panel discussion will address questions surrounding the presentation of historical and contemporary works in foreign contexts, such as the Royal Academy, and discuss the link to the 250th anniversary of Captain Cook's first voyage to the Pacific.
Our panelists are UK-based historian and Beit Professor of Imperial and Commonwealth History at Oxford University James Belich, award-winning artist exhibiting in Oceania Fiona Pardington and Curator Mātauranga Māori at Te Papa Matariki Williams. The New Zealand-based art critic and Editor-in-Chief of The Pantograph Punch Lana Lopesi will be joining the discussion as co-chair, along with HUM's own editor Pauline Autet.
Whose Oceania? will take place just a few blocks away from the Royal Academy, in the Penthouse of the NZ High Commission, on Saturday 29 September at 3pm.
Registration is required to attend. For those interested in joining us for what promises to be an afternoon of dynamic and thought-provoking discussion, please don't forget to register as entry to the NZ High Commission is by invite-list only!
Oceania, at the Royal Academy
The Royal Academy of Arts, London, U.K.
29 September —
10 December 2018
Marking 250 years since Cook’s first voyage to the Pacific, The Royal Academy celebrates the dazzling and diverse art of the region of Oceania, from the historic to the contemporary. Ten of Aotearoa New Zealand’s leading contemporary visual artists will have their work featured in the United Kingdom’s first major exhibition of Māori and Pacific culture including Mark Adams, Yuki Kihara, Mata Aho Collective, Fiona Pardington, Michael Parekowhai, John Pule and Lisa Reihana.
Oceania will bring together around 200 works from public and private collections worldwide, and will span over 500 years. From shell, greenstone and ceramic ornaments to canoes, we explore important themes of voyaging, place making and encounter. The exhibition draws from historic ethnographic collections dating from the 18th century to the present, and includes seminal works produced by contemporary artists exploring history, identity and climate change. The exhibition has been curated by Professor Nicholas Thomas FBA, Director of the Museum of Archaeology and Anthropology and Fellow of Trinity College, University of Cambridge and Dr Peter Brunt, Senior Lecturer at Victoria University of Wellington in conjunction with Dr Adrian Locke, Senior Curator, Royal Academy of Arts. Entry to the exhibition is free for New Zealand and Pacific Island passport holders.
Marking 250 years since Cook’s first voyage to the Pacific, The Royal Academy celebrates the dazzling and diverse art of the region of Oceania, from the historic to the contemporary. Ten of Aotearoa New Zealand’s leading contemporary visual artists will have their work featured in the United Kingdom’s first major exhibition of Māori and Pacific culture including Mark Adams, Yuki Kihara, Mata Aho Collective, Fiona Pardington, Michael Parekowhai, John Pule and Lisa Reihana.
Oceania will bring together around 200 works from public and private collections worldwide, and will span over 500 years. From shell, greenstone and ceramic ornaments to canoes, we explore important themes of voyaging, place making and encounter. The exhibition draws from historic ethnographic collections dating from the 18th century to the present, and includes seminal works produced by contemporary artists exploring history, identity and climate change. The exhibition has been curated by Professor Nicholas Thomas FBA, Director of the Museum of Archaeology and Anthropology and Fellow of Trinity College, University of Cambridge and Dr Peter Brunt, Senior Lecturer at Victoria University of Wellington in conjunction with Dr Adrian Locke, Senior Curator, Royal Academy of Arts. Entry to the exhibition is free for New Zealand and Pacific Island passport holders.
Francis Upritchard: Wetwang Slack
The Curve, Barbican Centre, London, U.K.
27 September 2018 —
06 January 2019
Francis Upritchard’s site-specific installation for the Barbican Centre draws from ceramics, tapestry, glassblowing and more. This autumn, New Zealand born artist Francis Upritchard will create a new series of sculptural interventions in the Curve to transform the space with a vibrant collection of materials and figures. Known for her array of archetypal figures in varying sizes from medieval knights to meditating hippies, painted in monochromatic or distinct patterns and decorated with bespoke garments and objects, Upritchard has conceived the gallery as a spectrum in which to play with scale, colour and texture that shifts as you move through the space.
Francis Upritchard’s site-specific installation for the Barbican Centre draws from ceramics, tapestry, glassblowing and more. This autumn, New Zealand born artist Francis Upritchard will create a new series of sculptural interventions in the Curve to transform the space with a vibrant collection of materials and figures. Known for her array of archetypal figures in varying sizes from medieval knights to meditating hippies, painted in monochromatic or distinct patterns and decorated with bespoke garments and objects, Upritchard has conceived the gallery as a spectrum in which to play with scale, colour and texture that shifts as you move through the space.
Luke Willis Thompson in 34th Turner Prize
Tate Britain, London, U.K.
26 September 2018 —
06 January 2019
The Turner Prize returns to Tate Britain for its 34th edition. Nominated artists include New Zealander Luke Willis Thompson as well as Naeem Mohaiemen, Charlotte Prodger and Forensic Architecture.
Working across film, performance, installation and sculpture, Luke Willis Thompson's work tackle traumatic histories of class, racial and social inequality, institutional violence, colonialism and forced migration. He will be presenting Cemetery of Uniforms and Liveries 2016 (9 min 10 sec), Autoportrait 2017 (8 min 50 sec) and _Human 2018 (9 min 30 sec).
The prize is awarded to a British artist for an outstanding exhibition or other presentation of their work in the preceding year as determined by a jury comprised of Oliver Basciano, art critic and International Editor at ArtReview; Elena Filipovic, Director, Kunsthalle Basel; Lisa Le Feuvre, Executive Director, Holt-Smithson Foundation; and Tom McCarthy, novelist and writer. The winner of the prize will be announced at an award ceremony in December 2018.
The Turner Prize returns to Tate Britain for its 34th edition. Nominated artists include New Zealander Luke Willis Thompson as well as Naeem Mohaiemen, Charlotte Prodger and Forensic Architecture.
Working across film, performance, installation and sculpture, Luke Willis Thompson's work tackle traumatic histories of class, racial and social inequality, institutional violence, colonialism and forced migration. He will be presenting Cemetery of Uniforms and Liveries 2016 (9 min 10 sec), Autoportrait 2017 (8 min 50 sec) and _Human 2018 (9 min 30 sec).
The prize is awarded to a British artist for an outstanding exhibition or other presentation of their work in the preceding year as determined by a jury comprised of Oliver Basciano, art critic and International Editor at ArtReview; Elena Filipovic, Director, Kunsthalle Basel; Lisa Le Feuvre, Executive Director, Holt-Smithson Foundation; and Tom McCarthy, novelist and writer. The winner of the prize will be announced at an award ceremony in December 2018.
Judy Millar: The View from Nowhere
Fold Gallery, London, U.K.
13 September —
20 October 2018
FOLD presents a solo exhibition of new painting by New Zealand born artist Judy Millar. The View From Nowhere (which will coincide with the Oceania exhibition at the Royal Academy) is not only Millar’s first show with the gallery, but also her first in London. Pale lilac, jade green, and a bruised blue resonate against yellow and incandescent orange in Judy Millar’s new paintings.
Millar, a fan of popular science, describes the activity of painting as a form of space travel. “I used to think painting was a way of thinking. Now I know it to be much more than that. It is the flash of big-brain meeting small-brain, of consciousness meeting thought or of consciousness meeting mind through the body. Of outer space and inner space colliding.”
In this new group of works form becomes the graph of activity. Things hard to name but fleetingly apparent establish a semi-believable pictorial space. These strangely spatial paintings exude an otherworldly luminosity, as if emitting light from a distant time and place.
FOLD presents a solo exhibition of new painting by New Zealand born artist Judy Millar. The View From Nowhere (which will coincide with the Oceania exhibition at the Royal Academy) is not only Millar’s first show with the gallery, but also her first in London. Pale lilac, jade green, and a bruised blue resonate against yellow and incandescent orange in Judy Millar’s new paintings.
Millar, a fan of popular science, describes the activity of painting as a form of space travel. “I used to think painting was a way of thinking. Now I know it to be much more than that. It is the flash of big-brain meeting small-brain, of consciousness meeting thought or of consciousness meeting mind through the body. Of outer space and inner space colliding.”
In this new group of works form becomes the graph of activity. Things hard to name but fleetingly apparent establish a semi-believable pictorial space. These strangely spatial paintings exude an otherworldly luminosity, as if emitting light from a distant time and place.
Billy Apple: The Artist Has to Live like Everybody Else 1961 – 2018
The Mayor Gallery, London, U.K.
12 September 2018 —
02 November 2019
This third solo exhibition by Billy Apple at The Mayor Gallery follows on from the 2010 and 2013 exhibitions; Billy Apple®: British and American Works 1960 – 1969 and Billy Apple®: New York 1970 – 75 where his jaunty pop art painted bronzes, offset photo-lithography, xerography and neon works, which challenged the prevailing ideas and material traditions of 1960s fine arts, were reintroduced to London; the next exhibition documented his shift to a thoroughly de-materialized art practice presented variously in a series of aesthetically cleansing art-life and site-specific subtractions and eliminations.
In Billy Apple®: The Artist Has to Live like Everybody Else 1961 – 2018 his practice moves forward to focus on Art Transactions, a new series begun in the early 1980s that reveals Apple’s art-life tactics for everyday living and more broadly examines the means by which art circulates and the network of relationships between collector, dealer and artist. This series has its roots in the small canvas For Sale, 1961 now in the National Galleries of Scotland collection – the signifier which signals Apple’s nascent interest in the implications of brand identity and the commodification of art.
This third solo exhibition by Billy Apple at The Mayor Gallery follows on from the 2010 and 2013 exhibitions; Billy Apple®: British and American Works 1960 – 1969 and Billy Apple®: New York 1970 – 75 where his jaunty pop art painted bronzes, offset photo-lithography, xerography and neon works, which challenged the prevailing ideas and material traditions of 1960s fine arts, were reintroduced to London; the next exhibition documented his shift to a thoroughly de-materialized art practice presented variously in a series of aesthetically cleansing art-life and site-specific subtractions and eliminations.
In Billy Apple®: The Artist Has to Live like Everybody Else 1961 – 2018 his practice moves forward to focus on Art Transactions, a new series begun in the early 1980s that reveals Apple’s art-life tactics for everyday living and more broadly examines the means by which art circulates and the network of relationships between collector, dealer and artist. This series has its roots in the small canvas For Sale, 1961 now in the National Galleries of Scotland collection – the signifier which signals Apple’s nascent interest in the implications of brand identity and the commodification of art.
Clarissa Lim in Hyperbolised Tropic
Vo Curations, London, U.K.
23 August —
05 September 2018
Entangled in a dense web of cognitive vegetation, the notion of one's identity has quickly transitioned in the past century from a precise, exterior given to the most sought-after, cryptic component in achieving subjective integrity. Migrating from the organic sphere to one of artifice in the form of urban planning, it is not merely human nature that has changed, but equally that of the biological world. Within the gallery space the works of Alexander James, their forceful interweaving of jagged chromatic sweeps of oil and paint emulsion, and Clarissa Lim's vibrant pseudo-plants with their uncanny appearance, constitute a binary tropic of great intensity, uniting its elements under the aforementioned question of identity. Lim's work, present and dominant through its crimson, plastic foliage, choreographs the space not merely through its verticality, but in its relation to James's works, which it (mutually) emphasizes. This generates symbiosis in the aesthetic biosphere constructed at hand, for despite its degree of artifice the interaction between the pieces occurs organically allowing for complete immersion - Smaranda Ciubotaru.
Entangled in a dense web of cognitive vegetation, the notion of one's identity has quickly transitioned in the past century from a precise, exterior given to the most sought-after, cryptic component in achieving subjective integrity. Migrating from the organic sphere to one of artifice in the form of urban planning, it is not merely human nature that has changed, but equally that of the biological world. Within the gallery space the works of Alexander James, their forceful interweaving of jagged chromatic sweeps of oil and paint emulsion, and Clarissa Lim's vibrant pseudo-plants with their uncanny appearance, constitute a binary tropic of great intensity, uniting its elements under the aforementioned question of identity. Lim's work, present and dominant through its crimson, plastic foliage, choreographs the space not merely through its verticality, but in its relation to James's works, which it (mutually) emphasizes. This generates symbiosis in the aesthetic biosphere constructed at hand, for despite its degree of artifice the interaction between the pieces occurs organically allowing for complete immersion - Smaranda Ciubotaru.
Abbey Kayte: Te Reo O Tā Moko
BSMT, London, U.K.
16 August —
19 August 2018
Abbey Kayte's journey of reconnection to her own Māori whakapapa (genealogy) and cultural roots is represented in this exhibition, Te Reo O Tā Moko which is her second in London. Beginning this journey as a teenager when she first learned of her Māori descent, Abbey says she always felt a sense of dislocation and disconnection along with a deep desire to understand where she came from. Now, in her 30's Abbey feels very privileged to work with the people she depicts. Individuals, all of whom have given their time, energy and endorsement and allowed her to express their stories and imagery in her art.
The artist's current cultural advisor is Ripeka Hook from NZ-based organisation Whanau Ora, who works closely with her to ensure all cultural protocols around the sharing of tā moko have been adhered to along with all of the models she has worked with.
Abbey Kayte's journey of reconnection to her own Māori whakapapa (genealogy) and cultural roots is represented in this exhibition, Te Reo O Tā Moko which is her second in London. Beginning this journey as a teenager when she first learned of her Māori descent, Abbey says she always felt a sense of dislocation and disconnection along with a deep desire to understand where she came from. Now, in her 30's Abbey feels very privileged to work with the people she depicts. Individuals, all of whom have given their time, energy and endorsement and allowed her to express their stories and imagery in her art.
The artist's current cultural advisor is Ripeka Hook from NZ-based organisation Whanau Ora, who works closely with her to ensure all cultural protocols around the sharing of tā moko have been adhered to along with all of the models she has worked with.
Henrietta Harris at Lawrence Alkin Gallery
Lawrence Alkin Gallery, London, U.K.
03 August —
28 September 2018
//HERE NOW// is a summer group exhibition featuring new works by the gallery's currently represented artists and a carefully selected range of new artists that the gallery is excited to be working with; all curated alongside some classic works. The lineup is distinctly and deliberately international, in part to highlight that as a British gallery, located in the heart of London, the gallery welcomes artists from all over the world, a logical protest against the Brexit movement!
New Zealand-based artist Henrietta Harris will be featured in the show.
//HERE NOW// is a summer group exhibition featuring new works by the gallery's currently represented artists and a carefully selected range of new artists that the gallery is excited to be working with; all curated alongside some classic works. The lineup is distinctly and deliberately international, in part to highlight that as a British gallery, located in the heart of London, the gallery welcomes artists from all over the world, a logical protest against the Brexit movement!
New Zealand-based artist Henrietta Harris will be featured in the show.
André Hemer at Unit London
Unit London, U.K.
25 July —
26 August 2018
Unit London is pleased to present a dynamic body of new work from eight outstanding emerging artists exploring art in the digital age., in its new 6,000 square foot space. For this exhibition, the artists have responded to themes of identity and communication in the modern age. The curatorial process closely mirrors the themes of the exhibition, with each artist discovered and selected using the gallery’s far-reaching social media initiative, #lookingforU.
Unit London is pleased to present a dynamic body of new work from eight outstanding emerging artists exploring art in the digital age., in its new 6,000 square foot space. For this exhibition, the artists have responded to themes of identity and communication in the modern age. The curatorial process closely mirrors the themes of the exhibition, with each artist discovered and selected using the gallery’s far-reaching social media initiative, #lookingforU.
Alexa Wilson performs at Art and (H)acktivism, London
Ugly Duck, London, U.K.
10.00AM — 3.00PM
21 July 2018
As part of Ugly Duck's 2018 Creative Season: Art & Haktivism, (H)AKT's weekend programme is centred around the act of using creativity to advocate for social change and subvert systems that are in place.
Alexa Wilson's 999: Alchemist Trauma Centre / Power Centre is a “feminist meditation, poetic activist activation”, shaking the foundations of belief systems at the intersection of cultures in a way that has been described as “punk”. This project was born in India, on a residency Wilson curated in the Himalayas. This project was presented as a work in progress in Berlin and is funded by Creative New Zealand to be presented in full in London, Berlin, India and New Zealand.
As part of Ugly Duck's 2018 Creative Season: Art & Haktivism, (H)AKT's weekend programme is centred around the act of using creativity to advocate for social change and subvert systems that are in place.
Alexa Wilson's 999: Alchemist Trauma Centre / Power Centre is a “feminist meditation, poetic activist activation”, shaking the foundations of belief systems at the intersection of cultures in a way that has been described as “punk”. This project was born in India, on a residency Wilson curated in the Himalayas. This project was presented as a work in progress in Berlin and is funded by Creative New Zealand to be presented in full in London, Berlin, India and New Zealand.
Crystal Te Moananui-Squares: Tuhuratanga – Voyage of Discovery
British Library, London, U.K.
06 July —
23 September 2018
The exhibition Tuhuratanga – Voyages of Discovery presents a contemporary encounter with Pacific communities in the UK. Crystal Te Moananui-Squares' portraits navigate ideas of identity and connection between diverse cultures, while responding to historical interpretations of collection items within the parallel exhibition James Cook: The Voyages exhibition.
The exhibition Tuhuratanga – Voyages of Discovery presents a contemporary encounter with Pacific communities in the UK. Crystal Te Moananui-Squares' portraits navigate ideas of identity and connection between diverse cultures, while responding to historical interpretations of collection items within the parallel exhibition James Cook: The Voyages exhibition.
Amanda Newall: Hotel Jaguar
EXPOSED ARTS PROJECTS, London, U.K.
30 June —
07 September 2018
The research practice of artist Amanda Newall looks into the connection between the mental wellbeing of a person and her surrounding: specifically, the clothing she wears, the soundscapes she encounters, and people who are co-present with her in a room. In order to disclose the agency of costumes and environments, Newall experiments with creating them herself: she juxtaposes the recognisable cultural references and symbols from different times, mixes and matches contexts on a-historical basis to create new hybrid material narratives.
In this way, the new immersive installation by Newall will take her audience to the setting of a family-run hotel, in which they can take part and perform: by taking a position of either a hotel guest, or a member of staff. The story will expand around them accordingly. Amanda Newall is New Zealand born artist, educator and researcher working professionally in NZ, Sweden and the UK since 1996.
The research practice of artist Amanda Newall looks into the connection between the mental wellbeing of a person and her surrounding: specifically, the clothing she wears, the soundscapes she encounters, and people who are co-present with her in a room. In order to disclose the agency of costumes and environments, Newall experiments with creating them herself: she juxtaposes the recognisable cultural references and symbols from different times, mixes and matches contexts on a-historical basis to create new hybrid material narratives.
In this way, the new immersive installation by Newall will take her audience to the setting of a family-run hotel, in which they can take part and perform: by taking a position of either a hotel guest, or a member of staff. The story will expand around them accordingly. Amanda Newall is New Zealand born artist, educator and researcher working professionally in NZ, Sweden and the UK since 1996.
Susan Te Kahurangi King at Malborough Contemporary
Marlborough Contemporary Art, London, U.K.
27 June —
28 July 2018
Marlborough Contemporary presents Susan Te Kahurangi King: Drawings 2008-2018, curated by Chris Byrne. This will be the first exhibition dedicated to the artist’s post-2008 work and her second show in the gallery’s London space. The exhibition will include 22 drawings, as well as sketchbooks.
Susan Te Kahurangi King was born in Te Aroha, a small rural town in New Zealand. As King’s inability to verbally communicate increased as a child, so too did her heightened ability and commitment to draw. In 1960 the family moved to Auckland and over the next three decades King continued her prolific output of astonishing drawings. Around 1992 King left drawing behind completely. However, in 2008, she picked up the pencil again and began drawing, continuing where she had left off almost twenty years before.
Marlborough Contemporary presents Susan Te Kahurangi King: Drawings 2008-2018, curated by Chris Byrne. This will be the first exhibition dedicated to the artist’s post-2008 work and her second show in the gallery’s London space. The exhibition will include 22 drawings, as well as sketchbooks.
Susan Te Kahurangi King was born in Te Aroha, a small rural town in New Zealand. As King’s inability to verbally communicate increased as a child, so too did her heightened ability and commitment to draw. In 1960 the family moved to Auckland and over the next three decades King continued her prolific output of astonishing drawings. Around 1992 King left drawing behind completely. However, in 2008, she picked up the pencil again and began drawing, continuing where she had left off almost twenty years before.
Clarissa Lim in the Royal College of Art Graduate Show
Show Battersea, Royal College of Art, London, U.K.
23 June —
01 July 2018
Clarissa Lim will be exhibiting an installation of paintings and objects at the Royal College of Art degree show in London.
The Royal College of Art graduate show will take place in late June, simultaneously across a variety of internal and external venues. Show 2018 offers visitors a unique opportunity to experience the very best of emerging contemporary art and design practice. Over 800 art and design postgraduate students will present work of exceptional quality, imagination and technical skill, exhibiting design solutions to pressing global problems alongside fine art that informs and enriches our worldview. The exhibitions are free, with much of the work for sale or commission – ranging from paintings to prints, glassware to jewellery and furniture to textiles.
Clarissa Lim will be exhibiting an installation of paintings and objects at the Royal College of Art degree show in London.
The Royal College of Art graduate show will take place in late June, simultaneously across a variety of internal and external venues. Show 2018 offers visitors a unique opportunity to experience the very best of emerging contemporary art and design practice. Over 800 art and design postgraduate students will present work of exceptional quality, imagination and technical skill, exhibiting design solutions to pressing global problems alongside fine art that informs and enriches our worldview. The exhibitions are free, with much of the work for sale or commission – ranging from paintings to prints, glassware to jewellery and furniture to textiles.
James Cook: Legacies and Controversies. Panel discussion
The British Library, London, U.K.
10.00AM — 2.00PM
15 June 2018
In August 2017, a statue of James Cook in Sydney’s Hyde Park was defaced amid demands that its inscription be changed, prompting intense debate about celebration and dispossession. Why is Cook such a controversial figure? Three panelists from Aotearoa New Zealand, Anne Salmond, Ahilapalapa Rands and Selina Tusitala Marsh discuss Cook’s social, environmental and cultural legacy. Chaired by Nicholas Thomas.
Dame Anne Salmond is Distinguished Professor of Maori Studies and Anthropology at the University of Auckland.
Ahilapalapa Rands (Kanaka Maoli/Indigenous Hawaiian, iTaukei/Indigenous Fijian, Pākehā/Settler European) is an independent curator, writer and artist.
Selina Tusitala Marsh is a Pasifika poet-scholar and is the current New Zealand Poet Laureate (2017-2019).
In August 2017, a statue of James Cook in Sydney’s Hyde Park was defaced amid demands that its inscription be changed, prompting intense debate about celebration and dispossession. Why is Cook such a controversial figure? Three panelists from Aotearoa New Zealand, Anne Salmond, Ahilapalapa Rands and Selina Tusitala Marsh discuss Cook’s social, environmental and cultural legacy. Chaired by Nicholas Thomas.
Dame Anne Salmond is Distinguished Professor of Maori Studies and Anthropology at the University of Auckland.
Ahilapalapa Rands (Kanaka Maoli/Indigenous Hawaiian, iTaukei/Indigenous Fijian, Pākehā/Settler European) is an independent curator, writer and artist.
Selina Tusitala Marsh is a Pasifika poet-scholar and is the current New Zealand Poet Laureate (2017-2019).
André Hemer: The Cobra Effect
Kristin Hjellegjerde Gallery, London, U.K.
08 June —
21 July 2018
Here is a painting that is at once a finished work and an artist’s messy palette. It is a map, a vivid topography of colour. Petal-like daubs of paint explode in a maelstrom, and rich swathes of silk-like pigment have the shimmery sheen of smooth fabric. Elsewhere, pools of texture appear to melt into rough, liquid pumice, tempting the viewer to run their hand over its their surface. This map, this unknown country, is a heady mix of sensory colours and textural shapes. In The Cobra Effect (8 June – 21 July 2018) at Kristin Hjellegjerde London, Vienna-based artist André Hemer returns for a second show at the gallery, and his first solo, to present new works in his signature style.
Here is a painting that is at once a finished work and an artist’s messy palette. It is a map, a vivid topography of colour. Petal-like daubs of paint explode in a maelstrom, and rich swathes of silk-like pigment have the shimmery sheen of smooth fabric. Elsewhere, pools of texture appear to melt into rough, liquid pumice, tempting the viewer to run their hand over its their surface. This map, this unknown country, is a heady mix of sensory colours and textural shapes. In The Cobra Effect (8 June – 21 July 2018) at Kristin Hjellegjerde London, Vienna-based artist André Hemer returns for a second show at the gallery, and his first solo, to present new works in his signature style.
Ahilapalapa Rands in Pacific Ocean focused panel discussion
The British Library, London, U.K.
7.30PM — 9.00PM
01 June 2018
A diverse and expert panel share insights into the vast and vital ecosystem of the Pacific Ocean, its history and culture, what it means to its peoples and the challenges it faces. With artists Aata and Ahilapalapa Rands, historian Noelani Arista and diplomat Martin Williams. Chaired by Klaus Dodds and with curatorial support from Jo Walsh.
Aata is an independent curator and co-director of Oceania Literature and Arts, Hawaii.
Noelani Arista is an Assistant Professor of Hawaiian and American History at UH Mānoa.
Klaus Dodds is Professor of Geopolitics at Royal Holloway University of London and a Fellow of the Academy of Social Sciences.
Ahilapalapa Rands (Hawaiian, Filjian, Pakeha) is an artist Curator and Founding member of D.A.N.C.E art club. Her work is especially informed by issues related to Indigeneity and investigating ways that settler colonisation has, and continues to inform narratives and power dynamics in the Pacific.
Martin Williams was High Commissioner to New Zealand and concurrently Governor of the Pitcairn Islands from 1998 to 2001 and now consultant to the New Zealand Antarctic Heritage Trust.
A diverse and expert panel share insights into the vast and vital ecosystem of the Pacific Ocean, its history and culture, what it means to its peoples and the challenges it faces. With artists Aata and Ahilapalapa Rands, historian Noelani Arista and diplomat Martin Williams. Chaired by Klaus Dodds and with curatorial support from Jo Walsh.
Aata is an independent curator and co-director of Oceania Literature and Arts, Hawaii.
Noelani Arista is an Assistant Professor of Hawaiian and American History at UH Mānoa.
Klaus Dodds is Professor of Geopolitics at Royal Holloway University of London and a Fellow of the Academy of Social Sciences.
Ahilapalapa Rands (Hawaiian, Filjian, Pakeha) is an artist Curator and Founding member of D.A.N.C.E art club. Her work is especially informed by issues related to Indigeneity and investigating ways that settler colonisation has, and continues to inform narratives and power dynamics in the Pacific.
Martin Williams was High Commissioner to New Zealand and concurrently Governor of the Pitcairn Islands from 1998 to 2001 and now consultant to the New Zealand Antarctic Heritage Trust.
Kate Newby at The Sunday Painter.
The Sunday Painter, London, U.K.
26 May —
23 June 2018
Kate Newby’s sculptures and installations represent a repository for the senses, creating scenarios that change states. Her process is more humble, though, than it first appears. She generally sticks to a limited material vocabulary: clay, glass, earth, metal, or rope. Some of these she finds, some she purchases—in any case, it’s important that they came from nearby. The materials are not processed more than they have to be—a patina is as close as she comes to excessive surface treatment. For her exhibition at The Sunday Painter, Newby selects clear glass for a mobile suspended in a gallery’s airspace or in front of a window. In another installation, she lays bricks on the floor with respect for their inherent mass, and provenance. No single choice leads to one of Newby’s sculptures.
Kate Newby’s sculptures and installations represent a repository for the senses, creating scenarios that change states. Her process is more humble, though, than it first appears. She generally sticks to a limited material vocabulary: clay, glass, earth, metal, or rope. Some of these she finds, some she purchases—in any case, it’s important that they came from nearby. The materials are not processed more than they have to be—a patina is as close as she comes to excessive surface treatment. For her exhibition at The Sunday Painter, Newby selects clear glass for a mobile suspended in a gallery’s airspace or in front of a window. In another installation, she lays bricks on the floor with respect for their inherent mass, and provenance. No single choice leads to one of Newby’s sculptures.
Emma Bass at Daniel Raphael Gallery
Daniel Raphael Gallery, London, UK.
15 May —
31 May 2018
From Botticelli’s Primavera and the floral paintings of the Dutch masters to Jeff Koons’ Bouquet of Tulips, artists have used flowers throughout the centuries to employ symbolism. Curated by Yan Skates, Anthophile brings together 11 artists, both emerging and established, using botanical displays to create their own vanitas, re-examining still life’s associations with mortality, materialism and spirituality or as a tool to add commentary to a range of important contemporary issues. Emma Bass’s vivid photographs The Punk (2017) and The Great Floral Crisis (2018) bring a hyper-real explosion of colour, the latter extends the artist’s research into Dutch still life paintings and references the 17th century “Tulip Mania” phenomenon.
From Botticelli’s Primavera and the floral paintings of the Dutch masters to Jeff Koons’ Bouquet of Tulips, artists have used flowers throughout the centuries to employ symbolism. Curated by Yan Skates, Anthophile brings together 11 artists, both emerging and established, using botanical displays to create their own vanitas, re-examining still life’s associations with mortality, materialism and spirituality or as a tool to add commentary to a range of important contemporary issues. Emma Bass’s vivid photographs The Punk (2017) and The Great Floral Crisis (2018) bring a hyper-real explosion of colour, the latter extends the artist’s research into Dutch still life paintings and references the 17th century “Tulip Mania” phenomenon.
without appeal in Flotsam, Jetsam, Lagan & Derelict
A.I. Gallery, London, UK, London, U.K.
10 May —
26 May 2018
A.I. is pleased to present the group exhibition Flotsam, Jetsam, Lagan & Derelict, featuring recent works by Haffendi Annuar (b.1985, Malaysia), WeiXin Chong (b.1988, Singapore) & artist collective 'without appeal' (b.2016, London), in the form of table-top sculptures and prints examine the versatile and paradoxical power of the flâneur. There is a certain vulnerability in being adrift, uncertain of borders or location. Searching for familiar images or visual confirmation of our physical presence, 'somewhere' often blurs into 'elsewhere.'
without appeal are premiering two bodies of work: a paperback self-publication titled Enthusiasm Is Blasting Out of All of My Holes is the result of a six-month long project which took place between Hunedoara, Warsaw, Venice and Paris. With roots in Guy Debord’s ideas on psychogeography and cultivating a new awareness of our environment, the publication documents a subjective engagement with these spaces and explores personal micro-narratives interwoven in each location. The series Everything that is Man-Made Requires Maintenance is a response to rising nationalist delimitations and a growing appeal for singular identities and restrictive borders. The hybrid landscapes metaphorically eliminate distances and arbitrary delimitations set between the urban, institutional and natural environments. The resulting fictional territories hold the promise of open access and multiplicity, while they speculate on the possibilities of collaboration and community.
A.I. is pleased to present the group exhibition Flotsam, Jetsam, Lagan & Derelict, featuring recent works by Haffendi Annuar (b.1985, Malaysia), WeiXin Chong (b.1988, Singapore) & artist collective 'without appeal' (b.2016, London), in the form of table-top sculptures and prints examine the versatile and paradoxical power of the flâneur. There is a certain vulnerability in being adrift, uncertain of borders or location. Searching for familiar images or visual confirmation of our physical presence, 'somewhere' often blurs into 'elsewhere.'
without appeal are premiering two bodies of work: a paperback self-publication titled Enthusiasm Is Blasting Out of All of My Holes is the result of a six-month long project which took place between Hunedoara, Warsaw, Venice and Paris. With roots in Guy Debord’s ideas on psychogeography and cultivating a new awareness of our environment, the publication documents a subjective engagement with these spaces and explores personal micro-narratives interwoven in each location. The series Everything that is Man-Made Requires Maintenance is a response to rising nationalist delimitations and a growing appeal for singular identities and restrictive borders. The hybrid landscapes metaphorically eliminate distances and arbitrary delimitations set between the urban, institutional and natural environments. The resulting fictional territories hold the promise of open access and multiplicity, while they speculate on the possibilities of collaboration and community.
Thick Cinema: NZ artists at Whitechapel
Whitechapel Gallery, London, U.K.
7.00PM — 9.00PM
03 May 2018
CIRCUIT is proud to present Thick Cinema, a screening of five new works by contemporary New Zealand artists Fiona Amundsen, John Di Stefano, Sam Hamilton, Kim Pieters, Joyce Campbell. Each artist in Thick Cinema was asked to make a work of up to 10 minutes which considered the role of the body and sensorial experience in cinematic intelligibility and meaning. Shot in New Zealand, Japan, USA and Italy, the five resulting works engage variously with the legacy of fascism, the sexual union of eels, public gardens, the sunset and memory.
CIRCUIT Artist Film and Video Aotearoa New Zealand is an arts agency which supports New Zealand artists working in the moving image through commissioning of works, distribution, critical review and professional practice initiatives. Each year an internationally-based curator is invited to devise a theme for the CIRCUIT Artist Cinema Commissions programme and select 5-6 New Zealand artists to respond. This years curator-at-large is Dr. Mercedes Vicente.
CIRCUIT is proud to present Thick Cinema, a screening of five new works by contemporary New Zealand artists Fiona Amundsen, John Di Stefano, Sam Hamilton, Kim Pieters, Joyce Campbell. Each artist in Thick Cinema was asked to make a work of up to 10 minutes which considered the role of the body and sensorial experience in cinematic intelligibility and meaning. Shot in New Zealand, Japan, USA and Italy, the five resulting works engage variously with the legacy of fascism, the sexual union of eels, public gardens, the sunset and memory.
CIRCUIT Artist Film and Video Aotearoa New Zealand is an arts agency which supports New Zealand artists working in the moving image through commissioning of works, distribution, critical review and professional practice initiatives. Each year an internationally-based curator is invited to devise a theme for the CIRCUIT Artist Cinema Commissions programme and select 5-6 New Zealand artists to respond. This years curator-at-large is Dr. Mercedes Vicente.
without appeal's open studio and live sound installation
Sluice Project Space, London, U.K.
28 April 2018
For the end of their residency at Sluice Project Space, artist collective without appeal (co-founded by New Zealand artist Will Gresson) are holding an open studio to preview new works in progress. Over the course of the evening, members of the collective will be joined by London based band Far Rainbow and Verz imprint head Phil Maguire to perform a shifting audio installation piece. The current without appeal catalogue will also be on display alongside a selection of audio releases and zines by their collaborators.
For the end of their residency at Sluice Project Space, artist collective without appeal (co-founded by New Zealand artist Will Gresson) are holding an open studio to preview new works in progress. Over the course of the evening, members of the collective will be joined by London based band Far Rainbow and Verz imprint head Phil Maguire to perform a shifting audio installation piece. The current without appeal catalogue will also be on display alongside a selection of audio releases and zines by their collaborators.
Screening: Joanna Margaret Paul 'Through a Different Lens'
Various dates, Various venues
28 February —
22 July 2018
Spektrum, Berlin, Germany. - 22.07.2018
Tyneside Cinema, Newcastle upon Tyne, U.K. - 28.06.2018
OFFoff art cinema, Ghent, Belgium. - 8.05.2018
Cinema Museum, London, U.K. - 16.03.2018
CCA: Centre for Contemporary Arts, Glasgow, Scotland, U.K. - 28.02.2018
Joanna Margaret Paul was a New Zealand artist who pioneered interdisciplinary practice, working prolifically across the mediums of film, poetry and painting. Often shot and edited in camera, her film work chronicled motherhood and domestic life, the worn traces of urban settlement, and the persistent presence of the natural world. Presented by filmmaker and curator Peter Todd, this is the first collection to make Joanna Margaret Paul’s work available to an international audience. The programme contains 13 works shot in the 1970s and was commissioned by CIRCUITArtist Film and Video Aotearoa New Zealand with the support of Creative New Zealand. Screenings in London was followed by a discussion between curator Peter Todd and artist Kate Davis. The screening in Ghent includes a short film by Nova Paul in hommage to Joanna Margaret Paul.
Spektrum, Berlin, Germany. - 22.07.2018
Tyneside Cinema, Newcastle upon Tyne, U.K. - 28.06.2018
OFFoff art cinema, Ghent, Belgium. - 8.05.2018
Cinema Museum, London, U.K. - 16.03.2018
CCA: Centre for Contemporary Arts, Glasgow, Scotland, U.K. - 28.02.2018
Joanna Margaret Paul was a New Zealand artist who pioneered interdisciplinary practice, working prolifically across the mediums of film, poetry and painting. Often shot and edited in camera, her film work chronicled motherhood and domestic life, the worn traces of urban settlement, and the persistent presence of the natural world. Presented by filmmaker and curator Peter Todd, this is the first collection to make Joanna Margaret Paul’s work available to an international audience. The programme contains 13 works shot in the 1970s and was commissioned by CIRCUITArtist Film and Video Aotearoa New Zealand with the support of Creative New Zealand. Screenings in London was followed by a discussion between curator Peter Todd and artist Kate Davis. The screening in Ghent includes a short film by Nova Paul in hommage to Joanna Margaret Paul.