Calendar
Calendar
The HUM calendar features exhibitions & events by New Zealand arts practitioners working or living abroad.
Len Lye Film Animations at Tate
Tate Britain, London, U.K.
02 December 2019 —
17 May 2020
Ben Cauchi at Black Box Projects
Black Box Projects, Mayfair, London, U.K.
08 October —
19 October 2019
Fundamentals brings together the work of nine international contemporary artists who apply historic photographic techniques to create innovative and unique artworks. The artists, many of whom work with handmade cameras, modified cameras, or no camera at all, are unified by their dedication to exploring the processes of the past and discovering novel approaches to factoring them into their practice, while redefining the very root of what photography can be.
Fundamentals brings together the work of nine international contemporary artists who apply historic photographic techniques to create innovative and unique artworks. The artists, many of whom work with handmade cameras, modified cameras, or no camera at all, are unified by their dedication to exploring the processes of the past and discovering novel approaches to factoring them into their practice, while redefining the very root of what photography can be.
Lisa Walker at Gallery S O
Gallery S O, London, U.K.
04 October —
27 October 2019
Known for work that has questioned the very nature of jewellery – its past, present and potential future – Walker mixes materials and ideas in an investigative practice that constantly reconsiders its own answers.
Working with found objects, precious and non-precious materials, abandoned bits and bobs, pieces, parts and leftovers, Walker’s works are intuitive and impetuous, but hardly irreverent. She understands the significance of her choices, her references and her results, and celebrates her influences as much as her finished work. She transforms, commingles, rewrites and recreates her influences and inspirations into pieces that are beyond our expectations of jewellery.
Known for work that has questioned the very nature of jewellery – its past, present and potential future – Walker mixes materials and ideas in an investigative practice that constantly reconsiders its own answers.
Working with found objects, precious and non-precious materials, abandoned bits and bobs, pieces, parts and leftovers, Walker’s works are intuitive and impetuous, but hardly irreverent. She understands the significance of her choices, her references and her results, and celebrates her influences as much as her finished work. She transforms, commingles, rewrites and recreates her influences and inspirations into pieces that are beyond our expectations of jewellery.
Christina Pataialii in residency at Gasworks
Gasworks, London, U.K.
30 September —
15 December 2019
Christina Pataialii is undertaking a residency at Gasworks from 13 September to 16 December 2019. Pataialii’s paintings explore the possibilities that arise with the merging of culturally specific codes. Considering a globalized cultural context, her work has a focus on geopolitical shifts, the resurgence of western nationalism and collective nostalgia for mid-20th Century utopias.
Christina Pataialii is undertaking a residency at Gasworks from 13 September to 16 December 2019. Pataialii’s paintings explore the possibilities that arise with the merging of culturally specific codes. Considering a globalized cultural context, her work has a focus on geopolitical shifts, the resurgence of western nationalism and collective nostalgia for mid-20th Century utopias.
ATA | VĀSA – Reflections of an Ocean Film Festival
MOKU Pacific HQ, London, U.K.
26 September —
28 September 2019
We come from generations of story tellers.
We have so many stories, we could fill our ocean many times over.
Our stories come from the rich and colourful cultures of an ocean, that some might call Te Moananui a Kiwa, over 150 million square kilometres of water. Our stories reflect our complex and beautiful diversity, the things that make us different and the similarities we have with each other, like our ocean, the VĀSA, it is the space between us, that connects us together.
In*ter*is*land Collective are honoured to present ATA | VĀSA – Reflections of an Ocean, a small but carefully curated collection of a few stories, told in the medium of film, that come from the latest generations of storytellers.
We come from generations of story tellers.
We have so many stories, we could fill our ocean many times over.
Our stories come from the rich and colourful cultures of an ocean, that some might call Te Moananui a Kiwa, over 150 million square kilometres of water. Our stories reflect our complex and beautiful diversity, the things that make us different and the similarities we have with each other, like our ocean, the VĀSA, it is the space between us, that connects us together.
In*ter*is*land Collective are honoured to present ATA | VĀSA – Reflections of an Ocean, a small but carefully curated collection of a few stories, told in the medium of film, that come from the latest generations of storytellers.
Alan McFetridge: Dead End
Wex Photo Video Gallery, London, U.K.
05 September —
29 September 2019
In his first solo exhibition at Wex London, photographer Alan McFetridge presents work from his fire ecology research. Shot in the earth’s largest green lung, boreal forest; a hauntingly beautiful array of large scale photographs creates an acute awareness of fossil fuels danger to social, economic and political stability.
As climate heating becomes increasingly tangible, this field study is an emphatic statement on the proximity to a point of no return for the lands we inhabit. A dead end, where anthropogenic carbon emissions have driven the planets largest woodland towards a tipping point of total collapse. In this body of work a catastrophic out-of-season pyro-grade hellfire became an intensely traumatic event for an unsuspecting community of over 120,000 people. It became Canada’s largest mass evacuation and its most costly natural disaster. McFetridge’s methodical approach finds clarity amidst the chaos of aftermath. This work is constructed through a complex process that combines an analog style large format camera with digital technology. It is an approach he has been developing since the emergence of digital capture to replicate his previous large format film camera. Refered to as cinematic, his work offers finely detailed perspectives at human head height and field of view.
In his first solo exhibition at Wex London, photographer Alan McFetridge presents work from his fire ecology research. Shot in the earth’s largest green lung, boreal forest; a hauntingly beautiful array of large scale photographs creates an acute awareness of fossil fuels danger to social, economic and political stability.
As climate heating becomes increasingly tangible, this field study is an emphatic statement on the proximity to a point of no return for the lands we inhabit. A dead end, where anthropogenic carbon emissions have driven the planets largest woodland towards a tipping point of total collapse. In this body of work a catastrophic out-of-season pyro-grade hellfire became an intensely traumatic event for an unsuspecting community of over 120,000 people. It became Canada’s largest mass evacuation and its most costly natural disaster. McFetridge’s methodical approach finds clarity amidst the chaos of aftermath. This work is constructed through a complex process that combines an analog style large format camera with digital technology. It is an approach he has been developing since the emergence of digital capture to replicate his previous large format film camera. Refered to as cinematic, his work offers finely detailed perspectives at human head height and field of view.
Kushana Bush and Susan Te Kahurangi King at The Approach
The Approach, London, U.K.
04 July —
04 August 2019
Some artists do not accept the burden of representation in art and prefer to escape the responsibilities of communication for the freedom of play and have turned their back on the conceptual in pursuit of the image and imagination. Maurice Blanchot describes such artists as “exiles from life in the illusory world of images”. The three artists in this exhibition are, in different ways, such exiles refusing a conceptual or instrumental connection with images for personal reverie and fantasy.
No one embodies this withdrawal from the conceptual world into the world of images more extremely than Susan Te Kahurangi King, who has refused to speak or communicate in any other way than through her drawings since the age of ten. In the fifty years since then there has been a continuous outpouring of drawings. Kushana Bush’s sense of separation from mainstream culture is less pathological and unambiguous. From her geographically remote home in New Zealand, a sense of exile is the given and essential part of her relationship with the images which inspire her work.
The exhibition Under the Spell of the Image is curated by John Stezaker.
Some artists do not accept the burden of representation in art and prefer to escape the responsibilities of communication for the freedom of play and have turned their back on the conceptual in pursuit of the image and imagination. Maurice Blanchot describes such artists as “exiles from life in the illusory world of images”. The three artists in this exhibition are, in different ways, such exiles refusing a conceptual or instrumental connection with images for personal reverie and fantasy.
No one embodies this withdrawal from the conceptual world into the world of images more extremely than Susan Te Kahurangi King, who has refused to speak or communicate in any other way than through her drawings since the age of ten. In the fifty years since then there has been a continuous outpouring of drawings. Kushana Bush’s sense of separation from mainstream culture is less pathological and unambiguous. From her geographically remote home in New Zealand, a sense of exile is the given and essential part of her relationship with the images which inspire her work.
The exhibition Under the Spell of the Image is curated by John Stezaker.
Emma Bass at Salon des Refusés
Camden Image Gallery, London, U.K.
12 June —
15 June 2019
In the tradition of the 19th century Parisian Salon des Refusés, Happenstance Art and Framing Gallery presents the 8th Salon des Refusés: Exhibition of Artworks Refused from the Royal Academy Summer Exhibition. Our annual extravaganza of artworks missed, unappreciated, misunderstood or sacrificed at the last minute by the Royal Academy Selection Commitee will this year feature over 100 UK and international creators across a range of art forms. This is a unique chance to appreciate non-establishment and democratic art.
In the tradition of the 19th century Parisian Salon des Refusés, Happenstance Art and Framing Gallery presents the 8th Salon des Refusés: Exhibition of Artworks Refused from the Royal Academy Summer Exhibition. Our annual extravaganza of artworks missed, unappreciated, misunderstood or sacrificed at the last minute by the Royal Academy Selection Commitee will this year feature over 100 UK and international creators across a range of art forms. This is a unique chance to appreciate non-establishment and democratic art.
Oliver Perkins and Parick Lundberg at Fold
Fold Gallery, London, U.K.
23 May —
22 June 2019
This exhibition seeks to develop a conversation between two series or rather two categories of work by artists Patrick Lundberg and Oliver Perkins. Lundberg’s ‘Sets’ and Perkins’ ‘string and dowel works‘. The affiliation between these bodies of work lies broadly in both artist’s co-habitation of a position in painting that seeks to circumvent representation and more precisely, in closely calibrated attempts, to invoke the world through perceptual experience.
Theirs is not a sceptical reduction of the painted object to its material conditions with the erroneous sense that it is therefore grounded, however infinitesimally, in ‘Reality’. Nor is theirs an attempt to establish transcendental ‘Truths’ through symbolic codification or structural modelling. Rather what they share in is the understanding of a painting as a kind of instrument for looking, or perhaps more ambitiously a receptacle through which the World appears to us negatively, as a swelling, pulsing, humming, untotalizable presence. As a silent constitutive element that for a moment becomes felt and which in music might be referred to as a third tone.
This exhibition seeks to develop a conversation between two series or rather two categories of work by artists Patrick Lundberg and Oliver Perkins. Lundberg’s ‘Sets’ and Perkins’ ‘string and dowel works‘. The affiliation between these bodies of work lies broadly in both artist’s co-habitation of a position in painting that seeks to circumvent representation and more precisely, in closely calibrated attempts, to invoke the world through perceptual experience.
Theirs is not a sceptical reduction of the painted object to its material conditions with the erroneous sense that it is therefore grounded, however infinitesimally, in ‘Reality’. Nor is theirs an attempt to establish transcendental ‘Truths’ through symbolic codification or structural modelling. Rather what they share in is the understanding of a painting as a kind of instrument for looking, or perhaps more ambitiously a receptacle through which the World appears to us negatively, as a swelling, pulsing, humming, untotalizable presence. As a silent constitutive element that for a moment becomes felt and which in music might be referred to as a third tone.
Wara Bullôt in International Photography Exhibition 161
Various venues, U.K./Ireland
07 February —
27 October 2019
Royal Photographic Society House, Bristol, U.K. : 07.02.2019 — 24.03.2019
Midlands Arts Centre, Birmingham : 30.03.2019 — 12.05.2019
Royal Albert Hall, London : 22.05.2019 — 23.06.2019
Municipal Gallery, Dublin : 05.07.2019 — 04.09.2019
HIP Festival, Hull : 04.10.2019 — 27.10.2019
Now in its 161st edition, the IPE is a celebration of photography today offering insight into current trends and subjects whilst providing a platform for the photographers of tomorrow.
Presenting 100 beautiful, striking and accomplished images by 54 contemporary photographers including New Zealand artist Wara Bullôt, the IPE 161 will tour the UK and Ireland through 2019.
The International Photography Exhibition (formerly the International Print Exhibition) is steeped in history, having been held almost every year since 1854 - the year after The Society was founded. In the early years, the exhibition included work from some of the world's most eminent photographers including Julia Margaret Cameron, Roger Fenton, Edward Steichen and others.
Royal Photographic Society House, Bristol, U.K. : 07.02.2019 — 24.03.2019
Midlands Arts Centre, Birmingham : 30.03.2019 — 12.05.2019
Royal Albert Hall, London : 22.05.2019 — 23.06.2019
Municipal Gallery, Dublin : 05.07.2019 — 04.09.2019
HIP Festival, Hull : 04.10.2019 — 27.10.2019
Now in its 161st edition, the IPE is a celebration of photography today offering insight into current trends and subjects whilst providing a platform for the photographers of tomorrow.
Presenting 100 beautiful, striking and accomplished images by 54 contemporary photographers including New Zealand artist Wara Bullôt, the IPE 161 will tour the UK and Ireland through 2019.
The International Photography Exhibition (formerly the International Print Exhibition) is steeped in history, having been held almost every year since 1854 - the year after The Society was founded. In the early years, the exhibition included work from some of the world's most eminent photographers including Julia Margaret Cameron, Roger Fenton, Edward Steichen and others.
Oliver Perkins at Fold Gallery, London
Fold Gallery, London, U.K.
24 January —
09 March 2019
Fold is pleased to present Carry On, a show of 26 works by 26 artists, curated by Kim Savage and Tim Ellis.
The artists in this show make abstract work or have a practice that extends into abstraction. Each of the works can roughly fit, either whole, or in their unframed or dismantled state, into an aeroplane carry on suitcase. New Zealand artist Oliver Perkins is participating.
Fold is pleased to present Carry On, a show of 26 works by 26 artists, curated by Kim Savage and Tim Ellis.
The artists in this show make abstract work or have a practice that extends into abstraction. Each of the works can roughly fit, either whole, or in their unframed or dismantled state, into an aeroplane carry on suitcase. New Zealand artist Oliver Perkins is participating.