Calendar
Calendar
The HUM calendar features exhibitions & events by New Zealand arts practitioners working or living abroad.
Ann Shelton, i am an old phenomenon
Denny Dinim, New York, USA
04 November —
22 December 2022
For the past decade, Ann Shelton has explored plants and their histories. As we enter a critical age in gender politics and the climate crisis, Shelton’s work bears even greater significance as she reinvestigates lost knowledge pertaining to plants and their ontology in relation to women. Her previous exhibition jane says looked at plants with abortifacient and/or fertility-controlling properties. Within this latest exhibition, i am an old phenomenon Shelton concentrates on the figure of the witch as a traditional keeper of wisdom and knowledge that has since been suppressed. The collection of images looks to re-assemble the information set forth by women who were persecuted for their understanding of plants especially those with a connection to reproduction and the female body.
For the past decade, Ann Shelton has explored plants and their histories. As we enter a critical age in gender politics and the climate crisis, Shelton’s work bears even greater significance as she reinvestigates lost knowledge pertaining to plants and their ontology in relation to women. Her previous exhibition jane says looked at plants with abortifacient and/or fertility-controlling properties. Within this latest exhibition, i am an old phenomenon Shelton concentrates on the figure of the witch as a traditional keeper of wisdom and knowledge that has since been suppressed. The collection of images looks to re-assemble the information set forth by women who were persecuted for their understanding of plants especially those with a connection to reproduction and the female body.
Li-Ming Hu, Double Foreign New Zealand Chinese Kitchen
Flux Factory, Governors Island, USA
22 October —
30 October 2022
As the third and final artist in the series Mama's Augmented Reality curated by Eleni Zaharopoulos, Aotearoa artist Li-Ming Hu presents new work installed in the kitchen of Flux Factory's residency home on Governors Island.
In the spirit of a “mother’s work” which traditionally embodies a DIY aesthetic (think homemade fast food, cardboard costumes, sheet forts, pots and pans instruments) Mama’s Augmented Reality is an exhibition that invites artists to create/interpret their mom’s kitchens as they exist in memory with whatever materials they have at their disposal- just like a resourceful mother would do. Mama’s Augmented Reality is homemade AR defined and interpreted by cheap art practices.
Double Foreign New Zealand Chinese Kitchen is on view 22 - 23 October and 29 - 30 October 2022, 12 - 5pm.
As the third and final artist in the series Mama's Augmented Reality curated by Eleni Zaharopoulos, Aotearoa artist Li-Ming Hu presents new work installed in the kitchen of Flux Factory's residency home on Governors Island.
In the spirit of a “mother’s work” which traditionally embodies a DIY aesthetic (think homemade fast food, cardboard costumes, sheet forts, pots and pans instruments) Mama’s Augmented Reality is an exhibition that invites artists to create/interpret their mom’s kitchens as they exist in memory with whatever materials they have at their disposal- just like a resourceful mother would do. Mama’s Augmented Reality is homemade AR defined and interpreted by cheap art practices.
Double Foreign New Zealand Chinese Kitchen is on view 22 - 23 October and 29 - 30 October 2022, 12 - 5pm.
Li-Ming Hu, ISCP residency
ISCP, New York, USA
01 October —
30 November 2022
An interdisciplinary artist from Aotearoa New Zealand, Li-Ming Hu is currently based in New York City, where she has been selected to complete a two-month residency at International Studio & Curatorial Program (ISCP).
Often employing a carnivalesque sensibility, her work engages with the imperatives of our high performance culture, and draws on her past experiences in the entertainment industry to explore the relationships between cultural production and the construction of subjectivities. About her work Hu says: "Much of my content has been to do with my art world anxiety, particularly in terms of the performance of artistic identity and the labour of art making, which, in our high performance culture, are becoming less distinct."
An interdisciplinary artist from Aotearoa New Zealand, Li-Ming Hu is currently based in New York City, where she has been selected to complete a two-month residency at International Studio & Curatorial Program (ISCP).
Often employing a carnivalesque sensibility, her work engages with the imperatives of our high performance culture, and draws on her past experiences in the entertainment industry to explore the relationships between cultural production and the construction of subjectivities. About her work Hu says: "Much of my content has been to do with my art world anxiety, particularly in terms of the performance of artistic identity and the labour of art making, which, in our high performance culture, are becoming less distinct."
Kate Newby, We are such stuff
Laurel Gitlen Gallery, New York, USA
07 September —
22 October 2022
A plastic shopping bag waves like a flag caught in a tree; a flag printed with a bit of found language hangs high in the air from a balcony across from a former Masonic lodge occupied by Kate Newby’s installations. A red rope is threaded through the roof of a Brutalist building, a scarlet line drawing the eye. Maybe. Or, maybe you miss it. Ropes dangle outside from the roof of Laurel Gitlen’s space. Inside, they’re threaded with blown glass tubes, a horizon directing the gaze beyond the gallery walls. About the bag Kate wrote, “It was having the time of its life... flying past the rules and regulations of the city. Not a bad model for art in the world. Why not let it fly instead of fitting into these narrow spaces.”
A plastic shopping bag waves like a flag caught in a tree; a flag printed with a bit of found language hangs high in the air from a balcony across from a former Masonic lodge occupied by Kate Newby’s installations. A red rope is threaded through the roof of a Brutalist building, a scarlet line drawing the eye. Maybe. Or, maybe you miss it. Ropes dangle outside from the roof of Laurel Gitlen’s space. Inside, they’re threaded with blown glass tubes, a horizon directing the gaze beyond the gallery walls. About the bag Kate wrote, “It was having the time of its life... flying past the rules and regulations of the city. Not a bad model for art in the world. Why not let it fly instead of fitting into these narrow spaces.”
Garth Maxwell, 'Jack Be Nimble' film screening in 'Horror: Messaging the Monstrous'
The Museum of Modern Art, New York, United States
12 July —
13 July 2022
From 23 June through 05 September 2022, The Museum of Modern Art hosts Horror: Messaging the Monstrous, a 10-week film series that includes over 110 features and a selection of short films that capture the horror genre’s uncanny ability to express the lurking fears of a society and the anxieties caused by social, cultural, and political change.
Week Three: Gender and Horror will include the New York City premiere of New Zealand filmmaker Garth Maxwell’s rarely seen masterwork Jack Be Nimble (1993), screening on Tuesday 12 July at 7 PM with Maxwell in attendance for Q&A, and on Wednesday 13 July at 4:30 PM.
From 23 June through 05 September 2022, The Museum of Modern Art hosts Horror: Messaging the Monstrous, a 10-week film series that includes over 110 features and a selection of short films that capture the horror genre’s uncanny ability to express the lurking fears of a society and the anxieties caused by social, cultural, and political change.
Week Three: Gender and Horror will include the New York City premiere of New Zealand filmmaker Garth Maxwell’s rarely seen masterwork Jack Be Nimble (1993), screening on Tuesday 12 July at 7 PM with Maxwell in attendance for Q&A, and on Wednesday 13 July at 4:30 PM.
Sara Cowdell, 'Houses of Madness' A performance art work
Grace Exhibition Space Upstate, Kingston, New York, USA
02 July —
03 July 2022
Houses of Madness is the second in a series of works in homage to Sara Cowdell's great aunt. This work investigates the ongoing tensions of performing normality and internal experiences of intrusive and obsessive thoughts.
"You built a house in your mind, for only you and your madness - but now you have a house for your body, one that is built with wood, it has a door that opens to meadow, and windows with no pains. In this house maybe something new, mad and shared can emerge." - Sara Cowdell
Houses of Madness is the second in a series of works in homage to Sara Cowdell's great aunt. This work investigates the ongoing tensions of performing normality and internal experiences of intrusive and obsessive thoughts.
"You built a house in your mind, for only you and your madness - but now you have a house for your body, one that is built with wood, it has a door that opens to meadow, and windows with no pains. In this house maybe something new, mad and shared can emerge." - Sara Cowdell
Alexa Wilson, Mothership residency
Mothership, New York, USA
01 July —
01 August 2022
New Zealand performance artist and writer Alexa Wilson will complete a one-month residency at Mothership in Brooklyn starting July 2022, working on her book, Asymmetry of Transformation: The 12th House, the 4th installment in a series on the 4 elements.
From the artist: "This is a musing across layers both imagined (a TV series of characters in global role play) and real (my travel, sex, death and love) on nothingness, death, solitude and the beyond, alongside memories of performances (as ghosts) translated like psychic mediums, the power of trauma and our karmic relationship to community, justice and healing. It is interwoven with a semi-documentary project with interviews about death, and a live (ghost) work about living and dying."
New Zealand performance artist and writer Alexa Wilson will complete a one-month residency at Mothership in Brooklyn starting July 2022, working on her book, Asymmetry of Transformation: The 12th House, the 4th installment in a series on the 4 elements.
From the artist: "This is a musing across layers both imagined (a TV series of characters in global role play) and real (my travel, sex, death and love) on nothingness, death, solitude and the beyond, alongside memories of performances (as ghosts) translated like psychic mediums, the power of trauma and our karmic relationship to community, justice and healing. It is interwoven with a semi-documentary project with interviews about death, and a live (ghost) work about living and dying."
Imogen Taylor, ISCP residency
ISCP, New York, USA
01 July —
30 September 2022
After being postponed from 2020, Aotearoa artist Imogen Taylor's residency at The International Studio & Curatorial Program (ISCP) in New York City resumes on 1 July and runs until 30 September 2022.
ISCP supports the creative development of artists and curators, and promotes exchange through residencies and public programs. Housed in a former factory in Brooklyn, with 35 light-filled work studios, two galleries, and a project space, ISCP is New York’s most comprehensive international visual arts residency program, founded in 1994.
After being postponed from 2020, Aotearoa artist Imogen Taylor's residency at The International Studio & Curatorial Program (ISCP) in New York City resumes on 1 July and runs until 30 September 2022.
ISCP supports the creative development of artists and curators, and promotes exchange through residencies and public programs. Housed in a former factory in Brooklyn, with 35 light-filled work studios, two galleries, and a project space, ISCP is New York’s most comprehensive international visual arts residency program, founded in 1994.
Jess Johnson, Core Dump
Jack Hanley Gallery, New York, USA
25 March —
23 April 2022
Jess Johnson (b. 1979 in Tauranga, New Zealand) lives and works in New York City. Johnson’s optical, graphical explorations envision a dystopian space. The fastidiously rendered complex drawings merge 1980’s video games with a very sophisticated spatial awareness. Johnson is particularly intrigued by the notion of “world-building.” Her colorful works are like hypnotic rock posters with their flattened perspective and inviting fantasy world of astral planes. In this mind-twitching alternative virtual reality, the artist aims to show “architectural monu- ments’ of some alien civilization and are populated with contorted humanoid figures and bat-faced aliens.” We are taught to think that reality is fixed, but Johnson approaches it as a multidimensional and ever-changing. Her works explore the bounds of technology and multiple futures, and through her nonthreatening virtual reality, we have a connecting force through which we can dissolve boundaries. Core Dump is Johnson's third exhibition with Jack Hanley Gallery.
Jess Johnson (b. 1979 in Tauranga, New Zealand) lives and works in New York City. Johnson’s optical, graphical explorations envision a dystopian space. The fastidiously rendered complex drawings merge 1980’s video games with a very sophisticated spatial awareness. Johnson is particularly intrigued by the notion of “world-building.” Her colorful works are like hypnotic rock posters with their flattened perspective and inviting fantasy world of astral planes. In this mind-twitching alternative virtual reality, the artist aims to show “architectural monu- ments’ of some alien civilization and are populated with contorted humanoid figures and bat-faced aliens.” We are taught to think that reality is fixed, but Johnson approaches it as a multidimensional and ever-changing. Her works explore the bounds of technology and multiple futures, and through her nonthreatening virtual reality, we have a connecting force through which we can dissolve boundaries. Core Dump is Johnson's third exhibition with Jack Hanley Gallery.
Susan Te Kahurangi King and Jess Johnson, Axotol Tank
Jack Hanley Gallery, New York, USA
25 March —
22 April 2022
Axolotyl Tank is a group show organised by New Zealand artist Jess Johnson, featuring Susan Te Kahurangi King (also from Aotearoa), Gary Panter, Motohiro Hayakawa, Matt Lock, Lale Westvind, and Rea Burton. Showing at Jack Hanley Gallery in New York City from 25 March - 23 April 2022.
Axolotyl Tank is a group show organised by New Zealand artist Jess Johnson, featuring Susan Te Kahurangi King (also from Aotearoa), Gary Panter, Motohiro Hayakawa, Matt Lock, Lale Westvind, and Rea Burton. Showing at Jack Hanley Gallery in New York City from 25 March - 23 April 2022.
Susan Te Kahurangi King, Multitudes
American Folk Art Museum, New York, USA
21 January —
05 September 2022
Aotearoa artist Susan Te Kahurangi King is included in the group exhibition MULTITUDES at the American Folk Art Museum in New York.
Organized on the occasion of the Museum’s 60th anniversary, MULTITUDES will showcase some 400 stellar works, including recent gifts and new acquisitions that will be exhibited for the first time. The exhibition will feature a wide range of works – from dazzling early American portraits, needlework, and quilts, to idiosyncratic creations of the 20th and the 21st centuries, such as sculptures made of recycled materials, color-tinted photographs, and fragments of art environments. Presented non-chronologically, the works in the exhibition will be visually clustered to reveal not only their individuality but also their commonalities.
Aotearoa artist Susan Te Kahurangi King is included in the group exhibition MULTITUDES at the American Folk Art Museum in New York.
Organized on the occasion of the Museum’s 60th anniversary, MULTITUDES will showcase some 400 stellar works, including recent gifts and new acquisitions that will be exhibited for the first time. The exhibition will feature a wide range of works – from dazzling early American portraits, needlework, and quilts, to idiosyncratic creations of the 20th and the 21st centuries, such as sculptures made of recycled materials, color-tinted photographs, and fragments of art environments. Presented non-chronologically, the works in the exhibition will be visually clustered to reveal not only their individuality but also their commonalities.