Calendar
Calendar
The HUM calendar features exhibitions & events by New Zealand arts practitioners working or living abroad.
Kate Newby, Very active weather
Kayokoyuki, Tokyo, Japan
17 February —
24 March 2024
Very active weather, Kate Newby's first solo exhibition in Japan, includes a site-specific terrazzo step installed in the floor of the gallery entrance and ceramic sculptures molded from brick-coloured terrazzo produced in Toyama, Japan.
By merging broken glass found in the streets and pathways of Tokyo with clay which she fires in Texas, Newby’s work in Very active weather speaks to the transformative nature of everyday objects over time, and the impact of external factors such as climate and human activities that soften the edges and fade the colours of the original source materials.
Very active weather, Kate Newby's first solo exhibition in Japan, includes a site-specific terrazzo step installed in the floor of the gallery entrance and ceramic sculptures molded from brick-coloured terrazzo produced in Toyama, Japan.
By merging broken glass found in the streets and pathways of Tokyo with clay which she fires in Texas, Newby’s work in Very active weather speaks to the transformative nature of everyday objects over time, and the impact of external factors such as climate and human activities that soften the edges and fade the colours of the original source materials.
Kate Newby, Dialogue 2: Ephemeral Anchoring
Ginza Maison Hermès, Tokyo, Japan
16 February —
31 May 2024
The Fondation d’entreprise Hermès presents Ecology: Dialogue on Circulations, an ongoing two-part exhibition series that examines ecological practices in art.
Following the first exhibition by Jaeeun Choi, Dialogue 1: La Vita Nuova, the second installment, Dialogue 2: Ephemeral Anchoring is curated by Reiko Setsuda and features four artists: Nicolas Floc’h, Kate Newby, Takeshi Yasura and Raphaël Zarka. The exhibition aims to be a dialogue exploring the potential of communication and the phenomenon of energy circulation between nature and humans within the platform of contemporary art.
The Fondation d’entreprise Hermès presents Ecology: Dialogue on Circulations, an ongoing two-part exhibition series that examines ecological practices in art.
Following the first exhibition by Jaeeun Choi, Dialogue 1: La Vita Nuova, the second installment, Dialogue 2: Ephemeral Anchoring is curated by Reiko Setsuda and features four artists: Nicolas Floc’h, Kate Newby, Takeshi Yasura and Raphaël Zarka. The exhibition aims to be a dialogue exploring the potential of communication and the phenomenon of energy circulation between nature and humans within the platform of contemporary art.
Jenna Eriksen, Kiku No Kami
72 Gallery, Tokyo Institute of Photography, Japan
13 November —
17 November 2023
A new body of work by multidisciplinary artist and filmmaker Jenna Eriksen, completed as part of The Kōwhai Residency, an international initiative jointly run by New Zealand's Auckland Festival of Photography, Asia New Zealand Foundation and the Tokyo Institute of Photography.
Now in its second year, The Kōwhai Residency offers Aotearoa artists a unique opportunity for a comprehensive learning experience in Tokyo and to gain knowledge from Japanese practitioners.
A new body of work by multidisciplinary artist and filmmaker Jenna Eriksen, completed as part of The Kōwhai Residency, an international initiative jointly run by New Zealand's Auckland Festival of Photography, Asia New Zealand Foundation and the Tokyo Institute of Photography.
Now in its second year, The Kōwhai Residency offers Aotearoa artists a unique opportunity for a comprehensive learning experience in Tokyo and to gain knowledge from Japanese practitioners.
Kate Newby, Our Ecology
Mori Art Museum, Tokyo, Japan
18 October 2023 —
31 March 2024
The impact of humanity on our planet since the industrial revolution is said to match that of the thousands of preceding years of geological change. The environmental crisis is a challenge of utmost urgency, and right now an important theme on the international art scene. Is there still any possibility of a sustainable future, in which we leave behind the anthropocentrism that has triggered this crisis, and instead, as humans, find a new way of relating to all other, non-human entities?
Contemplating how contemporary art and artists have engaged to date with environmental issues, and how they can do so in future, Our Ecology aims to explore the possibilities left for the sustainable future on a global scale. Featuring a diverse range of pieces—from historical work such as Agnes Denes’ 1982 conjuring of a wheatfield in the capitalist capital Manhattan, to new works made especially for the exhibition—Our Ecology posits the questions: who are we, and to whom does Earth’s environment belong?
The impact of humanity on our planet since the industrial revolution is said to match that of the thousands of preceding years of geological change. The environmental crisis is a challenge of utmost urgency, and right now an important theme on the international art scene. Is there still any possibility of a sustainable future, in which we leave behind the anthropocentrism that has triggered this crisis, and instead, as humans, find a new way of relating to all other, non-human entities?
Contemplating how contemporary art and artists have engaged to date with environmental issues, and how they can do so in future, Our Ecology aims to explore the possibilities left for the sustainable future on a global scale. Featuring a diverse range of pieces—from historical work such as Agnes Denes’ 1982 conjuring of a wheatfield in the capitalist capital Manhattan, to new works made especially for the exhibition—Our Ecology posits the questions: who are we, and to whom does Earth’s environment belong?
Joel Kirkham, Ground Swell by Goya Curtain
void+eaves, Tokyo, Japan
11 August —
13 August 2023
The artist-run project space Goya Curtain takes part in the eighth instalment of Artist Running, a series of exhibitions curated by Kanehira Hikotaro.
Open for three days only, this pop-up event showcases a selection of works by Joel Kirkham, the co-founder and director of Goya Curtain. The installation includes recent drawings shown together with floor- and wall-based sculpture.
The artist-run project space Goya Curtain takes part in the eighth instalment of Artist Running, a series of exhibitions curated by Kanehira Hikotaro.
Open for three days only, this pop-up event showcases a selection of works by Joel Kirkham, the co-founder and director of Goya Curtain. The installation includes recent drawings shown together with floor- and wall-based sculpture.
Claudia Kogachi and Susan Te Kahurangi King, Tokyo Gendai
Pacifico Yokohama, Tokyo, Japan
06 July —
09 July 2023
Tokyo Gendai is Japan’s newest international art fair, and the first to be held in Tokyo Bay in over 30 years.
London gallery Phillida Reid presents work by Claudia Kogachi (b.1995, Awaji-Shima, Japan), an artist working with painting, textiles and installation, living in Tāmaki Makaurau Auckland, and Tokyo gallery Nanzuka Underground, in collaboration with Robert Heald Gallery (Te Whanganui-a-Tara Wellington), presents 13 early drawings by Susan Te Kahurangi King (b. 1951, Te Aroha).
Through artwork, programmes and events, the fair positions itself as a nexus of cross-cultural discovery; a major new platform for commercial, artistic, and intellectual exchange. Over 79 galleries from Japan, Asia Pacific, Europe and the USA participate in this year's event, including Fox Jensen McCrory, from Tāmaki Makaurau Auckland and Gadigal Sydney.
Tokyo Gendai is Japan’s newest international art fair, and the first to be held in Tokyo Bay in over 30 years.
London gallery Phillida Reid presents work by Claudia Kogachi (b.1995, Awaji-Shima, Japan), an artist working with painting, textiles and installation, living in Tāmaki Makaurau Auckland, and Tokyo gallery Nanzuka Underground, in collaboration with Robert Heald Gallery (Te Whanganui-a-Tara Wellington), presents 13 early drawings by Susan Te Kahurangi King (b. 1951, Te Aroha).
Through artwork, programmes and events, the fair positions itself as a nexus of cross-cultural discovery; a major new platform for commercial, artistic, and intellectual exchange. Over 79 galleries from Japan, Asia Pacific, Europe and the USA participate in this year's event, including Fox Jensen McCrory, from Tāmaki Makaurau Auckland and Gadigal Sydney.
Patrick Lundberg, ∙∙ ∙∙
Goya Curtain, Tokyo, Japan
12 November —
10 December 2022
Patrick Lundberg is a painter who favours alternative painting supports such as marbles, shoe laces, strips of fabric, found wood, and paper tube inners. His works are quiet, often small in scale, and deeply considered. While formally referencing minimalism and abstraction, it has been stated that his primary concern is with the politics of perception and attention. The exhibition borrows its title from a Lorine Niedecker poem, in which the ∙∙ ∙∙ stands for the tick tock of a pendulum. It is possibly somewhere within this meditative motion which marks both the passing of time and the rhythm of its return that the significance of Lundberg's minor notes begin to emerge.
Patrick Lundberg is a painter who favours alternative painting supports such as marbles, shoe laces, strips of fabric, found wood, and paper tube inners. His works are quiet, often small in scale, and deeply considered. While formally referencing minimalism and abstraction, it has been stated that his primary concern is with the politics of perception and attention. The exhibition borrows its title from a Lorine Niedecker poem, in which the ∙∙ ∙∙ stands for the tick tock of a pendulum. It is possibly somewhere within this meditative motion which marks both the passing of time and the rhythm of its return that the significance of Lundberg's minor notes begin to emerge.
André Hemer, The Colour and The Shape
Bohemian's Guild, Tokyo, Japan
15 January —
13 February 2022
Vienna-based Aotearoa artist André Hemer features in the group exhibition curated by Steven Cox, who is showing alongside Trudy Benson, Chris Hood, Ryan Wallace, Erin Lawlor, Asger Dybvad Larsen, and Mathias Malling Mortensen.
On from 15 January 2022—13 February 2022 at Bohemian's Guild, Tokyo
Vienna-based Aotearoa artist André Hemer features in the group exhibition curated by Steven Cox, who is showing alongside Trudy Benson, Chris Hood, Ryan Wallace, Erin Lawlor, Asger Dybvad Larsen, and Mathias Malling Mortensen.
On from 15 January 2022—13 February 2022 at Bohemian's Guild, Tokyo
Fiona Amundsen, Our Remaining Breath
Tokyo Biennale 2020/21, Japan
20 August —
05 September 2021
Fiona Amundsen's Our Remaining Breath, brings together three seemingly unrelated practices—rakugo, filmmaking, and zanshin. The project seeks to combine these practices in order to explore modalities for remembering and connecting with histories, related to Japan’s imperial war efforts, that shape present-day society. The project works with local witness testimonies, rakugo methods of storytelling (namely listening and imagination), aikido practices of connection, and video documentation.
Through a series of workshops, the project brings together rakugo performers, aikido practitioners, and local elderly community members to explore how to establish a discursive yet caring space where words, memories, and histories can remain breathing in the present. Our Remaining Breath aims to use past narratives as a way to think of alternatives to the growing sense of nationalism that, while present in Japan, is globally reaching.
Fiona Amundsen's Our Remaining Breath, brings together three seemingly unrelated practices—rakugo, filmmaking, and zanshin. The project seeks to combine these practices in order to explore modalities for remembering and connecting with histories, related to Japan’s imperial war efforts, that shape present-day society. The project works with local witness testimonies, rakugo methods of storytelling (namely listening and imagination), aikido practices of connection, and video documentation.
Through a series of workshops, the project brings together rakugo performers, aikido practitioners, and local elderly community members to explore how to establish a discursive yet caring space where words, memories, and histories can remain breathing in the present. Our Remaining Breath aims to use past narratives as a way to think of alternatives to the growing sense of nationalism that, while present in Japan, is globally reaching.
Robin White, Another Energy
Mori Art Museum, Tokyo, Japan
22 April —
26 September 2021
Recent years have witnessed growing moves worldwide to right inequalities around aspects of identity such as gender, race, ethnicity, and beliefs, and attach greater value to diversity. Also in contemporary art for the past decade or so, attention has turned increasingly to female artists who began their contemporary art careers between the 1950s and 1970s and continue to stay active as artists today.
Another Energy focuses on 16 of these female artists in their 70s or older, from across the globe, who continue to embark on new challenges. Ranging in ages 71-105 with their careers spanning over 50 years, they are originally from 14 different countries, and equally diverse in their current locations. Nonetheless, what these women share regardless of recognition or evaluation by art museums and the art market is a determination to pursue their own distinctive creative paths in turbulent environment and times.
Recent years have witnessed growing moves worldwide to right inequalities around aspects of identity such as gender, race, ethnicity, and beliefs, and attach greater value to diversity. Also in contemporary art for the past decade or so, attention has turned increasingly to female artists who began their contemporary art careers between the 1950s and 1970s and continue to stay active as artists today.
Another Energy focuses on 16 of these female artists in their 70s or older, from across the globe, who continue to embark on new challenges. Ranging in ages 71-105 with their careers spanning over 50 years, they are originally from 14 different countries, and equally diverse in their current locations. Nonetheless, what these women share regardless of recognition or evaluation by art museums and the art market is a determination to pursue their own distinctive creative paths in turbulent environment and times.