Calendar
Calendar
The HUM calendar features exhibitions & events by New Zealand arts practitioners working or living abroad.
Ans Westra: Urban Drift
Anastasia Photo, New York, U.S.A.
05 December 2019 —
22 February 2020
Len Lye Film Animations at Tate
Tate Britain, London, U.K.
02 December 2019 —
17 May 2020
Fiona Connor at Henry Art Gallery
Henry Art Gallery, Washington, U.S.A.
23 November 2019 —
26 April 2020
Kate Newby at Cibrian Gallery
Cibrian Gallery, San Sebastian, Spain
22 November 2019 —
15 February 2020
Karl Fritsch: Rings Without End
Salon 94, New York, U.S.A.
19 November —
06 December 2019
Mata Aho Collective at National Gallery of Canada
National Gallery of Canada, Ottawa, Canada
08 November 2019 —
05 April 2020
Àbadakone | Continuous Fire | Feu continuel, the second exhibition in the National Gallery of Canada’s series of presentations of contemporary international Indigenous art, features works by more than 70 artists identifying with almost 40 Indigenous Nations, ethnicities and tribal affiliations from 16 countries, including Canada. Mata Aho Collective from Aotearoa New Zealand are presenting a new work created for this exhibition. Àbadakone animates both galleries and public spaces with art in all media, including performance art, video and commissioned installations, complemented by a dynamic program of workshops, performances, film screenings, talks, and more.
Àbadakone | Continuous Fire | Feu continuel, the second exhibition in the National Gallery of Canada’s series of presentations of contemporary international Indigenous art, features works by more than 70 artists identifying with almost 40 Indigenous Nations, ethnicities and tribal affiliations from 16 countries, including Canada. Mata Aho Collective from Aotearoa New Zealand are presenting a new work created for this exhibition. Àbadakone animates both galleries and public spaces with art in all media, including performance art, video and commissioned installations, complemented by a dynamic program of workshops, performances, film screenings, talks, and more.
Susan Te Kahurangi King at NSU Art Museum
NSU Art Museum Fort Lauderdale, U.S.A.
27 October 2019 —
05 July 2020
Nandita Kumar and Lisa Reihana at Pompidou Centre
Centre Georges Pompidou, Paris, France
23 October —
23 December 2019
Cosmopolis 2: rethinking the human brings artists and critical thinkers to address questions of technological diversity, scale and of social value, reaffirming other modes of existence, geographic articulations and cosmologies. Curated by Kathryn Weir, the exhibition includes work by Nandita Kumar and Lisa Reihana. While Kumar creates sensory objects and environments that reflect and reimagine the encounters between the industrial and natural worlds, Reihana reinterprets the cosmological and mythological figures of Māori culture in the photographic and video works from Ihi.
Launched as a platform at the Centre Pompidou in 2016, Cosmopolis focuses on research-based, collaborative and interdisciplinary contemporary art practices. Through residencies, exhibitions, discursive programs and publications, it engages with artists who are concerned with the production of relationships and the exchange of knowledge, participating in a resurgence of interest in cosmopolitical approaches. Following 'Cosmopolis #1: Collective Intelligence', presented in 2017 in Paris, focused on new forms of artistic collaboration, 'Cosmopolis #1.5: Enlarged Intelligence', presented in 2018 in Chengdu, China saw artists envisioning how to draw on artificial and ecological intelligence towards collectively defined ends.
Cosmopolis 2: rethinking the human brings artists and critical thinkers to address questions of technological diversity, scale and of social value, reaffirming other modes of existence, geographic articulations and cosmologies. Curated by Kathryn Weir, the exhibition includes work by Nandita Kumar and Lisa Reihana. While Kumar creates sensory objects and environments that reflect and reimagine the encounters between the industrial and natural worlds, Reihana reinterprets the cosmological and mythological figures of Māori culture in the photographic and video works from Ihi.
Launched as a platform at the Centre Pompidou in 2016, Cosmopolis focuses on research-based, collaborative and interdisciplinary contemporary art practices. Through residencies, exhibitions, discursive programs and publications, it engages with artists who are concerned with the production of relationships and the exchange of knowledge, participating in a resurgence of interest in cosmopolitical approaches. Following 'Cosmopolis #1: Collective Intelligence', presented in 2017 in Paris, focused on new forms of artistic collaboration, 'Cosmopolis #1.5: Enlarged Intelligence', presented in 2018 in Chengdu, China saw artists envisioning how to draw on artificial and ecological intelligence towards collectively defined ends.
Len Lye: Motion Composer
Museum Tinguely, Basel, Switzerland
23 October 2019 —
26 January 2020
Imagine the Land at MACRO
MACRO, Rome, Italy
22 October —
31 October 2019
In the participatory artistic practice of the Imagine the Land project, fruit of the collaboration between the two artists Ekarasa Doblanovic and Karma Barnes, one digs in depth to re-emerge on the surface, in a pedological survey that spans time. Thanks to their work with pigments found in the area and lands produced thousands of years ago by the forces of nature, the artists offer visitors an opportunity for intense involvement with the Earth and its schedule of infinite cycles of life and death, creation and destruction. Participants of all ages will make clay vessels and add them to an installation designed specifically for the exhibition space. Collaboration and community spirit are fundamental: the creative path will lead to mutual understanding and shared experience.
In the participatory artistic practice of the Imagine the Land project, fruit of the collaboration between the two artists Ekarasa Doblanovic and Karma Barnes, one digs in depth to re-emerge on the surface, in a pedological survey that spans time. Thanks to their work with pigments found in the area and lands produced thousands of years ago by the forces of nature, the artists offer visitors an opportunity for intense involvement with the Earth and its schedule of infinite cycles of life and death, creation and destruction. Participants of all ages will make clay vessels and add them to an installation designed specifically for the exhibition space. Collaboration and community spirit are fundamental: the creative path will lead to mutual understanding and shared experience.
Handshake 5 - NZ Jewellery at CODA Museum
CODA Museum, Apeldoorn, The Netherlands
14 October 2019 —
19 January 2020
For the fifth edition of ‘HANDSHAKE’, CODA has asked twelve New Zealand jewellery makers to enter into a dialogue with works from the CODA collection. The designers have taken pieces from this collection as a starting point to investigate three themes: "Innovation", "the Body" and "Rough and Raw". In the "HANDSHAKE 5" exhibition, the jewellery made by New Zealand designers is exhibited alongside the selected works from the CODA collection. Works by Vanessa Arthur, Vivien Atkinson, Becky Bliss, Nadene Carr, Nik Hanton, Kelly McDonald, Neke Moa, Brendon Monson, Sarah Read, Sandra Schmid, Caroline Thomas, Sarah Walker-Ho.
"HANDSHAKE" is an initiative from New Zealand where emerging jewellery designers were given the opportunity to collaborate with experienced makers in order to inspire the new generation of designers (to "lend a hand") with combined knowledge and experience.
For the fifth edition of ‘HANDSHAKE’, CODA has asked twelve New Zealand jewellery makers to enter into a dialogue with works from the CODA collection. The designers have taken pieces from this collection as a starting point to investigate three themes: "Innovation", "the Body" and "Rough and Raw". In the "HANDSHAKE 5" exhibition, the jewellery made by New Zealand designers is exhibited alongside the selected works from the CODA collection. Works by Vanessa Arthur, Vivien Atkinson, Becky Bliss, Nadene Carr, Nik Hanton, Kelly McDonald, Neke Moa, Brendon Monson, Sarah Read, Sandra Schmid, Caroline Thomas, Sarah Walker-Ho.
"HANDSHAKE" is an initiative from New Zealand where emerging jewellery designers were given the opportunity to collaborate with experienced makers in order to inspire the new generation of designers (to "lend a hand") with combined knowledge and experience.
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.
Richard van der Aa: Every now and then
Galerie Vincenz Sala, Paris, France
05 October —
02 November 2019
Every now and then is the artist's second solo exhibition at Galerie Vincenz Sala in Paris.
Richard van der Aa is a Christchurch-born artist living in France since 2005.
Every now and then is the artist's second solo exhibition at Galerie Vincenz Sala in Paris.
Richard van der Aa is a Christchurch-born artist living in France since 2005.
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.
Maddie Leach: Lowering Simon Fraser
Off-site at New Westminster Quay and Queensborough Bridge billboard, Vancouver, Canada
29 September —
04 October 2019
Lowering Simon Fraser culminates Maddie Leach’s Burrard Marina Field House residency and research project focusing on the Simon Fraser Monument currently sited on the riverside boardwalk of the Quay in New Westminster, British Columbia. The monument commemorates the controversial early nineteenth century fur trader and explorer credited with charting much of what is now understood as British Columbia. In 1808, with the aid of many Indigenous communities, he explored the river that now bears his name, long a transportation and exchange route and source of food for Coast Salish Nations near the mouth of the Fraser; the Nlaka’pamux, Okanagan, Secwepemc, St’át’imc and Tsilhqot’in in the central Fraser; and the Dakelh, Sekani and Wet’suwet’en in the regions around its northernmost origins.
Lowering Simon Fraser culminates Maddie Leach’s Burrard Marina Field House residency and research project focusing on the Simon Fraser Monument currently sited on the riverside boardwalk of the Quay in New Westminster, British Columbia. The monument commemorates the controversial early nineteenth century fur trader and explorer credited with charting much of what is now understood as British Columbia. In 1808, with the aid of many Indigenous communities, he explored the river that now bears his name, long a transportation and exchange route and source of food for Coast Salish Nations near the mouth of the Fraser; the Nlaka’pamux, Okanagan, Secwepemc, St’át’imc and Tsilhqot’in in the central Fraser; and the Dakelh, Sekani and Wet’suwet’en in the regions around its northernmost origins.
Transits and Returns at Vancouver Art Gallery
Vancouver Art Gallery, Canada
28 September 2019 —
23 February 2020
Transits and Returns presents the work of 21 Indigenous artists whose practices are both rooted in the specificities of their cultures and routed via their travels. These forces of situatedness and mobility work in synergy and in tension with one another, shaping the multiple ways of understanding and being Indigenous today. Within the exhibition, these dual realities are explored through themes of movement, territory, kinship and representation, with many artworks inhabiting multiple categories. It is curated by Tarah Hogue, Senior Curatorial Fellow, Indigenous Art, Vancouver Art Gallery, with Sarah Biscara Dilley, Freja Carmichael, Léuli Eshraghi and Lana Lopesi.
Featuring artists from local First Nations, as well as those from communities located throughout the Pacific region (ranging from Alutiiq territory in the north to Māori lands in the south, with many mainland and island Nations in between), Transits and Returns traces wide-ranging experiences that are inclusive of both ancestral knowledges and global connections. Participating artists include Edith Amituanai, BC Collective with Louisa Afoa, Carol McGregor, Ahilapalapa Rands amongst many others.
Transits and Returns presents the work of 21 Indigenous artists whose practices are both rooted in the specificities of their cultures and routed via their travels. These forces of situatedness and mobility work in synergy and in tension with one another, shaping the multiple ways of understanding and being Indigenous today. Within the exhibition, these dual realities are explored through themes of movement, territory, kinship and representation, with many artworks inhabiting multiple categories. It is curated by Tarah Hogue, Senior Curatorial Fellow, Indigenous Art, Vancouver Art Gallery, with Sarah Biscara Dilley, Freja Carmichael, Léuli Eshraghi and Lana Lopesi.
Featuring artists from local First Nations, as well as those from communities located throughout the Pacific region (ranging from Alutiiq territory in the north to Māori lands in the south, with many mainland and island Nations in between), Transits and Returns traces wide-ranging experiences that are inclusive of both ancestral knowledges and global connections. Participating artists include Edith Amituanai, BC Collective with Louisa Afoa, Carol McGregor, Ahilapalapa Rands amongst many others.
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.
Kate Newby: Loved like a sunbeam
Galeria Madragoa, Lisbon, Portugal
26 September —
09 November 2019
MADRAGOA is delighted to host Loved like a sunbeam the first solo exhibition of Kate Newby at the gallery.
Kate Newby’s sculptural practice is rooted in the act of collecting; rather than finished objects, she collects different matters, materials, and fragments that contain only the memory of the object they used to be, caught in the process that from objects brings them back to being materials.
Earth, pebbles, glass splinters and pieces of metal constitute the DNA of the sites that Newby has gone through, taking samples of clay from the ground, which are then modeled by her fingers in order to obtain a more or less thin and concave shape, that recalls the valve of a shell. These small and simple forms of clay are then cooked on the spot, using traditional techniques and local kilns, and achieving very diverse results.
MADRAGOA is delighted to host Loved like a sunbeam the first solo exhibition of Kate Newby at the gallery.
Kate Newby’s sculptural practice is rooted in the act of collecting; rather than finished objects, she collects different matters, materials, and fragments that contain only the memory of the object they used to be, caught in the process that from objects brings them back to being materials.
Earth, pebbles, glass splinters and pieces of metal constitute the DNA of the sites that Newby has gone through, taking samples of clay from the ground, which are then modeled by her fingers in order to obtain a more or less thin and concave shape, that recalls the valve of a shell. These small and simple forms of clay are then cooked on the spot, using traditional techniques and local kilns, and achieving very diverse results.
Matthew Galloway: Leyenda negra
MAL, Sevilla, Spain
26 September —
15 December 2019
'Leeyenda negra' is a collaboration between MAL and artists Matthew Galloway (New Zealand) and Solange Jacobs (Peru), pursuing their interest in developing long-distance research projects from multiple perspectives. This project is based on the local colonial past to build multiple horizons. Specifically, the work of Galloway and Solange, observes two fundamental infrastructures in the history of Seville: the shipyards and the Archive of the Indies, the beginnings of a global extraction network and the place from which the writing of an official past is raised.
Matthew Galloway's 'Horizon reduced / Imaginary corridors' installation uses the old shipyards of the port of Seville as a starting point to look towards our relationship with nature at the dawn of Climate Change and the Sixth Extinction. Currently, part of the shipyards of the port of Seville are used by the company GRI Towers, producer of wind towers, an industry in which Spain is a world leader. Galloway's work looks at the contradictions of the "green revolution", capable of renewing energy sources but not changing exploitation relations with the land, maintaining a capitalist expansion structure that reproduces problems, and not solving them.
'Leeyenda negra' is a collaboration between MAL and artists Matthew Galloway (New Zealand) and Solange Jacobs (Peru), pursuing their interest in developing long-distance research projects from multiple perspectives. This project is based on the local colonial past to build multiple horizons. Specifically, the work of Galloway and Solange, observes two fundamental infrastructures in the history of Seville: the shipyards and the Archive of the Indies, the beginnings of a global extraction network and the place from which the writing of an official past is raised.
Matthew Galloway's 'Horizon reduced / Imaginary corridors' installation uses the old shipyards of the port of Seville as a starting point to look towards our relationship with nature at the dawn of Climate Change and the Sixth Extinction. Currently, part of the shipyards of the port of Seville are used by the company GRI Towers, producer of wind towers, an industry in which Spain is a world leader. Galloway's work looks at the contradictions of the "green revolution", capable of renewing energy sources but not changing exploitation relations with the land, maintaining a capitalist expansion structure that reproduces problems, and not solving them.
Zac Langdon-Pole at Art Encounters Biennial
Art Encounters Biennial 2019, Timisoara, Romania
20 September —
27 October 2019
Yona Lee at 15th Biennale de Lyon
Fagor Factory, Lyon, France
18 September 2019 —
05 January 2020
Yona Lee makes large, labyrinth-like installations. In the Fagor Factory, hundreds of metres of stainless-steel piping will be cut and welded to form elaborate linear structures that allow a different rapport with space. By incorporating items extracted from urban and domestic spaces, the artist infuses her piece with an everyday surrealism. Producing site-specific work, she arranges systems and networks that can equally seem authoritarian or utopian, utilitarian or playful. A musician who plays the cello, she conceives of her artworks as scores, which visitors are invited to interpret by engaging with them. Born in 1986 in Busan, South Korea, Yona Lee lives and works in Auckland, New Zealand.
Yona Lee makes large, labyrinth-like installations. In the Fagor Factory, hundreds of metres of stainless-steel piping will be cut and welded to form elaborate linear structures that allow a different rapport with space. By incorporating items extracted from urban and domestic spaces, the artist infuses her piece with an everyday surrealism. Producing site-specific work, she arranges systems and networks that can equally seem authoritarian or utopian, utilitarian or playful. A musician who plays the cello, she conceives of her artworks as scores, which visitors are invited to interpret by engaging with them. Born in 1986 in Busan, South Korea, Yona Lee lives and works in Auckland, New Zealand.
Darcell Apelu in residency at Yorkshire Sculpture Park
Yorkshire Sculpture Park, U.K.
15 September —
14 October 2019
Darcell Apelu is the recipient of the Yorkshire Sculpture Park and Te Tuhi UK Residency Award, which will fund her 4-week residency. Apelu works with moving image, sound, performance and installation. Her practice is informed by her experiences as an afakasi – a Samoan person with some European ancestry – female and her projects often reflect the social climate of New Zealand. The body plays an important role in her work as she explores perceptions of the Pacific body, identity and of ‘being other’. Her work is often autobiographical, exploring the cultural identity of the pacific community and how it is perceived in the west.
Situated on a 500-acre, 18th-century estate in West Yorkshire, YSP was the first sculpture park in the UK. Established in 1977, it is the largest of its kind in Europe and showcases over 80 works in the open air by world-class artists including Ai Weiwei, Phyllida Barlow, Andy Goldsworthy, Barbara Hepworth, Roger Hiorns, Sol LeWitt, Joan Miró, Henry Moore, Dennis Oppenheim and James Turrell.
Darcell Apelu is the recipient of the Yorkshire Sculpture Park and Te Tuhi UK Residency Award, which will fund her 4-week residency. Apelu works with moving image, sound, performance and installation. Her practice is informed by her experiences as an afakasi – a Samoan person with some European ancestry – female and her projects often reflect the social climate of New Zealand. The body plays an important role in her work as she explores perceptions of the Pacific body, identity and of ‘being other’. Her work is often autobiographical, exploring the cultural identity of the pacific community and how it is perceived in the west.
Situated on a 500-acre, 18th-century estate in West Yorkshire, YSP was the first sculpture park in the UK. Established in 1977, it is the largest of its kind in Europe and showcases over 80 works in the open air by world-class artists including Ai Weiwei, Phyllida Barlow, Andy Goldsworthy, Barbara Hepworth, Roger Hiorns, Sol LeWitt, Joan Miró, Henry Moore, Dennis Oppenheim and James Turrell.
Luke Willis Thompson: adjacency
Nagel Draxler Gallery, Berlin, Germany
14 September —
02 November 2019
adjacency:
the reparative work of transforming
proximity into accountability;
the labor of positioning oneself
in relation to another in ways
that revalue and redress
complex histories of dispossession.
– Tina M. Campt
adjacency:
the reparative work of transforming
proximity into accountability;
the labor of positioning oneself
in relation to another in ways
that revalue and redress
complex histories of dispossession.
– Tina M. Campt
Kate Newby: Nothing in my life feels big enough
Cooper Cole Gallery, Toronto, Canada
12 September —
19 October 2019
Cooper Cole is pleased to present Kate Newby’s second solo exhibition with the gallery.
This Is How We Do (A Never-Ending Text, For Kate’s Exhibition, Starting Today, Thursday, Added To, Maybe Tomorrow, Or More Like The Day After)
All of these lines bring softness, not lines like any others we march to, wait for, complain about:
bus lines,
border lines,
hair lines,
time lines. (...)
Cooper Cole is pleased to present Kate Newby’s second solo exhibition with the gallery.
This Is How We Do (A Never-Ending Text, For Kate’s Exhibition, Starting Today, Thursday, Added To, Maybe Tomorrow, Or More Like The Day After)
All of these lines bring softness, not lines like any others we march to, wait for, complain about:
bus lines,
border lines,
hair lines,
time lines. (...)
Lang Ea at MASS MoCA Artist Residency program
MASS MoCA, North Adams, U.S.A.
11 September —
08 October 2019
Lang Ea is currently participating in the Studio at MASS MoCA Artist Residency program in North Adams, Massachusetts. MASS MoCA is known as one of the world’s liveliest Art Museum for making and enjoying today’s most evocative art.
During her residency Lang is exploring the possibilities of seeing passed the surface by distinguishing our differences, exposing our rich inherit colours, patterns and traditions which has often prevented us from co-existing. When underneath all this we are just the same beings, breathing in the same air.
Lang Ea is currently participating in the Studio at MASS MoCA Artist Residency program in North Adams, Massachusetts. MASS MoCA is known as one of the world’s liveliest Art Museum for making and enjoying today’s most evocative art.
During her residency Lang is exploring the possibilities of seeing passed the surface by distinguishing our differences, exposing our rich inherit colours, patterns and traditions which has often prevented us from co-existing. When underneath all this we are just the same beings, breathing in the same air.
Matthew Cowan: The Scream of the Strawbear
Kunsthalle Giessen, Gießen, Germany
07 September —
17 November 2019
Matthew Cowan explores European customs and the role they play in today's world in his photographs, videos, installations and performances. Rituals, clothing, and costumes are central to his work. In the exhibition The Scream of the Strawbear, the New Zealand artist takes on various traditions from Giessen and its surrounding areas and places them in the context of contemporary art. To mark the occasion of his tenth anniversary, the Kunsthalle is cooperating with the Oberhessisches Museum, where Matthew Cowan wants to use the Heidenturm for the first time.
Matthew Cowan (*1974, Auckland, New Zealand) lives and works in Berlin. He studied fine art at the University of Northumbria at Newcastle upon Tyne, UK. Since 2015, he has been a doctoral candidate at the Academy of Fine Arts in Helsinki, Finland.
Read Contemporary HUM's publication about this exhibition: Screaming Strawbears and other Strange Engagements: Tessa Laird in conversation with Matthew Cowan.
Matthew Cowan explores European customs and the role they play in today's world in his photographs, videos, installations and performances. Rituals, clothing, and costumes are central to his work. In the exhibition The Scream of the Strawbear, the New Zealand artist takes on various traditions from Giessen and its surrounding areas and places them in the context of contemporary art. To mark the occasion of his tenth anniversary, the Kunsthalle is cooperating with the Oberhessisches Museum, where Matthew Cowan wants to use the Heidenturm for the first time.
Matthew Cowan (*1974, Auckland, New Zealand) lives and works in Berlin. He studied fine art at the University of Northumbria at Newcastle upon Tyne, UK. Since 2015, he has been a doctoral candidate at the Academy of Fine Arts in Helsinki, Finland.
Read Contemporary HUM's publication about this exhibition: Screaming Strawbears and other Strange Engagements: Tessa Laird in conversation with Matthew Cowan.
Jess Johnson: Panspermia, Sing Omega
Jack Hanley Gallery, New York, U.S.A.
06 September —
06 October 2019
Jack Hanley Gallery is excited to present Panspermia, Sing Omega, Jess Johnson’s second solo exhibition with the gallery. In an immersive installation of new drawings, a series of quilts made in collaboration with her mother Cynthia Johnson, video animations and Virtual Reality, Jess Johnson opens a portal into new realities. Johnson’s laborious and carefully hand-crafted drawings manifest a fictional world of genderless flesh-colored humanoids, bat-faced aliens, and worms that slither through monumental architectures of unknown times. Cross-cultural influences of patterns and symbols, and a formative interest in early video games, horror movies and science fiction unfold in densely composed dreamscapes that draw the viewer into hallucinogenic spheres.
Alongside the works on paper, Johnson collaborated on a series of four unique quilts with her mother, Cynthia Johnson. Watching her mother craft quilts with repetitive geometries at an early age has been influential on her own work ever since. For their collaborations, Jess Johnson’s analog drawings were printed digitally on rolls of cloth and then worked into quilts and embellished with geometric borders by Cynthia.
Jack Hanley Gallery is excited to present Panspermia, Sing Omega, Jess Johnson’s second solo exhibition with the gallery. In an immersive installation of new drawings, a series of quilts made in collaboration with her mother Cynthia Johnson, video animations and Virtual Reality, Jess Johnson opens a portal into new realities. Johnson’s laborious and carefully hand-crafted drawings manifest a fictional world of genderless flesh-colored humanoids, bat-faced aliens, and worms that slither through monumental architectures of unknown times. Cross-cultural influences of patterns and symbols, and a formative interest in early video games, horror movies and science fiction unfold in densely composed dreamscapes that draw the viewer into hallucinogenic spheres.
Alongside the works on paper, Johnson collaborated on a series of four unique quilts with her mother, Cynthia Johnson. Watching her mother craft quilts with repetitive geometries at an early age has been influential on her own work ever since. For their collaborations, Jess Johnson’s analog drawings were printed digitally on rolls of cloth and then worked into quilts and embellished with geometric borders by Cynthia.
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.
Kate Newby at Susan Hobbs
Susan Hobbs, Toronto, Canada
05 September —
12 October 2019
Eighty-eight years ago, Marcel Duchamp coined the term mobile for the hanging artworks of Alexander Calder. The word implied movement but was also a pun: ‘mobile’ in French means motive.
Motion & Motive commits fully to the ceiling for support. The architecture of Susan Hobbs Gallery has always called out for artworks that engage the soaring height. The mobiles in Motion and Motive compel the viewer to look up and wait for movement.
Eighty-eight years ago, Marcel Duchamp coined the term mobile for the hanging artworks of Alexander Calder. The word implied movement but was also a pun: ‘mobile’ in French means motive.
Motion & Motive commits fully to the ceiling for support. The architecture of Susan Hobbs Gallery has always called out for artworks that engage the soaring height. The mobiles in Motion and Motive compel the viewer to look up and wait for movement.