Calendar
Calendar
The HUM calendar features exhibitions & events by New Zealand arts practitioners working or living abroad.
André Hemer, Phenomena
LUIS DE JESUS, Los Angeles, USA
17 September —
29 October 2022
André Hemer’s newest body of work, and his third solo exhibition with the gallery, was conceived while the artist was in residence at the SARP Foundation in Sicily during 2022 – a programme which facilitates artists to develop work onsite at Palazzo Previtera, built in 1649 at the foothills of Mount Etna. The works in this exhibition represent this beautiful but complex environment as both a moment in time, but also as a palimpsest of nature and contemporary artefact; incorporating the backdrop of the continually smoking volcano, a European heatwave, as well as the occasional sandstorm carried across the Mediterranean from the Sahara.
André Hemer’s newest body of work, and his third solo exhibition with the gallery, was conceived while the artist was in residence at the SARP Foundation in Sicily during 2022 – a programme which facilitates artists to develop work onsite at Palazzo Previtera, built in 1649 at the foothills of Mount Etna. The works in this exhibition represent this beautiful but complex environment as both a moment in time, but also as a palimpsest of nature and contemporary artefact; incorporating the backdrop of the continually smoking volcano, a European heatwave, as well as the occasional sandstorm carried across the Mediterranean from the Sahara.
6720 Days, 2276 Full Moons
Stanley Street Gallery, Gadigal Lands Sydney, Australia
10 April —
04 May 2024
Aotearoa New Zealand has experienced 6720 days and 2276 full moons since the Treaty of Waitangi was signed in February 1840. Produced with the support of Creative New Zealand and in partnership with Stanley Street Gallery, this new iteration of the Handshake Project is an official mid-winter celebration that symbolises the coming together and unity of the nation, respecting and embracing cultural differences.
6720 Days, 2276 Full Moons features nine contemporary jewellers from Aotearoa New Zealand who contemplate themes of discovery, origins, integration, transformation, virtue, cultural respect, differences, and conflict. They are: Becky Bliss, Nadene Carr, Aphra Cheesman, Nina van Duijnhoven, Neke Moa, Mia Straka, Caroline Thomas, Sarah Walker-Holt and Raewyn Walsh.
Aotearoa New Zealand has experienced 6720 days and 2276 full moons since the Treaty of Waitangi was signed in February 1840. Produced with the support of Creative New Zealand and in partnership with Stanley Street Gallery, this new iteration of the Handshake Project is an official mid-winter celebration that symbolises the coming together and unity of the nation, respecting and embracing cultural differences.
6720 Days, 2276 Full Moons features nine contemporary jewellers from Aotearoa New Zealand who contemplate themes of discovery, origins, integration, transformation, virtue, cultural respect, differences, and conflict. They are: Becky Bliss, Nadene Carr, Aphra Cheesman, Nina van Duijnhoven, Neke Moa, Mia Straka, Caroline Thomas, Sarah Walker-Holt and Raewyn Walsh.
Ilke Gers in Building Castles in the Sky
various locations in Ghent, Belgium
05 April —
21 April 2024
What would your neighbourhood look like if it were up to you? What would you want to add to your neighbourhood? What would it take to make an existing place your own? With Building Castles in the Sky, Gouvernement, together with a group of makers, is transforming the spatial desires of a young generation of inhabitants of Ghent into unique creations in the city.
From a rich source of youthful imagination, a number of artists translate both the most common and the most unique ideas. How do you make an endless scarf that keeps the whole street warm? Where in the city do you recreate your favourite video game life-size? And what if the city was an amusement park? As architects and master builders, young people guide the artists in this process.
Building on her work Street Games, Aotearoa artist Ilke Gers has devised an interactive game for visitors to participate in.
What would your neighbourhood look like if it were up to you? What would you want to add to your neighbourhood? What would it take to make an existing place your own? With Building Castles in the Sky, Gouvernement, together with a group of makers, is transforming the spatial desires of a young generation of inhabitants of Ghent into unique creations in the city.
From a rich source of youthful imagination, a number of artists translate both the most common and the most unique ideas. How do you make an endless scarf that keeps the whole street warm? Where in the city do you recreate your favourite video game life-size? And what if the city was an amusement park? As architects and master builders, young people guide the artists in this process.
Building on her work Street Games, Aotearoa artist Ilke Gers has devised an interactive game for visitors to participate in.
Takiwā Hou: Imagining New Spaces film screening
Spazju Kreattiv, Valletta, Malta
7.30PM — 9.00PM
03 April 2024
Takiwā Hou: Imagining New Spaces is a programme of Māori moving image works featuring over 20 individual works by 11 artists, presented as part of the maltabiennale.art 2024 film screening programme.
Curated by Karl Chitham, Director of The Dowse Art Museum, Lower Hutt, for Te Tuhi, Tāmaki Makaurau Auckland, this expansive selection is a snapshot of the unique perspectives Indigenous artists bring to the global stage. It reflects the notion of envisaging Indigenous spaces, moments and possibilities that are yet to come into being.
Takiwā Hou: Imagining New Spaces features artists Bridget Reweti, Jamie Berry, Kaaterina Kerekere, Kahurangiariki Smith, Keri-Mei Zagrobelna, Layne Waerea, Rangituhia Hollis, Reuben Paterson, Russ Flatt, Shannon Te Ao and Suzanne Tamaki.
Takiwā Hou: Imagining New Spaces is a programme of Māori moving image works featuring over 20 individual works by 11 artists, presented as part of the maltabiennale.art 2024 film screening programme.
Curated by Karl Chitham, Director of The Dowse Art Museum, Lower Hutt, for Te Tuhi, Tāmaki Makaurau Auckland, this expansive selection is a snapshot of the unique perspectives Indigenous artists bring to the global stage. It reflects the notion of envisaging Indigenous spaces, moments and possibilities that are yet to come into being.
Takiwā Hou: Imagining New Spaces features artists Bridget Reweti, Jamie Berry, Kaaterina Kerekere, Kahurangiariki Smith, Keri-Mei Zagrobelna, Layne Waerea, Rangituhia Hollis, Reuben Paterson, Russ Flatt, Shannon Te Ao and Suzanne Tamaki.
Yuki Kihara, Art Basel Conversation
Hong Kong Convention & Exhibition Centre, Hong Kong
12.30PM — 1.30PM
30 March 2024
Taking place as part of the Art Basel Hong Kong 2024 Conversations programme, Social Fabrics: Weaving as Art Form is a panel discussion that looks at the art of weaving as a tradition of social cohesion: a creative act that produces textiles that are worn, used, or displayed in public and private spaces to signal identities, tell stories, express traditions, and build relationships. It puts forwards the premise of the craft’s transmission as a negotiation of identity, community and history: a unique process that artists will discuss in relation to their own practices.
Social Fabrics: Weaving as Art Form includes artists Qualeasha Wood, Yee I-Lann and Yuki Kihara and is moderated by Mizuki Takahashi, Executive Director and Chief Curator, Centre for Heritage, Arts & Textile (CHAT).
Taking place as part of the Art Basel Hong Kong 2024 Conversations programme, Social Fabrics: Weaving as Art Form is a panel discussion that looks at the art of weaving as a tradition of social cohesion: a creative act that produces textiles that are worn, used, or displayed in public and private spaces to signal identities, tell stories, express traditions, and build relationships. It puts forwards the premise of the craft’s transmission as a negotiation of identity, community and history: a unique process that artists will discuss in relation to their own practices.
Social Fabrics: Weaving as Art Form includes artists Qualeasha Wood, Yee I-Lann and Yuki Kihara and is moderated by Mizuki Takahashi, Executive Director and Chief Curator, Centre for Heritage, Arts & Textile (CHAT).
Antonia Barnett McIntosh, Susceptible Chambers residency and performance
EMPAC, New York, USA
25 March —
06 April 2024
Composer-performers Antonia Barnett McIntosh and Jessie Marino return to EMPAC to continue the development of their commissioned work Susceptible Chambers, a piece that combines sound, sculpture, light, projection, and movement in an exploration of the myriad possibilities of one of the most foundational instruments of electronic music: the microphone.
This is the final part in a series of residencies that began in August 2023, which culminates in an installation and live performance on 5 April 2024 at 8:00 pm.
As a performance, Susceptible Chambers sees Barnett McIntosh and Marino collect technologies from bygone eras—pulley systems, pianolas, needlepoint, sodium vapor lamps—and place them in conversation with bespoke, handmade and electronic objects. The pair's newest production draws the audience into an unusual, idiosyncratic, and playful sonic and visual world, experimenting with and challenging generally accepted practices of today’s electronic music, and contemporary music more broadly.
Composer-performers Antonia Barnett McIntosh and Jessie Marino return to EMPAC to continue the development of their commissioned work Susceptible Chambers, a piece that combines sound, sculpture, light, projection, and movement in an exploration of the myriad possibilities of one of the most foundational instruments of electronic music: the microphone.
This is the final part in a series of residencies that began in August 2023, which culminates in an installation and live performance on 5 April 2024 at 8:00 pm.
As a performance, Susceptible Chambers sees Barnett McIntosh and Marino collect technologies from bygone eras—pulley systems, pianolas, needlepoint, sodium vapor lamps—and place them in conversation with bespoke, handmade and electronic objects. The pair's newest production draws the audience into an unusual, idiosyncratic, and playful sonic and visual world, experimenting with and challenging generally accepted practices of today’s electronic music, and contemporary music more broadly.
Pale Blue Dot Collective, Of Immeasurable Consequence
All Saints Church, Aldwincle, UK
24 March —
07 April 2024
Pale Blue Dot Collective celebrate the launch of Of Immeasurable Consequence, a new immersive photographic and sound-based installation that explores both the fragility and the miraculous nature of life on Earth.
Commissioned by Fermynwoods Contemporary Art, the work aims to transport the viewer to an imagined forest environment, combining sound recordings from Fermyn Woods, made by the artists using a variety of homemade and professional microphones, with an archive of their own field recordings collected from around the world, as well as images taken under moonlight during their recent four-month residency at FCA and astronomical imagery.
Artists Louise Beer and John Hooper host a launch event on 23 March 2024 from 6:30 pm, alongside an interactive telescope viewing led by Cambridge Astronomical Society astronomer Paul Fellows that begins at 7:30 pm.
Pale Blue Dot Collective celebrate the launch of Of Immeasurable Consequence, a new immersive photographic and sound-based installation that explores both the fragility and the miraculous nature of life on Earth.
Commissioned by Fermynwoods Contemporary Art, the work aims to transport the viewer to an imagined forest environment, combining sound recordings from Fermyn Woods, made by the artists using a variety of homemade and professional microphones, with an archive of their own field recordings collected from around the world, as well as images taken under moonlight during their recent four-month residency at FCA and astronomical imagery.
Artists Louise Beer and John Hooper host a launch event on 23 March 2024 from 6:30 pm, alongside an interactive telescope viewing led by Cambridge Astronomical Society astronomer Paul Fellows that begins at 7:30 pm.
Elisabeta Hinemona Heta, Re-Stor(y)ing Oceania
Ocean Space, Venice, Italy
23 March —
13 October 2024
Re-Stor(y)ing Oceania by TBA21–Academy is a new exhibition curated by Bougainville-born artist Taloi Havini and comprising two new site-specific commissions by Indigenous artists from the Pacific: Latai Taumoepeau and Elisapeta Hinemoa Heta.
For the new commissions, Havini has invited artist Latai Taumoepeau who uses faivā ("performing art") grounded in Tongan philosophies of relational vā ("space") and tā ("time") to make visible the impact of the climate crisis in the Pacific. In response to Taumoepeau‘s new solo commission, a live project space emerges at Ocean Space that is imagined in collaboration with Wāhine architect Elisapeta Heta, a Māori, Sāmoan and Tokelauan leader and advocate for change, whose work provides Māori and Pasifika perspectives on the importance of place to design and cultural identity.
In her response to this exhibition Heta presents a new multi-sensory installation, The Body of Wainuiātea, embodying ritual and ceremony guided by the Māori concept of tikanga, derived from the word "tika" which means "right" or "correct", so to act in accordance with tikanga is to behave in a way that is culturally proper or appropriate. Collaborators include Dr Albert Refiti, Hiramarie Moewaka, and Rhonda Tibble.
Re-Stor(y)ing Oceania by TBA21–Academy is a new exhibition curated by Bougainville-born artist Taloi Havini and comprising two new site-specific commissions by Indigenous artists from the Pacific: Latai Taumoepeau and Elisapeta Hinemoa Heta.
For the new commissions, Havini has invited artist Latai Taumoepeau who uses faivā ("performing art") grounded in Tongan philosophies of relational vā ("space") and tā ("time") to make visible the impact of the climate crisis in the Pacific. In response to Taumoepeau‘s new solo commission, a live project space emerges at Ocean Space that is imagined in collaboration with Wāhine architect Elisapeta Heta, a Māori, Sāmoan and Tokelauan leader and advocate for change, whose work provides Māori and Pasifika perspectives on the importance of place to design and cultural identity.
In her response to this exhibition Heta presents a new multi-sensory installation, The Body of Wainuiātea, embodying ritual and ceremony guided by the Māori concept of tikanga, derived from the word "tika" which means "right" or "correct", so to act in accordance with tikanga is to behave in a way that is culturally proper or appropriate. Collaborators include Dr Albert Refiti, Hiramarie Moewaka, and Rhonda Tibble.
Yuki Kihara, Factory of Tomorrow
Centre for Heritage, Arts and Textile, Hong Kong
16 March —
14 July 2024
Does heritage only serve to record a bygone era and feed the nostalgia of those living in changing times? How can we collectively learn from the past and forge a better future?
The Centre for Heritage, Arts and Textile (CHAT) celebrates its 5th anniversary with the group exhibition Factory of Tomorrow. Featuring CHAT’s own contemporary art collection and newly commissioned works, it endeavours to critically examine the past and evoke imagination for what is to come. From textile works and sculptures to immersive installations and videos, it brings together creations by 19 artists and collectives of Asian backgrounds, reflecting their takes on textile technology and materials, diversity, climate change and our future.
Does heritage only serve to record a bygone era and feed the nostalgia of those living in changing times? How can we collectively learn from the past and forge a better future?
The Centre for Heritage, Arts and Textile (CHAT) celebrates its 5th anniversary with the group exhibition Factory of Tomorrow. Featuring CHAT’s own contemporary art collection and newly commissioned works, it endeavours to critically examine the past and evoke imagination for what is to come. From textile works and sculptures to immersive installations and videos, it brings together creations by 19 artists and collectives of Asian backgrounds, reflecting their takes on textile technology and materials, diversity, climate change and our future.
Kah Bee Chow, ⏊IWE
Blank Canvas, Penang, Malaysia
16 March —
26 May 2024
Like cities, time is not static. It can stay still, advance, and disintegrate alongside its inhabitants. There are pockets that move slower, others that make speedy headways; some are stuck, as if caught in traffic or a crumbling façade left to weather time’s progression. On the main thoroughfare of Bukit Mertajam, past the outmoded barbershops, watch sellers and sundry stores, was an inconspicuous clothing store. There hung a T-shirt with a perplexing jumble of alphabets, like a prompt asking, “What is the flipside of time?”
⏊IWE is the outcome of Christina Li’s three-week long curatorial residency at Blank Canvas in November 2023, and features works by Kah Bee Chow, Hasanul Isyraf Idris, Nurul Ain binti Nor Halim and Wong Hoy Cheong. Join the artists in dialogue on Friday, 22 March 2024, 6 pm—7:30 pm.
Like cities, time is not static. It can stay still, advance, and disintegrate alongside its inhabitants. There are pockets that move slower, others that make speedy headways; some are stuck, as if caught in traffic or a crumbling façade left to weather time’s progression. On the main thoroughfare of Bukit Mertajam, past the outmoded barbershops, watch sellers and sundry stores, was an inconspicuous clothing store. There hung a T-shirt with a perplexing jumble of alphabets, like a prompt asking, “What is the flipside of time?”
⏊IWE is the outcome of Christina Li’s three-week long curatorial residency at Blank Canvas in November 2023, and features works by Kah Bee Chow, Hasanul Isyraf Idris, Nurul Ain binti Nor Halim and Wong Hoy Cheong. Join the artists in dialogue on Friday, 22 March 2024, 6 pm—7:30 pm.
Sarah Rose, A Bonnie Way
Hospitalfield and various venues across Scotland, UK
14 March —
03 May 2024
Hospitalfield and Travelling Gallery present A Bonnie Way: Unravelling the seducation of the countryside, a travelling exhibition featuring artists who have been involved in the Residencies at Hospitalfield: three artists who all explore their experiences of life and conversations in rural and semi-rural places.
Featuring sculpture, moving image, and sound, each artist brings a different approach and experience touching upon themes such as hidden histories, pictoral representation, the more-than human, energy networks, traditional music, memory, who is included/excluded, industrial landscapes, and the urgently felt impacts of the climate crisis.
The artworks are accompanied by an index of community-based publications, connecting their questions, manifestos, and propositions of people in rural places from across Scotland. A Bonnie Way opens at Hospitalfield from 14—16 March and between March and May 2024 will tour to venues throughout Scotland, including Edinburgh, Aberdeen, Shetland, Moray, Inverness, Dundee and Angus.
Hospitalfield and Travelling Gallery present A Bonnie Way: Unravelling the seducation of the countryside, a travelling exhibition featuring artists who have been involved in the Residencies at Hospitalfield: three artists who all explore their experiences of life and conversations in rural and semi-rural places.
Featuring sculpture, moving image, and sound, each artist brings a different approach and experience touching upon themes such as hidden histories, pictoral representation, the more-than human, energy networks, traditional music, memory, who is included/excluded, industrial landscapes, and the urgently felt impacts of the climate crisis.
The artworks are accompanied by an index of community-based publications, connecting their questions, manifestos, and propositions of people in rural places from across Scotland. A Bonnie Way opens at Hospitalfield from 14—16 March and between March and May 2024 will tour to venues throughout Scotland, including Edinburgh, Aberdeen, Shetland, Moray, Inverness, Dundee and Angus.
Ann Shelton, worm, root, wort...& bane
Alice Austen House, New York, USA
09 March —
26 May 2024
Systems of belief concerning the medicinal, magical and spiritual uses of plant materials were well established in the lives of European forest, nomadic and ancient peoples. However, these beliefs were forcibly supplanted as pagan practices were displaced across Europe and other continents in the wake of Christianity and the rise of capitalism. The consequences of the suppression and attempted erasure of this plant-based belief system continue to be profound. Knowledge, often held by women, of the healing and spiritual effects of plants has been replaced by a significantly more limited emphasis on their predominantly aesthetic qualities. This separation informs our contemporary relationship to plants as being primarily one of commodification.
The images in worm, root, wort…& bane, Ann Shelton's first solo institutional exhibition in the United States, are part of the re-assemblage of fragments of this old knowledge and, in their ontology, invoke the persecution of wise women, witches and wortcunners who kept this knowledge safe but whose understanding of plants and their connection with reproduction, in particular, represented a threat to the new order. This body of work asks that we reconsider this complex nexus of lost understanding; that we re-examine the continuing persecution of women, their gender roles and physical bodies, and honour the position they have held in this long-contested space.
Systems of belief concerning the medicinal, magical and spiritual uses of plant materials were well established in the lives of European forest, nomadic and ancient peoples. However, these beliefs were forcibly supplanted as pagan practices were displaced across Europe and other continents in the wake of Christianity and the rise of capitalism. The consequences of the suppression and attempted erasure of this plant-based belief system continue to be profound. Knowledge, often held by women, of the healing and spiritual effects of plants has been replaced by a significantly more limited emphasis on their predominantly aesthetic qualities. This separation informs our contemporary relationship to plants as being primarily one of commodification.
The images in worm, root, wort…& bane, Ann Shelton's first solo institutional exhibition in the United States, are part of the re-assemblage of fragments of this old knowledge and, in their ontology, invoke the persecution of wise women, witches and wortcunners who kept this knowledge safe but whose understanding of plants and their connection with reproduction, in particular, represented a threat to the new order. This body of work asks that we reconsider this complex nexus of lost understanding; that we re-examine the continuing persecution of women, their gender roles and physical bodies, and honour the position they have held in this long-contested space.
24th Biennale of Sydney: Ten Thousand Suns
six venues across Sydney, Australia
09 March —
10 June 2024
The 24th Biennale of Sydney, titled Ten Thousand Suns and led by artistic directors Cosmin Costinaş and Inti Guerrero, takes place across six iconic Sydney locations, showcasing the creations of leading artists from diverse corners of the globe.
Presenting work at this edition of the Sydney Biennale are Aotearoa artists John Pule at the Art Gallery of New South Wales; Nikau Hindin together with Ebonie Fifita-Laufilitoga-Maka Fungamapitoa and Rongomai Gbric-Hoskins at White Bay Power Station; Pacific Sisters and Pauline Yearbury, both at the Art Gallery of New South Wales; and Te Whā a Huna at the Museum of Contemporary Art.
The 24th Biennale of Sydney, titled Ten Thousand Suns and led by artistic directors Cosmin Costinaş and Inti Guerrero, takes place across six iconic Sydney locations, showcasing the creations of leading artists from diverse corners of the globe.
Presenting work at this edition of the Sydney Biennale are Aotearoa artists John Pule at the Art Gallery of New South Wales; Nikau Hindin together with Ebonie Fifita-Laufilitoga-Maka Fungamapitoa and Rongomai Gbric-Hoskins at White Bay Power Station; Pacific Sisters and Pauline Yearbury, both at the Art Gallery of New South Wales; and Te Whā a Huna at the Museum of Contemporary Art.
Architecture of Aroha, Luleå Biennial 2024
Kulturenshus, Luleå, Sweden
02 March —
26 May 2024
Architecture of Aroha is a collaborative project that explores indigenous practices in Aotearoa New Zealand and Sápmi, being presented at Kulturenshus in Luleå as part of the 2024 Luleåbiennalen (Luleå Biennial).
Speaking to the biennial's focus on the context and processes within Norrbotten, Sweden and its connections to other geographies and communities across the globe which share similar dynamics, this bi-national project unfolds a dialogue between two objects that hold important cultural significance: the wahakura and the gietkka, baby sleeping vessels from the Māori and Sámi communities.
Architecture of Aroha brings together Berit Kristine Guvsám (b. 1986, Steinkjer, Norway), Gunvor Guttorm (b. 1958, Karasjok, Norway), Iŋgos-Máhte Iŋgá, Inga Ravna Eira (b. 1948, Karasjok, Norway), Jasmine Te Hira (b. 1990, Aotearoa New Zealand), Tanya Reihana White (b. 1965, Aotearoa New Zealand; Ngāti Whātua, Ngāti Hineāmaru and Ngāti Maniapoto) and Zoe Black (b. 1985, Aotearoa New Zealand).
Architecture of Aroha is a collaborative project that explores indigenous practices in Aotearoa New Zealand and Sápmi, being presented at Kulturenshus in Luleå as part of the 2024 Luleåbiennalen (Luleå Biennial).
Speaking to the biennial's focus on the context and processes within Norrbotten, Sweden and its connections to other geographies and communities across the globe which share similar dynamics, this bi-national project unfolds a dialogue between two objects that hold important cultural significance: the wahakura and the gietkka, baby sleeping vessels from the Māori and Sámi communities.
Architecture of Aroha brings together Berit Kristine Guvsám (b. 1986, Steinkjer, Norway), Gunvor Guttorm (b. 1958, Karasjok, Norway), Iŋgos-Máhte Iŋgá, Inga Ravna Eira (b. 1948, Karasjok, Norway), Jasmine Te Hira (b. 1990, Aotearoa New Zealand), Tanya Reihana White (b. 1965, Aotearoa New Zealand; Ngāti Whātua, Ngāti Hineāmaru and Ngāti Maniapoto) and Zoe Black (b. 1985, Aotearoa New Zealand).
Jasmine Togo-Brisby in Adelaide Biennial of Australian Art: Inner Sanctum
Art Gallery of South Australia, Kaurna land Adelaide, Australia
01 March —
02 June 2024
The Adelaide Biennial of Australian Art: Inner Sanctum offers an encounter with artists and poets. The Biennial unfolds across exhibitions, performances and talks that explore our engagement with the world and each other. Here the idea of an inner sanctum illustrates the private or sacred spaces we create and the faculty of imagination that allows us to see culture and society differently.
Curated by José Da Silva, the 2024 Adelaide Biennial offers a snapshot of contemporary Australia that is reflective and hopeful. It provides a setting where art and poetry enliven the social imagination and help us understand the complexities of the human experience. It features work by Te Whanganui-a-Tara Wellington-based artist Jasmine Togo-Brisby.
The Adelaide Biennial of Australian Art: Inner Sanctum offers an encounter with artists and poets. The Biennial unfolds across exhibitions, performances and talks that explore our engagement with the world and each other. Here the idea of an inner sanctum illustrates the private or sacred spaces we create and the faculty of imagination that allows us to see culture and society differently.
Curated by José Da Silva, the 2024 Adelaide Biennial offers a snapshot of contemporary Australia that is reflective and hopeful. It provides a setting where art and poetry enliven the social imagination and help us understand the complexities of the human experience. It features work by Te Whanganui-a-Tara Wellington-based artist Jasmine Togo-Brisby.
Karl Fritsch, Ringlein, Ringlein, Du must wandern
Vice Versa, Lausanne, Switzerland
28 February —
30 March 2024
Contemporary jeweller Karl Fritsch presents a new series of rings at Vice Versa in Lausanne.
"There are rings we choose for ourselves and those we receive. Beyond their tactile presence, they are visible because adorning our own hands, we maintain visual and intimate contact with them. Symbolically, this jewellery is often very involved and it is probably the most worn and widespread jewellery. For us – Homo Faber – the ring draws our daily gestures and bears the traces of our activities. It accompanies our life path and often that of several generations, between symbiosis and burden. This aspect is perhaps the very heart of Karl Fritsch's love and fascination with rings, this power to intervene in their trajectories, and thus modify their destinies, destinies that we escort." – Vice Versa gallery.
Contemporary jeweller Karl Fritsch presents a new series of rings at Vice Versa in Lausanne.
"There are rings we choose for ourselves and those we receive. Beyond their tactile presence, they are visible because adorning our own hands, we maintain visual and intimate contact with them. Symbolically, this jewellery is often very involved and it is probably the most worn and widespread jewellery. For us – Homo Faber – the ring draws our daily gestures and bears the traces of our activities. It accompanies our life path and often that of several generations, between symbiosis and burden. This aspect is perhaps the very heart of Karl Fritsch's love and fascination with rings, this power to intervene in their trajectories, and thus modify their destinies, destinies that we escort." – Vice Versa gallery.
Yuki Kihara, Staging Oneself
Cairns Art Gallery, Cairns, Australia
24 February —
19 May 2024
Staging Oneself: Photography and new media self-portraits by women artists examines the extraordinary and creative ways in which contemporary women artists use role play, disguise, and self-portraiture to explore womanhood and female identity within the public and private spheres.
Artists represented in the exhibition are from diverse cultural backgrounds and draw on their own experiences, or broader cultural and social stereotypes, to engage with ideas and issues around gender, sexuality, self-image, traditions, race and empowerment. Using photography and new media, their self-portraits reveal a complex interpretation and understanding of female identity informed by real and imagined experiences. In so doing they seek to question and challenge preconceived or stereotypical social and cultural readings that are prescriptively used to define identity. Staging images of the self, using props, clothing, object placement, gestures and other cultural, social and gender markers are, for many artists in this exhibition, a way of codifying issues of identity to suggest a new construct for interpretation and empowerment of the female self.
Staging Oneself: Photography and new media self-portraits by women artists examines the extraordinary and creative ways in which contemporary women artists use role play, disguise, and self-portraiture to explore womanhood and female identity within the public and private spheres.
Artists represented in the exhibition are from diverse cultural backgrounds and draw on their own experiences, or broader cultural and social stereotypes, to engage with ideas and issues around gender, sexuality, self-image, traditions, race and empowerment. Using photography and new media, their self-portraits reveal a complex interpretation and understanding of female identity informed by real and imagined experiences. In so doing they seek to question and challenge preconceived or stereotypical social and cultural readings that are prescriptively used to define identity. Staging images of the self, using props, clothing, object placement, gestures and other cultural, social and gender markers are, for many artists in this exhibition, a way of codifying issues of identity to suggest a new construct for interpretation and empowerment of the female self.
Simon Denny, Multi-User Dungeon (MUD)
Petzel Gallery, New York, USA
21 February —
30 March 2024
Petzel presents Multi-User Dungeon (MUD), a group exhibition curated by Simon Denny, featuring works by etoy.corporation, Öyvind Fahlström, Genevieve Goffman, Jack Goldstein, Matthias Groebel, Peter Halley, Yngve Holen, Josh Kline, Isabelle Frances McGuire, Seth Price, Harris Rosenblum, Avery Singer, Suzanne Treister, and Anicka Yi.
The exhibition takes its title from an historical genre of computer game, called Multi-User Dungeons (MUDs). Early online adventure games often based on genres like fantasy or science-fiction, MUDs were text-based software that accepted connections from many simultaneous users. Starting in the 1970s, MUDs were the predecessors of contemporary Massive Multiplayer Online Role Playing Games (MMORPGs or MMOs). The era of the MUD’s emergence and prominence can be seen as an in-between time, which bridged the emergence of the commercial internet and earlier networked systems like Bulletin Board Systems (BBS) and academic internets.
Petzel presents Multi-User Dungeon (MUD), a group exhibition curated by Simon Denny, featuring works by etoy.corporation, Öyvind Fahlström, Genevieve Goffman, Jack Goldstein, Matthias Groebel, Peter Halley, Yngve Holen, Josh Kline, Isabelle Frances McGuire, Seth Price, Harris Rosenblum, Avery Singer, Suzanne Treister, and Anicka Yi.
The exhibition takes its title from an historical genre of computer game, called Multi-User Dungeons (MUDs). Early online adventure games often based on genres like fantasy or science-fiction, MUDs were text-based software that accepted connections from many simultaneous users. Starting in the 1970s, MUDs were the predecessors of contemporary Massive Multiplayer Online Role Playing Games (MMORPGs or MMOs). The era of the MUD’s emergence and prominence can be seen as an in-between time, which bridged the emergence of the commercial internet and earlier networked systems like Bulletin Board Systems (BBS) and academic internets.
Simon Denny, Dungeon
Petzel Gallery, New York, USA
21 February —
30 March 2024
A new exhibition by Berlin-based artist Simon Denny, Dungeon features sculptures and paintings responding to the fantasy idiom of the dungeon, celebrating the importance of the format in the history and present of virtual world and game design, and how it has been integrated within technology businesses as they build online environments.
The sculptures and paintings mix digital and analogue technologies, including rough and ready 3D prints (some very crude and others more high resolution) and traditional media like oil on canvas overlaid with digital print. The painted maps and sculptural artifacts are rough, touched; forged together in unconventional combinations of surfaces and techniques.
Translating the virtual into the tangible, Dungeon synthesizes a visceral impression of a world between realities. Organised in conjunction with Petzel Gallery, Denny also presents the exhibition Read Write Own at Dunkunsthalle in New York, open from 22 February—31 March 2024.
A new exhibition by Berlin-based artist Simon Denny, Dungeon features sculptures and paintings responding to the fantasy idiom of the dungeon, celebrating the importance of the format in the history and present of virtual world and game design, and how it has been integrated within technology businesses as they build online environments.
The sculptures and paintings mix digital and analogue technologies, including rough and ready 3D prints (some very crude and others more high resolution) and traditional media like oil on canvas overlaid with digital print. The painted maps and sculptural artifacts are rough, touched; forged together in unconventional combinations of surfaces and techniques.
Translating the virtual into the tangible, Dungeon synthesizes a visceral impression of a world between realities. Organised in conjunction with Petzel Gallery, Denny also presents the exhibition Read Write Own at Dunkunsthalle in New York, open from 22 February—31 March 2024.
Louise Beer, Aesthetica Art Prize 2024
York Art Gallery, York, UK
16 February —
21 April 2024
UK-based artist Louise Beer is one of 20 artists longlisted for the Aesthetica Art Prize 2024 and presents two pieces in the 2024 Longlist Showcase hosted at York Art Gallery.
Featuring a vast range of media, from drawing to large-scale sculpture to digital media, The Aesthetica Prize exhibition champions some of the world’s most significant talent in contemporary art and contributes to a global dialogue around creative practice today. This year’s nominees prompt viewers to consider important questions about the evolving relationship between humans and the natural world, the fluidity of medium, and the power of claiming identity.
UK-based artist Louise Beer is one of 20 artists longlisted for the Aesthetica Art Prize 2024 and presents two pieces in the 2024 Longlist Showcase hosted at York Art Gallery.
Featuring a vast range of media, from drawing to large-scale sculpture to digital media, The Aesthetica Prize exhibition champions some of the world’s most significant talent in contemporary art and contributes to a global dialogue around creative practice today. This year’s nominees prompt viewers to consider important questions about the evolving relationship between humans and the natural world, the fluidity of medium, and the power of claiming identity.
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.
Luana Asiata, Bold Impressions
The Old Bank, Waterford, Ireland
15 February —
31 May 2024
In her latest exhibition, Bold Impressions, Aotearoa-born, London-based artist Luana Asiata draws comparisons between her home and Ireland. The exhibition invites viewers to embark on a visual journey through a series of bold and captivating pieces inspired by the landscape of Dungarvan, Waterford, the hometown of Asiata's husband Ronan McCarthy.
In her latest exhibition, Bold Impressions, Aotearoa-born, London-based artist Luana Asiata draws comparisons between her home and Ireland. The exhibition invites viewers to embark on a visual journey through a series of bold and captivating pieces inspired by the landscape of Dungarvan, Waterford, the hometown of Asiata's husband Ronan McCarthy.
Ella Sutherland, Image, Interrupted
UTS Gallery, Sydney, Australia
13 February —
12 April 2024
Image, Interrupted considers the ways in which contemporary artists use strategies of deflection, disruption and subterfuge to trouble the data-generated image. The group exhibition, curated by Eleanor Zeichner, includes new and recent works of photography, painting, textile and video that find loopholes and misdirections in the technologies that shape images today.
As a material, a subject and a non-human collaborator, data drives these artworks and their commentary on contemporary politics, storytelling, environment, conflict and sex. Image, Interrupted considers the material textures of these hybrid forms, and the practices of artists who complicate the machine-generated image via the tactile imagination.
Image, Interrupted considers the ways in which contemporary artists use strategies of deflection, disruption and subterfuge to trouble the data-generated image. The group exhibition, curated by Eleanor Zeichner, includes new and recent works of photography, painting, textile and video that find loopholes and misdirections in the technologies that shape images today.
As a material, a subject and a non-human collaborator, data drives these artworks and their commentary on contemporary politics, storytelling, environment, conflict and sex. Image, Interrupted considers the material textures of these hybrid forms, and the practices of artists who complicate the machine-generated image via the tactile imagination.
Jen Valender, Field
Shepparton Art Museum, Shepparton Victoria, Australia
03 February —
05 May 2024
Jen Valender’s SAM Selects exhibition Field presents a new body of work developed during Valender’s creative residency at the University of Melbourne’s Agricultural Campus in Dookie for the Centre of Visual Arts’ Art + Ecology program.
Inspired by sights, sounds, stories, and serendipitous encounters with residents of all species during Valender’s time in Dookie, Field features a multi-channel video installation of four moving image works (Re-search, Bovine Harp, Artist as Animal and Sediment) that combine sculpture, performance and video to explore aspects of agricultural life, and the relationship between art and the natural world.
SAM Selects is an annual opportunity for local artists, curators and creative practitioners to propose and present an exhibition in the Hugh D.T. Williamson Community Gallery at SAM (Shepparton Art Museum).
Jen Valender’s SAM Selects exhibition Field presents a new body of work developed during Valender’s creative residency at the University of Melbourne’s Agricultural Campus in Dookie for the Centre of Visual Arts’ Art + Ecology program.
Inspired by sights, sounds, stories, and serendipitous encounters with residents of all species during Valender’s time in Dookie, Field features a multi-channel video installation of four moving image works (Re-search, Bovine Harp, Artist as Animal and Sediment) that combine sculpture, performance and video to explore aspects of agricultural life, and the relationship between art and the natural world.
SAM Selects is an annual opportunity for local artists, curators and creative practitioners to propose and present an exhibition in the Hugh D.T. Williamson Community Gallery at SAM (Shepparton Art Museum).
David Rickard, Synthesis (Heavy Chain)
Pears Building, London, UK
25 January 2024 —
25 January 2026
David Rickard unveils Synthesis (Heavy Chain), a new permanent sculpture for UCL Institute of Immunity & Transplantation at the Pears Building in London. Developed over two years, the work has been informed by lab visits and many discussions with the researchers at the IIT who are working on groundbreaking cures for such a diverse range of illnesses by decoding the building blocks of immune systems.
Guided by the coding of Messenger RNA, four different sized chain links sequence all the amino acid types within human biology and a single antibody ‘heavy chain’ suspended into the building entrance, connecting the public space with the research areas above. A short film documenting the work from concept through to installation screens at the opening event on 25 January 2024.
David Rickard unveils Synthesis (Heavy Chain), a new permanent sculpture for UCL Institute of Immunity & Transplantation at the Pears Building in London. Developed over two years, the work has been informed by lab visits and many discussions with the researchers at the IIT who are working on groundbreaking cures for such a diverse range of illnesses by decoding the building blocks of immune systems.
Guided by the coding of Messenger RNA, four different sized chain links sequence all the amino acid types within human biology and a single antibody ‘heavy chain’ suspended into the building entrance, connecting the public space with the research areas above. A short film documenting the work from concept through to installation screens at the opening event on 25 January 2024.
Kalisolaite 'Uhila, ISCP residency
ISCP, New York, USA
01 January —
31 March 2024
Two years after receiving the biannual Harriet Friedlander residency award, Kalisolaite ‘Uhila joins 12 other international artists at ISCP in New York.
‘Uhila, originally from Tonga, creates unique visual art that conveys ideas metaphorically, sparking reflection in viewers. His performances involve immersive experiences, such as living on the streets in Tāmaki Makaurau Auckland, inhabiting a pig crate, and conducting the waves of the Pacific Ocean from its shore. 'Uhila’s work delves into cultural, social, and political themes, examining the intersection of traditional Tongan notions about the relationship between people and sacred animals with Western concepts.
Two years after receiving the biannual Harriet Friedlander residency award, Kalisolaite ‘Uhila joins 12 other international artists at ISCP in New York.
‘Uhila, originally from Tonga, creates unique visual art that conveys ideas metaphorically, sparking reflection in viewers. His performances involve immersive experiences, such as living on the streets in Tāmaki Makaurau Auckland, inhabiting a pig crate, and conducting the waves of the Pacific Ocean from its shore. 'Uhila’s work delves into cultural, social, and political themes, examining the intersection of traditional Tongan notions about the relationship between people and sacred animals with Western concepts.
Nikau Hindin, Badu Gili: Celestial
Sydney Opera House, Gadigal Lands Sydney, Australia
15 December 2023 —
01 December 2024
As a celebration of the rich history and contemporary vibrancy of Australia’s First Nations culture, Badu Gili continues the traditions of Bennelong Point, formerly known as Tubowgule (‘where the knowledge waters meet’), a gathering place for community, ceremony and storytelling for thousands of years. Badu Gili: Celestial, the vibrant new animation of powerful First Nations storytelling features the work of Meriam artist, Gail Mabo from Mer Island in the Torres Strait, and international First Nations artist Nikau Hindin, a Te Rarawa and Ngāpuhi woman from Aotearoa New Zealand.
Using Mabo’s star maps constructed out of bamboo and cotton, and Hindin’s Māori aute (bark cloth), the digital animation explores the ancient practices of celestial navigation across two cultures, with vibrant symbols and sounds bringing to life the stories of our skies and waterways. A soundscape accompanies the animation, with powerful music by Nigel Westlake supporting Mabo’s work, and Te Kahureremoa Taumata (Ngāti Kahungunu, Ngāti Tūwharetoa) and Te Kuru o te Marama Dewes (Ngāti Porou, Ngāti Rangitihi) complementing Hindin’s.
The lighting of the sails occurs daily from sunset, 8pm, 8.30pm, 9pm and 9.30pm.
As a celebration of the rich history and contemporary vibrancy of Australia’s First Nations culture, Badu Gili continues the traditions of Bennelong Point, formerly known as Tubowgule (‘where the knowledge waters meet’), a gathering place for community, ceremony and storytelling for thousands of years. Badu Gili: Celestial, the vibrant new animation of powerful First Nations storytelling features the work of Meriam artist, Gail Mabo from Mer Island in the Torres Strait, and international First Nations artist Nikau Hindin, a Te Rarawa and Ngāpuhi woman from Aotearoa New Zealand.
Using Mabo’s star maps constructed out of bamboo and cotton, and Hindin’s Māori aute (bark cloth), the digital animation explores the ancient practices of celestial navigation across two cultures, with vibrant symbols and sounds bringing to life the stories of our skies and waterways. A soundscape accompanies the animation, with powerful music by Nigel Westlake supporting Mabo’s work, and Te Kahureremoa Taumata (Ngāti Kahungunu, Ngāti Tūwharetoa) and Te Kuru o te Marama Dewes (Ngāti Porou, Ngāti Rangitihi) complementing Hindin’s.
The lighting of the sails occurs daily from sunset, 8pm, 8.30pm, 9pm and 9.30pm.
Richard Frater, What remains of a naturalist
Klosterruine, Berlin, Germany
10 December 2023 —
27 April 2024
Richard Frater presents a site-responsive structure at Klosterruine Berlin, a historical monument and space for contemporary art, adapted to local raptors that he had been observing onsite over the spring and summer. In conjunction, the artist presents a comparative video-study that studies the shrinking and expanding territorial ranges of avian species—whether into increasingly remote and hostile environments or into urban expansion—as two unsettling threads of the same conservation reality today.
For the exhibition’s finissage, Frater’s video study is joined by one more screening event; a video for which Frater records his own biological father’s reflections of their trans-identity and gender journey. Here, too, dominant notions of biological determinism, environmental and cultural constructs are combated, however this time through an anthropological moderation of such questions.
Richard Frater presents a site-responsive structure at Klosterruine Berlin, a historical monument and space for contemporary art, adapted to local raptors that he had been observing onsite over the spring and summer. In conjunction, the artist presents a comparative video-study that studies the shrinking and expanding territorial ranges of avian species—whether into increasingly remote and hostile environments or into urban expansion—as two unsettling threads of the same conservation reality today.
For the exhibition’s finissage, Frater’s video study is joined by one more screening event; a video for which Frater records his own biological father’s reflections of their trans-identity and gender journey. Here, too, dominant notions of biological determinism, environmental and cultural constructs are combated, however this time through an anthropological moderation of such questions.
Richard Lewer, NGV Triennial
NGV International, Melbourne, Australia
03 December 2023 —
07 April 2024
Through twelve paintings, Richard Lewer (b. 1970 Aotearoa New Zealand) examines the creation story of Adam and Eve, central to Abrahamic religions. Particular to Christianity is how this story of the original human couple also represents the concept of ‘original sin’ and ‘the fall of man’.
The story has served as a source of inspiration and commentary by artists throughout the history of Western art. Lewer’s series sits in association with the Carved retable of the Passion of Christ, also known as the Antwerp altarpiece (c. 1511–20) – created as a didactic edifice for the contemplation by the faithful. The associationof this significant historical work with Lewer’s series is indicative of how people have always and continue to look to biblical stories for self-examination and understanding of their contemporary world.
Through twelve paintings, Richard Lewer (b. 1970 Aotearoa New Zealand) examines the creation story of Adam and Eve, central to Abrahamic religions. Particular to Christianity is how this story of the original human couple also represents the concept of ‘original sin’ and ‘the fall of man’.
The story has served as a source of inspiration and commentary by artists throughout the history of Western art. Lewer’s series sits in association with the Carved retable of the Passion of Christ, also known as the Antwerp altarpiece (c. 1511–20) – created as a didactic edifice for the contemplation by the faithful. The associationof this significant historical work with Lewer’s series is indicative of how people have always and continue to look to biblical stories for self-examination and understanding of their contemporary world.
Darcy Lange, Videography as Social Practice by Mercedes Vicente
Available to order online
21 November 2023 —
21 November 2028
Darcy Lange, Videography as Social Practice, by Mercedes Vicente, is a critical monograph of a pivotal figure in early analogue video. Trained as a sculptor at the Royal College of Art, Lange developed a socially engaged video practice with remarkable studies of people at work in industrial, farming, and teaching contexts that drew from conceptual art, social documentary and structuralist filmmaking. Lange saw in portable video a democratic tool for communication and social transformation, continuing the legacy of the revolutionary avant-garde projects that merged art with social life and turned audiences into producers.
Darcy Lange, Videography as Social Practice, by Mercedes Vicente, is a critical monograph of a pivotal figure in early analogue video. Trained as a sculptor at the Royal College of Art, Lange developed a socially engaged video practice with remarkable studies of people at work in industrial, farming, and teaching contexts that drew from conceptual art, social documentary and structuralist filmmaking. Lange saw in portable video a democratic tool for communication and social transformation, continuing the legacy of the revolutionary avant-garde projects that merged art with social life and turned audiences into producers.
Alexis Hunter, Women in Revolt: Art, Activism and the Women’s movement in the UK 1970–1990
Tate Britain, London, UK
08 November 2023 —
07 April 2024
The first of its kind, Women in Revolt! is a major survey of work by over 100 women artists practicing in the UK from 1970 to 1990, using a wide variety of mediums including painting, drawing, sculpture, film and performance.
This exhibition explores and reflects on issues and events such as: the British Women’s Liberation movement, the fight for legal changes impacting women, maternal and domestic experiences, Rock Against Racism and Punk, Greenham Common and the peace movement, the visibility of Black and South Asian Women Artists, Section 28 and the AIDs pandemic.
The show celebrates the work and lived experiences of women who, frequently working outside mainstream art institutions, were largely left out of the artistic narratives of the time. It showcases a productive, politically engaged set of communities, who changed the face of British culture and paved the way for future generations of artists.
The first of its kind, Women in Revolt! is a major survey of work by over 100 women artists practicing in the UK from 1970 to 1990, using a wide variety of mediums including painting, drawing, sculpture, film and performance.
This exhibition explores and reflects on issues and events such as: the British Women’s Liberation movement, the fight for legal changes impacting women, maternal and domestic experiences, Rock Against Racism and Punk, Greenham Common and the peace movement, the visibility of Black and South Asian Women Artists, Section 28 and the AIDs pandemic.
The show celebrates the work and lived experiences of women who, frequently working outside mainstream art institutions, were largely left out of the artistic narratives of the time. It showcases a productive, politically engaged set of communities, who changed the face of British culture and paved the way for future generations of artists.