Calendar
Calendar
The HUM calendar features exhibitions & events by New Zealand arts practitioners working or living abroad.
Areez Katki in Colomboscope Interdisciplinary Arts Festival
Colomboscope, Colombo, Sri Lanka
20 January —
30 January 2022
New work from Aotearoa artist Areez Katki will feature in Language is Migrant, the seventh edition of Colomboscope Interdisciplinary Arts Festival in Colombo, Sri Lanka.
Curators Natasha Ginwala and Anushka Rajendran have encouraged and fostered a series of readings around migratory languages pertaining to third space hybridity and the gestures they encompass. Headlining Colomboscope this year will be Chilean poet and performance artist Cecelia Vicuña, whose work, Language is Migrant provides the conceptual basis and tone of the festival.
New work from Aotearoa artist Areez Katki will feature in Language is Migrant, the seventh edition of Colomboscope Interdisciplinary Arts Festival in Colombo, Sri Lanka.
Curators Natasha Ginwala and Anushka Rajendran have encouraged and fostered a series of readings around migratory languages pertaining to third space hybridity and the gestures they encompass. Headlining Colomboscope this year will be Chilean poet and performance artist Cecelia Vicuña, whose work, Language is Migrant provides the conceptual basis and tone of the festival.
Ilke Gers, in Border Buda
various locations in Brussels, Vilvoorde and Machelen, Belgium
27 October 2023 —
27 October 2026
Land marks is a new multi-component outdoor work from Rotterdam-based artist Ilke Gers, the first in a series of commissioned public artworks by various artists for the three-year cultural project Border Buda.
Spanning the municipalities of Brussels, Vilvoorde and Machelen, in Belgium, Border Buda is an iniative from curators Anna Laganovska and Koi Persyn aiming to revitalise an industrial grey zone. It invites nine artists to realise projects around the transport axes that forms Buda's identity—the railway, the Vilvoorde viaduct, the water, and future bike arteries, and will result in an exhibition and public programme from 26—28 April 2024.
Land marks is a new multi-component outdoor work from Rotterdam-based artist Ilke Gers, the first in a series of commissioned public artworks by various artists for the three-year cultural project Border Buda.
Spanning the municipalities of Brussels, Vilvoorde and Machelen, in Belgium, Border Buda is an iniative from curators Anna Laganovska and Koi Persyn aiming to revitalise an industrial grey zone. It invites nine artists to realise projects around the transport axes that forms Buda's identity—the railway, the Vilvoorde viaduct, the water, and future bike arteries, and will result in an exhibition and public programme from 26—28 April 2024.
Kate Newby, Our Ecology
Mori Art Museum, Tokyo, Japan
18 October 2023 —
31 March 2024
The impact of humanity on our planet since the industrial revolution is said to match that of the thousands of preceding years of geological change. The environmental crisis is a challenge of utmost urgency, and right now an important theme on the international art scene. Is there still any possibility of a sustainable future, in which we leave behind the anthropocentrism that has triggered this crisis, and instead, as humans, find a new way of relating to all other, non-human entities?
Contemplating how contemporary art and artists have engaged to date with environmental issues, and how they can do so in future, Our Ecology aims to explore the possibilities left for the sustainable future on a global scale. Featuring a diverse range of pieces—from historical work such as Agnes Denes’ 1982 conjuring of a wheatfield in the capitalist capital Manhattan, to new works made especially for the exhibition—Our Ecology posits the questions: who are we, and to whom does Earth’s environment belong?
The impact of humanity on our planet since the industrial revolution is said to match that of the thousands of preceding years of geological change. The environmental crisis is a challenge of utmost urgency, and right now an important theme on the international art scene. Is there still any possibility of a sustainable future, in which we leave behind the anthropocentrism that has triggered this crisis, and instead, as humans, find a new way of relating to all other, non-human entities?
Contemplating how contemporary art and artists have engaged to date with environmental issues, and how they can do so in future, Our Ecology aims to explore the possibilities left for the sustainable future on a global scale. Featuring a diverse range of pieces—from historical work such as Agnes Denes’ 1982 conjuring of a wheatfield in the capitalist capital Manhattan, to new works made especially for the exhibition—Our Ecology posits the questions: who are we, and to whom does Earth’s environment belong?
Pelenakeke Brown and Sally Tran, BRIClab residency
BRIC, New York City, USA
01 September 2023 —
01 September 2024
Two artists from Aotearoa have been selected as part of the 2023/2024 BRIClab artist in residence programme: Pelenakeke Brown in the Contemporary Art group, and Sally Tran in the Film + TV group.
A year-long journey for emerging and mid-career artists, this year's programme is all about connection and collaboration, exploring topics like mutual aid, artistic care, and interconnectedness. In-process public events for the 2023/2024 cohort will take place from September 2023 through May 2024.
Two artists from Aotearoa have been selected as part of the 2023/2024 BRIClab artist in residence programme: Pelenakeke Brown in the Contemporary Art group, and Sally Tran in the Film + TV group.
A year-long journey for emerging and mid-career artists, this year's programme is all about connection and collaboration, exploring topics like mutual aid, artistic care, and interconnectedness. In-process public events for the 2023/2024 cohort will take place from September 2023 through May 2024.
Lisa Reihana and Yuki Kihara, sis Pacific Art 1980-2023
Queensland Art Gallery | Gallery of Modern Art, Brisbane, Australia
26 August 2023 —
08 September 2024
Sis, susa, tuofefine, tuahine, tuafafine, sister eo an, tita, kauaemua, sista – there are many different words for ‘sister’ in the Pacific region. The exhibition sis investigates three decades of art-making from a sisterhood of artists from across Oceania. Important figures, often largely unknown outside their homelands are highlighted, alongside established artists, to create an expanded vision of the art of Oceania since the early 1990s. The exhibition includes textiles, ceramics, photography, moving image, sculpture, installation and performance.
Rotation 1 runs from 26 August 2023—25 February 2024, and rotation 2 runs from 30 March 2024—8 September 2024.
Sis, susa, tuofefine, tuahine, tuafafine, sister eo an, tita, kauaemua, sista – there are many different words for ‘sister’ in the Pacific region. The exhibition sis investigates three decades of art-making from a sisterhood of artists from across Oceania. Important figures, often largely unknown outside their homelands are highlighted, alongside established artists, to create an expanded vision of the art of Oceania since the early 1990s. The exhibition includes textiles, ceramics, photography, moving image, sculpture, installation and performance.
Rotation 1 runs from 26 August 2023—25 February 2024, and rotation 2 runs from 30 March 2024—8 September 2024.
Seung Yul Oh, Orbit
101 Collins St, Melbourne, Australia
15 August 2023 —
15 August 2028
Orbit (2023) is a newly commissioned sculpture project by Seung Yul Oh consisting of a pair of 6.5m high mirror-polish bronze infinity symbols, which cantilever over the Collins Street entrance of the 101 Collins lobby. These two large-scale sculptures articulate the central ceiling space, highlighting its grand vastness, while embracing the viewer in a nurturing but also comic and slightly unnerving way. Coated in lush liquid mirror polish, Orbit captures and mimics the movement of people in the space, at once reflecting the bodies of the viewers while they simultaneously dematerialise and become part of it.
Orbit is one of five projects commissioned by Curator Emily Cormack destined to join the permanent collection of the 101 Collins Street initiative.
Orbit (2023) is a newly commissioned sculpture project by Seung Yul Oh consisting of a pair of 6.5m high mirror-polish bronze infinity symbols, which cantilever over the Collins Street entrance of the 101 Collins lobby. These two large-scale sculptures articulate the central ceiling space, highlighting its grand vastness, while embracing the viewer in a nurturing but also comic and slightly unnerving way. Coated in lush liquid mirror polish, Orbit captures and mimics the movement of people in the space, at once reflecting the bodies of the viewers while they simultaneously dematerialise and become part of it.
Orbit is one of five projects commissioned by Curator Emily Cormack destined to join the permanent collection of the 101 Collins Street initiative.
Angela Tiatia, George Nuku, Louisa Humphrey and Yuki Kihara, Rising Tide: Art and Environment in Oceania
National Museum of Scotland, Edinburgh, UK
12 August 2023 —
14 April 2024
Delve into the most important and pressing issue of our time, humanity’s damaging relationship with planet Earth. This urgent issue is felt especially deeply in Australia and the Pacific Islands where sea levels are rising due to climate change and the oceans are filling with plastic.
Rising Tide considers our relationship to the natural environment through contemporary responses to climate change and plastic waste by Indigenous Australian and Pacific Islander artists. Master fisherman Anthony C Guerrero's contemporary woven baskets made from plastic construction strapping found on his local beach in Guam will be on display.
The exhibition hosts video work by Angela Tiatia, the latest version of artist George Nuku’s installation, Bottled Ocean 2123, which imagines the state of the oceans 100 years into the future in an immersive, undersea landscape crafted from single-use plastic bottles, weaving by Louisa Humphrey, and a set of five kimono titled A Song About Sāmoa by Yuki Kihara.
Delve into the most important and pressing issue of our time, humanity’s damaging relationship with planet Earth. This urgent issue is felt especially deeply in Australia and the Pacific Islands where sea levels are rising due to climate change and the oceans are filling with plastic.
Rising Tide considers our relationship to the natural environment through contemporary responses to climate change and plastic waste by Indigenous Australian and Pacific Islander artists. Master fisherman Anthony C Guerrero's contemporary woven baskets made from plastic construction strapping found on his local beach in Guam will be on display.
The exhibition hosts video work by Angela Tiatia, the latest version of artist George Nuku’s installation, Bottled Ocean 2123, which imagines the state of the oceans 100 years into the future in an immersive, undersea landscape crafted from single-use plastic bottles, weaving by Louisa Humphrey, and a set of five kimono titled A Song About Sāmoa by Yuki Kihara.
Pelenakeke Brown, Don't mind if I do
MoCA Cleveland, Cleveland, USA
07 July 2023 —
07 July 2024
Sharing the work of seven artists who have influenced North-American multidisciplinary artist Finnegan Shannon's practice, Don’t mind if I do blurs boundaries between public and private. It puts representations of everyday life that are usually tucked away at home on display. Plastic pill bottles scattered across nightstands share space with a tissue box cover that reminds us of moments of sickness and sadness. Sculptural snapshots of an intimate interspecies bond sit beside gender-affirming packers that feel most at home tucked inside our clothes. They signify illness, reveal systems of support, and are used in play.
Don’t mind if I do destabilises rigid ableist and exclusionary museum “best practices” like sparse seating, untouchable objects, dense wall labels, and guards who protect rather than invite engagement. It is a project built upon a framework of flexibility. By welcoming glitches, inviting informality and messiness, and unsettling the hierarchy of objects, Don’t mind if I do prioritises people over artwork and makes more room for us to show up as our full selves.
Sharing the work of seven artists who have influenced North-American multidisciplinary artist Finnegan Shannon's practice, Don’t mind if I do blurs boundaries between public and private. It puts representations of everyday life that are usually tucked away at home on display. Plastic pill bottles scattered across nightstands share space with a tissue box cover that reminds us of moments of sickness and sadness. Sculptural snapshots of an intimate interspecies bond sit beside gender-affirming packers that feel most at home tucked inside our clothes. They signify illness, reveal systems of support, and are used in play.
Don’t mind if I do destabilises rigid ableist and exclusionary museum “best practices” like sparse seating, untouchable objects, dense wall labels, and guards who protect rather than invite engagement. It is a project built upon a framework of flexibility. By welcoming glitches, inviting informality and messiness, and unsettling the hierarchy of objects, Don’t mind if I do prioritises people over artwork and makes more room for us to show up as our full selves.
Ruth Buchanan, A Garden with Bridges (spine, stomach, throat, ear)
jobcenter Mönchengladbach, Germany
07 May 2023 —
07 May 2028
Five years after preparations began, Ruth Buchanan's A Garden with Bridges (spine, stomach, throat, ear) is now realised on the property of the Mönchengladbach job center. Featuring a pavilion meant to serve as a focal point for social interactions, this artwork aims to suspend the hierarchies that dominate our society.
The project responds to the job center and the Stiftisches Humanistisches Gymnasium, a local high school, jointly approaching the New Patrons Initiative in 2018 with the idea of developing a place for social interactions: an open, yet protected site where the urban community could come together. Mediator Kathrin Jentjens tapped Aotearoa New Zealand artist Ruth Buchanan for the commission, which is being implemented through the Kunststiftung im Museum Abteiberg with the help of public and private, local and international funds and—significantly—generous volunteer work on the part of businesses and citizens in the city.
Five years after preparations began, Ruth Buchanan's A Garden with Bridges (spine, stomach, throat, ear) is now realised on the property of the Mönchengladbach job center. Featuring a pavilion meant to serve as a focal point for social interactions, this artwork aims to suspend the hierarchies that dominate our society.
The project responds to the job center and the Stiftisches Humanistisches Gymnasium, a local high school, jointly approaching the New Patrons Initiative in 2018 with the idea of developing a place for social interactions: an open, yet protected site where the urban community could come together. Mediator Kathrin Jentjens tapped Aotearoa New Zealand artist Ruth Buchanan for the commission, which is being implemented through the Kunststiftung im Museum Abteiberg with the help of public and private, local and international funds and—significantly—generous volunteer work on the part of businesses and citizens in the city.
Jess Johnson, Roswell Artist-in-Residence Program
Roswell, New Mexico, USA
01 May 2023 —
01 May 2024
Well-known by visual artists as the "Gift of Time", the Roswell Artist-in-Residence Program was established in 1967 to provide gifted studio-based visual artists with the unique opportunity to concentrate on their work in a supportive, collegial environment for an entire year. This gift of time allows artists to work without distraction in an effort to break new ground and focus on individual goals.
Well-known by visual artists as the "Gift of Time", the Roswell Artist-in-Residence Program was established in 1967 to provide gifted studio-based visual artists with the unique opportunity to concentrate on their work in a supportive, collegial environment for an entire year. This gift of time allows artists to work without distraction in an effort to break new ground and focus on individual goals.
Martin Patrick, book release, The Performing Observer: Essays on Contemporary Art, Performance, and Photography
online and from selected global stockists
01 March 2023 —
01 March 2028
Written by art critic and historian Martin Patrick, this is a collection of short, critical writings on contemporary art, performance, and photography from the past twenty years, analysing a wide range of global practitioners, from emerging to established artists.
Among the artists discussed are Francis Alÿs, Laurie Anderson, Chris Burden, William Eggleston, Cindy Sherman, and Andy Warhol, and from Aotearoa: Yvonne Todd, Richard Maloy, Catherine Bagnall, Ann Shelton, and Simon Morris.
Published in February 2023 by Intellect UK/U of Chicago USA, and available in almost 70 libraries globally.
Written by art critic and historian Martin Patrick, this is a collection of short, critical writings on contemporary art, performance, and photography from the past twenty years, analysing a wide range of global practitioners, from emerging to established artists.
Among the artists discussed are Francis Alÿs, Laurie Anderson, Chris Burden, William Eggleston, Cindy Sherman, and Andy Warhol, and from Aotearoa: Yvonne Todd, Richard Maloy, Catherine Bagnall, Ann Shelton, and Simon Morris.
Published in February 2023 by Intellect UK/U of Chicago USA, and available in almost 70 libraries globally.
Dane Mitchell, Gertrude Studio residency
Gertrude Contemporary, Melbourne, Australia
01 February 2023 —
01 February 2025
Dane Mitchell is one of sixteen artists accepted into the 2023/24 Gertrude Studio Program. Respected nationally and internationally, Gertrude’s unique studio-exhibition model supports outstanding artists at pivotal moments in their careers. The two-year Gertrude Studio Program has been at the core of the organisation since its founding nearly four decades ago.
Dane Mitchell is one of sixteen artists accepted into the 2023/24 Gertrude Studio Program. Respected nationally and internationally, Gertrude’s unique studio-exhibition model supports outstanding artists at pivotal moments in their careers. The two-year Gertrude Studio Program has been at the core of the organisation since its founding nearly four decades ago.
Paul Cullen Archive, Proposition #2: Octagon Room
Royal Observatory, Greenwich, UK and online
31 January 2023 —
31 January 2025
A virtual installation in the Octagon Room at the Royal Observatory, Greenwich, England. This interactive, virtual project realises a speculative proposal made by artist Paul Cullen in 2011 to install works from his r/p/m (revolutions per minute) series around the globe at historical centres for scientific study (sites that the artist had visited and researched).
In Proposition #2: Octagon Room, Cullen proposes situating four r/p/m sculptures with motorised rotating components, including plastic gherkins, orange, pear and a bucket at the Royal Observatory in Greenwich, England. Propositions #1, #3, #4, and #5 locate artworks at the Eisinga Planetarium in Franeker, the Netherlands; Musick Memorial Radio Station on Naupata Reserve, Aotearoa; Linnaeus Garden in Uppsala, Sweden; and the Alhambra in Granada, Spain.
The Paul Cullen Archive will realise propositions 1–4 as virtual installations between December 2022 and March 2023.
A virtual installation in the Octagon Room at the Royal Observatory, Greenwich, England. This interactive, virtual project realises a speculative proposal made by artist Paul Cullen in 2011 to install works from his r/p/m (revolutions per minute) series around the globe at historical centres for scientific study (sites that the artist had visited and researched).
In Proposition #2: Octagon Room, Cullen proposes situating four r/p/m sculptures with motorised rotating components, including plastic gherkins, orange, pear and a bucket at the Royal Observatory in Greenwich, England. Propositions #1, #3, #4, and #5 locate artworks at the Eisinga Planetarium in Franeker, the Netherlands; Musick Memorial Radio Station on Naupata Reserve, Aotearoa; Linnaeus Garden in Uppsala, Sweden; and the Alhambra in Granada, Spain.
The Paul Cullen Archive will realise propositions 1–4 as virtual installations between December 2022 and March 2023.
Brian Fuata, 'of a house besieged (preposition tweaked)'
The Kitchen Video Viewing Room, Online
27 January 2023 —
27 January 2025
The Kitchen OnScreen is a platform that hosts the online programme of New York City’s oldest nonprofit spaces, The Kitchen, following the closure of its physical space in March 2020 in response to the COVID-19 pandemic.
From January 2023, the Video Viewing Room features Brian Fuata’s of a house besieged (preposition tweaked) (2020), a video project inspired by Lydia Davis' short story called In a House Besieged, a work long-admired by Fuata, which looks at the “paradoxical fact that we are experiencing mass disconnect in an age of hyper-connectivity.” The presentation is organised, and features a text, by curator Matthew Lyons.
The Kitchen OnScreen is a platform that hosts the online programme of New York City’s oldest nonprofit spaces, The Kitchen, following the closure of its physical space in March 2020 in response to the COVID-19 pandemic.
From January 2023, the Video Viewing Room features Brian Fuata’s of a house besieged (preposition tweaked) (2020), a video project inspired by Lydia Davis' short story called In a House Besieged, a work long-admired by Fuata, which looks at the “paradoxical fact that we are experiencing mass disconnect in an age of hyper-connectivity.” The presentation is organised, and features a text, by curator Matthew Lyons.
Paul Cullen Archive, Digital r/p/m proposition #1: Planetarium
Eise Eisinga Planetarium, Franeker, the Netherlands and online
22 December 2022 —
22 December 2025
A virtual installation at the Eise Eisinga Planetarium, Franeker, the Netherlands. This interactive, virtual project realises a speculative proposal made by artist Paul Cullen in 2011 to install works from his r/p/m (revolutions per minute) series around the globe at historical centres for scientific study (sites that the artist had visited and researched).
For Proposition #1: Planetarium, Cullen proposed situating r/p/m artworks, including Lost (2007), The Orange Theory (2007), and Geographer [1] and [2] (1995), at the Eise Eisinga Planetarium in Franeker, the Netherlands. Propositions #2, #3, #4 and #5 locate artworks at the Octagon Room in the Royal Observatory in Greenwich, England; Musick Memorial Radio Station on Naupata Reserve, Aotearoa; Linnaeus Garden in Uppsala, Sweden; and the Alhambra in Granada, Spain.
The Paul Cullen Archive will realise propositions 1–4 as virtual installations between December 2022 and March 2023.
A virtual installation at the Eise Eisinga Planetarium, Franeker, the Netherlands. This interactive, virtual project realises a speculative proposal made by artist Paul Cullen in 2011 to install works from his r/p/m (revolutions per minute) series around the globe at historical centres for scientific study (sites that the artist had visited and researched).
For Proposition #1: Planetarium, Cullen proposed situating r/p/m artworks, including Lost (2007), The Orange Theory (2007), and Geographer [1] and [2] (1995), at the Eise Eisinga Planetarium in Franeker, the Netherlands. Propositions #2, #3, #4 and #5 locate artworks at the Octagon Room in the Royal Observatory in Greenwich, England; Musick Memorial Radio Station on Naupata Reserve, Aotearoa; Linnaeus Garden in Uppsala, Sweden; and the Alhambra in Granada, Spain.
The Paul Cullen Archive will realise propositions 1–4 as virtual installations between December 2022 and March 2023.
Richard Lewer, Lisa Reihana and Francis Upritchard, Sydney Modern Project
Art Gallery of New South Wales, Sydney, Australia
02 December 2022 —
02 December 2024
Nine Asia Pacific artists have been selected by Art Gallery of New South Wales (AGNSW) to create site-specific works for the gallery’s groundbreaking expansion project, Sydney Modern – a new standalone gallery that will almost double AGNSW’s existing exhibition space.
Said to be the largest commissioning program in AGNSW’s 150 year history, the nine artists are Lorraine Connelly-Northey (Waradgerie / VIC) Karla Dickens (Wiradjuri / NSW), Simryn Gill (Singapore / Australia), Jonathan Jones (Wiradjuri / Kamilaroi / NSW), Yayoi Kusama (Japan), Richard Lewer (VIC / NZ), Lee Mingwei (Taiwanese-American), Lisa Reihana (Māori / NZ) and Francis Upritchard (NZ). Displayed within and between the two buildings of this indoor-outdoor campus, the new commissions will be among the first artworks to welcome visitors, with many able to be experienced night and day.
Nine Asia Pacific artists have been selected by Art Gallery of New South Wales (AGNSW) to create site-specific works for the gallery’s groundbreaking expansion project, Sydney Modern – a new standalone gallery that will almost double AGNSW’s existing exhibition space.
Said to be the largest commissioning program in AGNSW’s 150 year history, the nine artists are Lorraine Connelly-Northey (Waradgerie / VIC) Karla Dickens (Wiradjuri / NSW), Simryn Gill (Singapore / Australia), Jonathan Jones (Wiradjuri / Kamilaroi / NSW), Yayoi Kusama (Japan), Richard Lewer (VIC / NZ), Lee Mingwei (Taiwanese-American), Lisa Reihana (Māori / NZ) and Francis Upritchard (NZ). Displayed within and between the two buildings of this indoor-outdoor campus, the new commissions will be among the first artworks to welcome visitors, with many able to be experienced night and day.
Maddie Leach, The fountain: An art-technological-social drama
Lund Technical University, Lund, Sweden
01 January 2021 —
01 January 2025
A four-year research project about a failed public artwork in Lund, Sweden, lead by Aotearoa artist Maddie Leach as part of 'Gestaltad livsmiljö – arkitektur, form, design, konst och kulturarv i offentlig miljö' (Designed living environment – architecture, form, design, art and cultural heritage in public spaces).
LTH-fontänen (The LTH Fountain) was the collaborative vision of Swedish architect Klas Anshelm and sculptor Arne Jones. Inaugurated in 1970 at Lund Technical University, it was anticipated as a modern “artistic-technological cathedral of steel, glass and water without parallel in the world”. Yet LTH-fontänen proved frustrating as a fountain: leaking, fracturing and never effectively carrying water. Today it remains inert on campus; neither artwork nor ruin. At what point can a public artwork be revitalised and thought anew? What are the implications for authorship, cultural heritage and public consultation? Are there similarities to monuments, where societal change can produce an ethical dilemma around their visibility and duration?
This research initiates a recommitment to a substantially state-funded public artwork after a 25-year hiatus and introduces new questions–not about how to get this fountain to work as a fountain–about whether LTH-fontänen offers an armature from which a new public artwork can emerge.
A four-year research project about a failed public artwork in Lund, Sweden, lead by Aotearoa artist Maddie Leach as part of 'Gestaltad livsmiljö – arkitektur, form, design, konst och kulturarv i offentlig miljö' (Designed living environment – architecture, form, design, art and cultural heritage in public spaces).
LTH-fontänen (The LTH Fountain) was the collaborative vision of Swedish architect Klas Anshelm and sculptor Arne Jones. Inaugurated in 1970 at Lund Technical University, it was anticipated as a modern “artistic-technological cathedral of steel, glass and water without parallel in the world”. Yet LTH-fontänen proved frustrating as a fountain: leaking, fracturing and never effectively carrying water. Today it remains inert on campus; neither artwork nor ruin. At what point can a public artwork be revitalised and thought anew? What are the implications for authorship, cultural heritage and public consultation? Are there similarities to monuments, where societal change can produce an ethical dilemma around their visibility and duration?
This research initiates a recommitment to a substantially state-funded public artwork after a 25-year hiatus and introduces new questions–not about how to get this fountain to work as a fountain–about whether LTH-fontänen offers an armature from which a new public artwork can emerge.