Calendar
Calendar
The HUM calendar features exhibitions & events by New Zealand arts practitioners working or living abroad.
Ben Cauchi at Ingleby Gallery
Ingleby Gallery, Edinburgh, Scotland.
12 May —
14 July 2018
A group exhibition featuring Berlin-based artist Ben Cauchi that celebrates 20 years of the gallery and the opening of their new premises in the old Glasite Meeting House at 33 Barony Street.
A group exhibition featuring Berlin-based artist Ben Cauchi that celebrates 20 years of the gallery and the opening of their new premises in the old Glasite Meeting House at 33 Barony Street.
The New Zealand Dance Company's European tour TIME
Various locations, Belgium/Luxembourg
15 December —
21 December 2018
Concertgebeouw Brugge, Belgium — 15.12.2018
C’est Central, La Louvière, Belgium — 18.12.2018
Théâtre de la Ville Luxembourg, Luxembourg — 21.12.2018
The New Zealand Dance Company (NZDC) is thrilled to present TIME - a riveting triple bill from highly acclaimed New Zealand, Korean and Australian choreographers, Ross McCormack, KIM Jae Duk and Stephanie Lake. Artistic Director Shona McCullagh has drawn together works that each speak to a different concept of time—using ideas of contrasting speeds, dystopian futures and the link of our present to the past.
NZDC will be presenting this programme in December to Concertgebeouw Brugge, C’est Central - La Louvière in Belgium and Théâtre de la Ville Luxembourg.
Concertgebeouw Brugge, Belgium — 15.12.2018
C’est Central, La Louvière, Belgium — 18.12.2018
Théâtre de la Ville Luxembourg, Luxembourg — 21.12.2018
The New Zealand Dance Company (NZDC) is thrilled to present TIME - a riveting triple bill from highly acclaimed New Zealand, Korean and Australian choreographers, Ross McCormack, KIM Jae Duk and Stephanie Lake. Artistic Director Shona McCullagh has drawn together works that each speak to a different concept of time—using ideas of contrasting speeds, dystopian futures and the link of our present to the past.
NZDC will be presenting this programme in December to Concertgebeouw Brugge, C’est Central - La Louvière in Belgium and Théâtre de la Ville Luxembourg.
Kate Newby at Neues Kunsthaus, Ahrenshoop
Neues Kunsthaus, Ahrenshoop, Germany.
06 December 2018 —
04 March 2019
The exhibition Elements brings together works by two former scholarship holders of the Künstlerhaus Lukas and two guest artists, who deal with nature's phenomena and manifestations in a sculptural, cinematographic, photographic and installation manner. It is dedicated to artistic working methods that include natural or natural materials and motifs and thus question the relationship of man to nature. It invites you to think about your own perception of nature, its potentials and limits as open space. The exhibition is curated by Svea Kellner and includes Kate Newby.
The exhibition Elements brings together works by two former scholarship holders of the Künstlerhaus Lukas and two guest artists, who deal with nature's phenomena and manifestations in a sculptural, cinematographic, photographic and installation manner. It is dedicated to artistic working methods that include natural or natural materials and motifs and thus question the relationship of man to nature. It invites you to think about your own perception of nature, its potentials and limits as open space. The exhibition is curated by Svea Kellner and includes Kate Newby.
Landa Lan. A Documentation of Darcy Lange.
Tabakalera donostia, Guipúzcoa, Spain.
01 December 2018 —
10 March 2019
Curiosity for the work of Darcy Lange (Aotearoa/New Zealand,1946-2005), a video art pioneer and flamenco guitarist, has led the artists that make up Tractora Koop. E. to present Landa Lan. A Documentation of Darcy Lange. This exhibition project results from a work methodology divided into various phases: an initial period devoted to the intensive viewing of Lange's video work, which was completed by a second viewing period in the company of Mercedes Vicente, an expert on the artist's work. It was also her who built Darcy Lange’s personal archive, which in a third stage travelled to Tabakalera in order to be studied.
Formed as a sculptor in New Zealand and London, in 1972 Darcy Lange began recording what he called work studies, durational video observations of people working, an activity he would carry on throughout his lifetime. The type of works and contexts that Lange depicts vary greatly —factories, mines, workshops, schools, stockbreeding farms, allotment gardens, domestic environments, rural sports, artists’ and musicians’ studios—, and they cross the distant geographies he travelled through, amongst which New Zealand, England, Scotland, and Spain stand out. The videotapes that he shot, mostly first generation ½ inch open-reel magnetic tapes, were always accompanied by photographs and in some cases by film, comprising groups that he called "documentations" or "studies".
Curiosity for the work of Darcy Lange (Aotearoa/New Zealand,1946-2005), a video art pioneer and flamenco guitarist, has led the artists that make up Tractora Koop. E. to present Landa Lan. A Documentation of Darcy Lange. This exhibition project results from a work methodology divided into various phases: an initial period devoted to the intensive viewing of Lange's video work, which was completed by a second viewing period in the company of Mercedes Vicente, an expert on the artist's work. It was also her who built Darcy Lange’s personal archive, which in a third stage travelled to Tabakalera in order to be studied.
Formed as a sculptor in New Zealand and London, in 1972 Darcy Lange began recording what he called work studies, durational video observations of people working, an activity he would carry on throughout his lifetime. The type of works and contexts that Lange depicts vary greatly —factories, mines, workshops, schools, stockbreeding farms, allotment gardens, domestic environments, rural sports, artists’ and musicians’ studios—, and they cross the distant geographies he travelled through, amongst which New Zealand, England, Scotland, and Spain stand out. The videotapes that he shot, mostly first generation ½ inch open-reel magnetic tapes, were always accompanied by photographs and in some cases by film, comprising groups that he called "documentations" or "studies".
Mladen Bizumic and Simon Denny in Dialogue, co-curated by Simon Rees
Georg Karl Gallery, Vienna, Austria.
23 November 2018 —
26 January 2019
This exhibition is the concluding project presented at Georg Kargl Fine Arts by “The Society of Projective Aesthetics,” which, since 2017, has developed a number of platforms examining concepts of deceleration, reduction, concentration, and dialogue.
Co-organized by Inés Lombardi and New Zealand curator Simon Rees, the Dialogue exhibition sets out to express meanings of ‘dialogue’ embedded within, and relative to, art in our time; and art’s production, exposition, reception, circulation, and dissemination. Dialogue presents the work of Mladen Bizumic, Richard Buckminster Fuller, Carter, Simon Denny, Gintaras Didziapetris, Mark Dion, Charles & Ray Eames, Andreas Fogarasi, Jeff Gibson, Mauricio Ianes, Ketty La Rocca, Thomas Locher, Ad Reinhardt, Andy Warhol, John Waters.
This exhibition is the concluding project presented at Georg Kargl Fine Arts by “The Society of Projective Aesthetics,” which, since 2017, has developed a number of platforms examining concepts of deceleration, reduction, concentration, and dialogue.
Co-organized by Inés Lombardi and New Zealand curator Simon Rees, the Dialogue exhibition sets out to express meanings of ‘dialogue’ embedded within, and relative to, art in our time; and art’s production, exposition, reception, circulation, and dissemination. Dialogue presents the work of Mladen Bizumic, Richard Buckminster Fuller, Carter, Simon Denny, Gintaras Didziapetris, Mark Dion, Charles & Ray Eames, Andreas Fogarasi, Jeff Gibson, Mauricio Ianes, Ketty La Rocca, Thomas Locher, Ad Reinhardt, Andy Warhol, John Waters.
Alexis Hunter: Sexual Warfare
Goldsmiths CCA, London, U.K.
23 November 2018 —
03 February 2019
Sexual Warfare is a posthumous exhibition of Alexis Hunter's work from the 1970s. This will be the first solo presentation of her work in the UK since 2006, and first in London since 1981. An influential figure in the feminist art movement in Britain in the 1970s, Hunter is best known for her conceptual photographic works in which she used the medium as a tool to manipulate normative power dynamics within society through gender role play and fetishised objects Her images draw upon the violence within capitalism’s abuse of gender stereotypes and sexuality for the pursuit of profit. This exhibition will show a number of key works, bringing her acerbic critique into dialogue with the contemporary moment and reinforcing her importance as an artist and a feminist.
Alexis Hunter was born in 1948 in Auckland, New Zealand and attended Elam School of Fine Arts, Auckland (1966-69). She moved to London in 1972 where she joined the Women’s Workshop of the Artists Union and remained here until her death in 2014. She was an active and influential figure in the feminist art movement in Britain in the 1970s. Since 2006 her photographs have been introduced to a new generation and have been shown in the Norwich Gallery, WACK! Art and the Feminist Revolution in the United States and in the Cologne Art Fair in Germany. Hunter’s work is represented in the Scottish National Gallery of Modern Art, Museum of New Zealand Te Papa Tongarewa, University of Otago and the Arts Council of Great Britain collections.
Sexual Warfare is a posthumous exhibition of Alexis Hunter's work from the 1970s. This will be the first solo presentation of her work in the UK since 2006, and first in London since 1981. An influential figure in the feminist art movement in Britain in the 1970s, Hunter is best known for her conceptual photographic works in which she used the medium as a tool to manipulate normative power dynamics within society through gender role play and fetishised objects Her images draw upon the violence within capitalism’s abuse of gender stereotypes and sexuality for the pursuit of profit. This exhibition will show a number of key works, bringing her acerbic critique into dialogue with the contemporary moment and reinforcing her importance as an artist and a feminist.
Alexis Hunter was born in 1948 in Auckland, New Zealand and attended Elam School of Fine Arts, Auckland (1966-69). She moved to London in 1972 where she joined the Women’s Workshop of the Artists Union and remained here until her death in 2014. She was an active and influential figure in the feminist art movement in Britain in the 1970s. Since 2006 her photographs have been introduced to a new generation and have been shown in the Norwich Gallery, WACK! Art and the Feminist Revolution in the United States and in the Cologne Art Fair in Germany. Hunter’s work is represented in the Scottish National Gallery of Modern Art, Museum of New Zealand Te Papa Tongarewa, University of Otago and the Arts Council of Great Britain collections.
Yuki Kihara, First Impressions: Paul Gauguin
Fine Arts Museum of San Francisco, USA
17 November 2018 —
07 April 2019
In the first exhibition at the Fine Arts Museums dedicated to the work of Paul Gauguin (1848–1903), an exceptional display of more than fifty Gauguin paintings, wood carvings, and ceramics from the renowned collections of the Ny Carlsberg Glyptotek, Copenhagen, will be on view for the first time in San Francisco. In presenting these pieces alongside Oceanic art and Gauguin works on paper from the Fine Arts Museums’ permanent collections, the exhibition explores Gauguin’s inner quests and imaginings—his spiritual journey—and how his intimate relationships with his wife, other artists, and people he encountered during his sojourns shaped his experiences, his work, and his development as an artist.
Included in the exhibition is a new video work, First Impressions: Paul Gauguin by interdisciplinary artist Yuki Kihara, commissioned by the Fine Arts Museums of San Francisco and the Ny Carlsberg Glyptotek, Copenhagen, that addresses the colonial gaze represented by Gauguin and turns it back toward Western culture.
In the first exhibition at the Fine Arts Museums dedicated to the work of Paul Gauguin (1848–1903), an exceptional display of more than fifty Gauguin paintings, wood carvings, and ceramics from the renowned collections of the Ny Carlsberg Glyptotek, Copenhagen, will be on view for the first time in San Francisco. In presenting these pieces alongside Oceanic art and Gauguin works on paper from the Fine Arts Museums’ permanent collections, the exhibition explores Gauguin’s inner quests and imaginings—his spiritual journey—and how his intimate relationships with his wife, other artists, and people he encountered during his sojourns shaped his experiences, his work, and his development as an artist.
Included in the exhibition is a new video work, First Impressions: Paul Gauguin by interdisciplinary artist Yuki Kihara, commissioned by the Fine Arts Museums of San Francisco and the Ny Carlsberg Glyptotek, Copenhagen, that addresses the colonial gaze represented by Gauguin and turns it back toward Western culture.
Oscar Enberg at Pina Vienna
Pina Vienna, Austria.
11 November —
05 December 2018
In his 2016 documentary “Hypernormalisation”, the British filmmaker Adam Curtis turns to Jane Fonda and the start of a “new revolution” she initiated in the mid 80’s: workout videos as a retreat to the body in the face of growing and inconsumable global complexities. The concept of reality had become something that was manipulated and handled, in an effort to manage perception. The body and self, however, could still be controlled.
The works by Oscar Enberg, Barbara Kapusta and Sydney Shen are gathered in the exhibition Jane Fonda under the motif of what Mark Fisher proposes as the weird and the eerie: modi of fiction and experience located in fiction, film, and, suggested here, in art works. The weird and the eerie bring a charged strangeness to a place, unsettling the propriety and property lines that delimit a zone of activity or knowledge with “that which does not belong”. This outside cannot be made familiar (different to Freud’s notion of the uncanny), but to the contrary, makes it, as Fisher claims, possible to see the inside from the outside and to denaturalize relationships between bodies and their environments.
In his 2016 documentary “Hypernormalisation”, the British filmmaker Adam Curtis turns to Jane Fonda and the start of a “new revolution” she initiated in the mid 80’s: workout videos as a retreat to the body in the face of growing and inconsumable global complexities. The concept of reality had become something that was manipulated and handled, in an effort to manage perception. The body and self, however, could still be controlled.
The works by Oscar Enberg, Barbara Kapusta and Sydney Shen are gathered in the exhibition Jane Fonda under the motif of what Mark Fisher proposes as the weird and the eerie: modi of fiction and experience located in fiction, film, and, suggested here, in art works. The weird and the eerie bring a charged strangeness to a place, unsettling the propriety and property lines that delimit a zone of activity or knowledge with “that which does not belong”. This outside cannot be made familiar (different to Freud’s notion of the uncanny), but to the contrary, makes it, as Fisher claims, possible to see the inside from the outside and to denaturalize relationships between bodies and their environments.
Kate Newby: Nothing that’s over so soon should give you that much strength
Hordaland kunstsenter, Bergen, Norway
09 November 2018 —
13 January 2019
Nothing that’s over so soon should give you that much strength is Kate Newby´s first solo exhibition in Scandinavia. The works for the exhibition at Hordaland kunstsenter are characterised by a keen understanding of the place. Each work has either been created on site, or integrated meticulously into its environment. Starting with the building itself, Newby opened up four windows of the gallery space, bringing daylight back into the room, allowing the surroundings to become a part of the exhibition itself. As the windows have been permanently closed since 2002, the calculated gesture of breaking them open feels liberating, but at the same time provokes a feeling of brute-force. Hundreds of meters of rope, specially produced by a local rope factory, are coiled through two holes that are cut in the newly opened gallery windows. On the gallery floor, more spaces are pried open. Nearly a thousand metal wedges are hammered in between the wooden floorboards. The wedges are all single-handedly shaped in wax before they are casted in brass, copper and silver. Through seemingly small gestures, Newby´s works are both impactful and bold. They convey a sense of permanency, whilst they still surrender to weather, chance and circumstance.
Nothing that’s over so soon should give you that much strength is Kate Newby´s first solo exhibition in Scandinavia. The works for the exhibition at Hordaland kunstsenter are characterised by a keen understanding of the place. Each work has either been created on site, or integrated meticulously into its environment. Starting with the building itself, Newby opened up four windows of the gallery space, bringing daylight back into the room, allowing the surroundings to become a part of the exhibition itself. As the windows have been permanently closed since 2002, the calculated gesture of breaking them open feels liberating, but at the same time provokes a feeling of brute-force. Hundreds of meters of rope, specially produced by a local rope factory, are coiled through two holes that are cut in the newly opened gallery windows. On the gallery floor, more spaces are pried open. Nearly a thousand metal wedges are hammered in between the wooden floorboards. The wedges are all single-handedly shaped in wax before they are casted in brass, copper and silver. Through seemingly small gestures, Newby´s works are both impactful and bold. They convey a sense of permanency, whilst they still surrender to weather, chance and circumstance.
Handshake: Terra in/cognita – Te Ao hurihuri
The Crypt, London, U.K.
22 October —
28 October 2018
Eight artists from Handshake 3 and three from Handshake 4 collaborate with London based “Dialogue Collective”. In October 2018, as part of the events marking the 250th anniversary of Captain James Cook’s first voyage to the Pacific, two groups of artists from opposite sides of the world are meeting to exhibit their works in collaboration at The Crypt Gallery in London. Artist group and ‘home’ team – Dialogue Collective – and ‘away’ team– HANDSHAKE– are mooring their boats side-by-side in The Crypt to discuss, amongst other concepts, their responses to the thorny issues of cultural identity & appropriation, colonial legacy & guilt, land ownership & theft.
Both sides acknowledge the importance of objects as active tools for communication and each crew member will be exploring – often through their use of materials – their individual responses to themes such as voyaging, discovery, mapping, identity, navigation, baggage, trade, gifting, adornment, artifact, survival, and natural resources.
Both artist groups explore their differences, prejudices, grudges, and similarities in an open and welcoming collaborative environment. The outcome of this significant cultural exchange is anticipated to be one of mutual learning, understanding, and enlightenment with both parties moving forward whilst holding hands.
Eight artists from Handshake 3 and three from Handshake 4 collaborate with London based “Dialogue Collective”. In October 2018, as part of the events marking the 250th anniversary of Captain James Cook’s first voyage to the Pacific, two groups of artists from opposite sides of the world are meeting to exhibit their works in collaboration at The Crypt Gallery in London. Artist group and ‘home’ team – Dialogue Collective – and ‘away’ team– HANDSHAKE– are mooring their boats side-by-side in The Crypt to discuss, amongst other concepts, their responses to the thorny issues of cultural identity & appropriation, colonial legacy & guilt, land ownership & theft.
Both sides acknowledge the importance of objects as active tools for communication and each crew member will be exploring – often through their use of materials – their individual responses to themes such as voyaging, discovery, mapping, identity, navigation, baggage, trade, gifting, adornment, artifact, survival, and natural resources.
Both artist groups explore their differences, prejudices, grudges, and similarities in an open and welcoming collaborative environment. The outcome of this significant cultural exchange is anticipated to be one of mutual learning, understanding, and enlightenment with both parties moving forward whilst holding hands.
RA Lates: Cosmic Ocean
Royal Academy of Arts, London, U.K.
7.00PM — 9.00PM
20 October 2018
In association with Oceania, the exhibition of Oceanic art at the Royal Academy, join us for a special RA Late event celebrating contemporary Oceanic culture and the unique natural landscape of the pacific islands, from seas to skies. Covering nearly one third of the Earth’s surface, the pacific ocean is home to hundreds of islands, each with unique cultures and histories. Join us in celebrating these living cultures, from cosmologies and navigation, performance and ritual as well as the vast surrounding ocean.
Think pacific night star-gazing, coral reef drawing, traditional dance performances, street food and cocktail bars, lively talks and discussions plus DJs and music until late.
In association with Oceania, the exhibition of Oceanic art at the Royal Academy, join us for a special RA Late event celebrating contemporary Oceanic culture and the unique natural landscape of the pacific islands, from seas to skies. Covering nearly one third of the Earth’s surface, the pacific ocean is home to hundreds of islands, each with unique cultures and histories. Join us in celebrating these living cultures, from cosmologies and navigation, performance and ritual as well as the vast surrounding ocean.
Think pacific night star-gazing, coral reef drawing, traditional dance performances, street food and cocktail bars, lively talks and discussions plus DJs and music until late.
Fiona Connor #1
Salon Stuttgart, Berlin, Germany
20 October —
24 November 2018
Transposing multiple spaces, Fiona Connor erects the first exhibition at Salon Stuttgart, a gallery located in an apartment in Berlin, Neukolln. Consisting of cast sculptures, facsimiles of architectural features from an apartment the artist lived in on Miracle Mile in Los Angeles, #1 asks whether multiple spaces can become one or whether we are fixed and stranded in our own autonomy.
Transposing multiple spaces, Fiona Connor erects the first exhibition at Salon Stuttgart, a gallery located in an apartment in Berlin, Neukolln. Consisting of cast sculptures, facsimiles of architectural features from an apartment the artist lived in on Miracle Mile in Los Angeles, #1 asks whether multiple spaces can become one or whether we are fixed and stranded in our own autonomy.
Bruce Barber in Lost in Europe: in the wake of Britain’s inner emigration
Mekân68, Vienna, Austria.
19 October —
09 November 2018
Britain has entered on the civil strife path of secession from the European Union. The consequences of nationalist-inspired secession have always been historically troubling and of uncertain forecast — a self-fulfilling prophecy of understatement, to say the least. The exhibition project is not primarily interested in the pro-or anti- ‘Brexit’ issues but rather in the peculiar fait accompli, as it is, that Britain has undertaken a species of inner emigration.
Separatism is incited by fears of impingement, which are inescapable in our global circumstances of social, cultural and economic inequalities. The greatest impinger of all by dint of cultural stealth or outright inflicted power is America — the far-reaching American Dream — even apparently diminished as it might now appear. ‘Nearly America’ is our own encroaching shoreline. I heard it measured in my native separatist Quebec in the 1960s. The exhibition is curated by Richard Appignanesi and Gülsen Bal.
Britain has entered on the civil strife path of secession from the European Union. The consequences of nationalist-inspired secession have always been historically troubling and of uncertain forecast — a self-fulfilling prophecy of understatement, to say the least. The exhibition project is not primarily interested in the pro-or anti- ‘Brexit’ issues but rather in the peculiar fait accompli, as it is, that Britain has undertaken a species of inner emigration.
Separatism is incited by fears of impingement, which are inescapable in our global circumstances of social, cultural and economic inequalities. The greatest impinger of all by dint of cultural stealth or outright inflicted power is America — the far-reaching American Dream — even apparently diminished as it might now appear. ‘Nearly America’ is our own encroaching shoreline. I heard it measured in my native separatist Quebec in the 1960s. The exhibition is curated by Richard Appignanesi and Gülsen Bal.
John Tendai Mutambu curates film program for British Fil Festival 2018
ICA Cinema, Screen 1, London, U.K.
9.00PM — 10.00PM
16 October 2018
The Experimenta film program is curated by Tendai John Mutambu and has a total running time of 84min.
Two young African-American women investigate the French poet’s response, as sympathiser and ally, to the Panthers’ call for solidarity. A seamless mix of iPhone images, recorded video and live conversation, the film poses two fundamental questions: what does it mean to bear witness, and how might we transmit the historical voice of resistance and collective liberation into the present?
TWENTY-TWO HOURS: Bouchra Khalili’s meditation on revolutionary histories considers the poet Jean Genet’s secret 1970 visit to the United States at the invitation of the Black Panther Party.
ANOTHER DECADE: Dir Morgan Quaintance. A montage of 1990s-era archival video and recent footage, exhuming cultural debates from history’s grave to re-animate a once-promised future, still to arrive.
NAMIBIA TODAY Dir Laura Horelli. This nuanced and layered work presents, with spellbinding fluency, the history of Namibia’s liberation movement journal (1980-85), published by East Germany as an act of anticolonial solidarity.
PROMISED LANDS Dir Emma Wolukau-Wanambwa. A video essay combining memory, language and land to reflect on the colonial, the utopian and the little-known history of WWII refugees in Uganda.
LUX and not/nowhere are also hosting a public programme with artists working with the moving image to discuss their positions on representation in visual culture on the 12th October from 1-5 pm at ICA.
The Experimenta film program is curated by Tendai John Mutambu and has a total running time of 84min.
Two young African-American women investigate the French poet’s response, as sympathiser and ally, to the Panthers’ call for solidarity. A seamless mix of iPhone images, recorded video and live conversation, the film poses two fundamental questions: what does it mean to bear witness, and how might we transmit the historical voice of resistance and collective liberation into the present?
TWENTY-TWO HOURS: Bouchra Khalili’s meditation on revolutionary histories considers the poet Jean Genet’s secret 1970 visit to the United States at the invitation of the Black Panther Party.
ANOTHER DECADE: Dir Morgan Quaintance. A montage of 1990s-era archival video and recent footage, exhuming cultural debates from history’s grave to re-animate a once-promised future, still to arrive.
NAMIBIA TODAY Dir Laura Horelli. This nuanced and layered work presents, with spellbinding fluency, the history of Namibia’s liberation movement journal (1980-85), published by East Germany as an act of anticolonial solidarity.
PROMISED LANDS Dir Emma Wolukau-Wanambwa. A video essay combining memory, language and land to reflect on the colonial, the utopian and the little-known history of WWII refugees in Uganda.
LUX and not/nowhere are also hosting a public programme with artists working with the moving image to discuss their positions on representation in visual culture on the 12th October from 1-5 pm at ICA.
Kate Newby: A puzzling light and moving.
The Lumber Room, Portland, U.S.A.
16 October 2018 —
31 May 2019
It is a predictable pattern: An exhibition is planned, the work is created and installed in the space, culminating in an opening and celebration of the artist and the work. The artist leaves, returns to the studio - seldom seeing their exhibition again. What would be possible if an artist is given time, support, encouragement, and permission to carry forward and reflect? An invitation to return to their work. A chance to alter it, begin again or perhaps keep it the same?
The lumber room welcomes New Zealand/New York based artist, Kate Newby, to investigate the idea of prolonged engagement with a space, with her work and with a community. Newby’s sense of time ranges from the instant to the geologic, it is both nimble and gradual. A keen observer and an engaged maker, her objects summon deeper and extended inquiry. Officially the project begins October 6th, 2018 and will continue for a year’s time or when Kate has had enough, whichever comes first.
It is a predictable pattern: An exhibition is planned, the work is created and installed in the space, culminating in an opening and celebration of the artist and the work. The artist leaves, returns to the studio - seldom seeing their exhibition again. What would be possible if an artist is given time, support, encouragement, and permission to carry forward and reflect? An invitation to return to their work. A chance to alter it, begin again or perhaps keep it the same?
The lumber room welcomes New Zealand/New York based artist, Kate Newby, to investigate the idea of prolonged engagement with a space, with her work and with a community. Newby’s sense of time ranges from the instant to the geologic, it is both nimble and gradual. A keen observer and an engaged maker, her objects summon deeper and extended inquiry. Officially the project begins October 6th, 2018 and will continue for a year’s time or when Kate has had enough, whichever comes first.
Mercy Pictures at DOC!
DOC, Paris, France.
13 October —
20 October 2018
DOC hosts six solo and group exhibitions under the frame of Umwelt Monde. A cross-section of presentations, reflecting a community that is not defined by geography.
DOC hosts six solo and group exhibitions under the frame of Umwelt Monde. A cross-section of presentations, reflecting a community that is not defined by geography.
Teghan Burt: Empire Waist
TG Gallery, Nottingham, U.K.
12 October —
24 November 2018
A piece of clothing has an interesting relationship to ‘nothing’ - its form delimiting an emptiness only potentially filled by the body of its wearer. Along the line of fabric that articulates these continuous, contrasting spaces, alternately full and empty, two kinds of figuration become possible. On the one hand a figure imaginatively projected into the empty place delineated by a garment's form, on the other, a figure embodied in the plenitude of the clothing itself, as if woven into its material texture. Through this ambiguous feature of clothing's formal structure, Empire Waist provokes questions about the status of the female figures presented therein.
In this show, Teghan Burt exhibits thirteen ready-to-wear high-street dresses, each broadly distinguished by style, brand, price and provenance, with a corresponding set of identical baby-clothes stitched over their waistlines. Each of these altered dresses is hung from a clothes hanger on the walls of the gallery space, recalling the display practices of a clothing store. As an ensemble they draw significance both from their prosaic functionality as store-bought commodities, and from their intrinsic formal capacity to conjure a figural image of feminine subjectivity, simply through their placement and pictorial
consideration.
A piece of clothing has an interesting relationship to ‘nothing’ - its form delimiting an emptiness only potentially filled by the body of its wearer. Along the line of fabric that articulates these continuous, contrasting spaces, alternately full and empty, two kinds of figuration become possible. On the one hand a figure imaginatively projected into the empty place delineated by a garment's form, on the other, a figure embodied in the plenitude of the clothing itself, as if woven into its material texture. Through this ambiguous feature of clothing's formal structure, Empire Waist provokes questions about the status of the female figures presented therein.
In this show, Teghan Burt exhibits thirteen ready-to-wear high-street dresses, each broadly distinguished by style, brand, price and provenance, with a corresponding set of identical baby-clothes stitched over their waistlines. Each of these altered dresses is hung from a clothes hanger on the walls of the gallery space, recalling the display practices of a clothing store. As an ensemble they draw significance both from their prosaic functionality as store-bought commodities, and from their intrinsic formal capacity to conjure a figural image of feminine subjectivity, simply through their placement and pictorial
consideration.
Simon Denny at Neue Kunsthalle, Mannheim
Neue Kunsthalle, Mannheim.
11 October 2018 —
02 March 2019
Ten years after the peak of the global financial crisis in 2008, which profoundly shook the economic systems of America and Europe and had a lasting effect on present-day life, this topical exhibition is the first to illustrate the economy’s dramatic influence on art and to make global comparisons, demonstrating these in an analysis of two separate eras. Economic phenomena in the classical modernism of the 1920s and 30s are not only explored by focusing on art from the German Weimar Republic, the Soviet Union, and the United States, but also juxtaposed with artists of the present day. The exhibition is curated by Dr. Eckhart Gillen (Berlin), Dr. Ulrike Lorenz, Dr. Sebastian Baden and presents nearly thirty artists, including Berlin-based Simon Denny.
Ten years after the peak of the global financial crisis in 2008, which profoundly shook the economic systems of America and Europe and had a lasting effect on present-day life, this topical exhibition is the first to illustrate the economy’s dramatic influence on art and to make global comparisons, demonstrating these in an analysis of two separate eras. Economic phenomena in the classical modernism of the 1920s and 30s are not only explored by focusing on art from the German Weimar Republic, the Soviet Union, and the United States, but also juxtaposed with artists of the present day. The exhibition is curated by Dr. Eckhart Gillen (Berlin), Dr. Ulrike Lorenz, Dr. Sebastian Baden and presents nearly thirty artists, including Berlin-based Simon Denny.
Talanoa Ancient Futures with Sopolemalama Filipe Tohi
Moku Pacific HQ, Raven Row, London, U.K.
6.00PM — 8.00PM
10 October 2018
The In*ter*is*land Collective are hosting a TALANOA with the University of Auckland on Wednesday 10 October with honoured Tongan Artists Sopolemalama Filipe Tohi & Dagmar Dyck and their collaborators Phyllis Herda, Arne Perminow, Billie Lythberg and Andy Mills.
Sopolemalama Filipe Tohi was born in Ngele‘ia, Nuku‘alofa, Tonga, and immigrated to New Zealand in 1978. His contemporary paintings and sculptures are imbued with his Pacific island heritage. The incorporated Pacific and Maori iconography in his work goes deeper than the immediate visual reaction. Filipe is a master craftsman of the traditional art of lalava - the Pan-Pacific technology used on houses, canoes, and tools before the introduction of Western materials.
Dagmar Dyck is a well-known painter and printmaker of Tongan German descent. As a first-generation New Zealander, she has been brought up to respect and acknowledge her unique ancestry. Dyck's work continues to explore within the realm of Tongan culture koloa, a general term that encompasses Tonga's tangible and intangible heritage of textile and material wealth.
This TALANOA event is the conclusion of a three-week tour of European and UK based collections—Weltmuseum Wien, Vienna; Grassi Museum, Leipzig; The Forster Collection in Dessau-Woerlitz; Etnografiska Museet, Stockholm; Musée du quai Branly – Jacques Chirac, Paris; Museum of Archaeology and Anthropology, Cambridge; British Museum, London; Pitt Rivers Museum, Oxford; and the Oceania exhibition at the Royal Academy of Arts, London.
The In*ter*is*land Collective are hosting a TALANOA with the University of Auckland on Wednesday 10 October with honoured Tongan Artists Sopolemalama Filipe Tohi & Dagmar Dyck and their collaborators Phyllis Herda, Arne Perminow, Billie Lythberg and Andy Mills.
Sopolemalama Filipe Tohi was born in Ngele‘ia, Nuku‘alofa, Tonga, and immigrated to New Zealand in 1978. His contemporary paintings and sculptures are imbued with his Pacific island heritage. The incorporated Pacific and Maori iconography in his work goes deeper than the immediate visual reaction. Filipe is a master craftsman of the traditional art of lalava - the Pan-Pacific technology used on houses, canoes, and tools before the introduction of Western materials.
Dagmar Dyck is a well-known painter and printmaker of Tongan German descent. As a first-generation New Zealander, she has been brought up to respect and acknowledge her unique ancestry. Dyck's work continues to explore within the realm of Tongan culture koloa, a general term that encompasses Tonga's tangible and intangible heritage of textile and material wealth.
This TALANOA event is the conclusion of a three-week tour of European and UK based collections—Weltmuseum Wien, Vienna; Grassi Museum, Leipzig; The Forster Collection in Dessau-Woerlitz; Etnografiska Museet, Stockholm; Musée du quai Branly – Jacques Chirac, Paris; Museum of Archaeology and Anthropology, Cambridge; British Museum, London; Pitt Rivers Museum, Oxford; and the Oceania exhibition at the Royal Academy of Arts, London.
Lana Lopesi, False Divides book launch
Moku Pacific HQ, Raven Row, London, U.K.
6.00PM — 8.00PM
08 October 2018
During this period of time, while events in London focus on our ocean, In*ter*is*land Collective will facilitate and encourage discussions around Tangata Moana, the people of the Pacific.
FALSE DIVIDES BY LANA LOPESI
While we may talk back to the empire, we can’t talk to each other.
Te Moana-nui-a-Kiwa is the great ocean continent. Today, most of us think of the ocean as something that divides land and separates people. However, for those Indigenous to the Pacific (or the Moana), the sea was traditionally a connector and an ancestor. Writer Lana Lopesi’s new book False Divides explores how these connections were dismantled by colonialism and describes how imperialism in the Moana created false divides between islands and separated their peoples. Lopesi argues that technology is crucial to how Tangata Moana will connect again and explores the latest research on how Moana peoples use social media and highlights the importance of platforms like Facebook, Twitter and Instagram for forging and maintaining relationships across the ocean. The online world is turning the ocean back into the unifying continent that it once was.
Lana is currently in the United Kingdom thanks to Contemporary HUM and their second public panel discussion, Whose Oceania? which coincides with the opening of the Oceania exhibition, on at the Royal Academy of Arts in London.
During this period of time, while events in London focus on our ocean, In*ter*is*land Collective will facilitate and encourage discussions around Tangata Moana, the people of the Pacific.
FALSE DIVIDES BY LANA LOPESI
While we may talk back to the empire, we can’t talk to each other.
Te Moana-nui-a-Kiwa is the great ocean continent. Today, most of us think of the ocean as something that divides land and separates people. However, for those Indigenous to the Pacific (or the Moana), the sea was traditionally a connector and an ancestor. Writer Lana Lopesi’s new book False Divides explores how these connections were dismantled by colonialism and describes how imperialism in the Moana created false divides between islands and separated their peoples. Lopesi argues that technology is crucial to how Tangata Moana will connect again and explores the latest research on how Moana peoples use social media and highlights the importance of platforms like Facebook, Twitter and Instagram for forging and maintaining relationships across the ocean. The online world is turning the ocean back into the unifying continent that it once was.
Lana is currently in the United Kingdom thanks to Contemporary HUM and their second public panel discussion, Whose Oceania? which coincides with the opening of the Oceania exhibition, on at the Royal Academy of Arts in London.
André Hemer at Hollis Taggart Gallery
Hollis Taggart, New York, U.S.A.
06 October —
27 October 2018
Hollis Taggart is pleased to present Highlight: Chelsea, an exhibition of new and recent work by thirteen emerging and mid-career artists that together underscore the formal and conceptual diversity of contemporary practice. Highlight: Chelsea is guest curated by Paul Efstathiou and marks the gallery’s second collaboration with the independent curator, as it expands its contemporary program. The exhibition will include new work by William Buchina, Elizabeth Cooper, Corydon Cowansage, André Hemer, Hiroya Kurata, John Knuth, Matt Mignanelli, Matt Phillips, Esther Ruiz, Eric Shaw, and Devin Troy Strother, as well as recent works by Marcel Dzama and Brenda Goodman.
Highlight: Chelsea emphasizes the featured artists’ distinct styles and approaches, while also creating dynamic aesthetic juxtapositions and parallels between them. Technology has itself become a fertile space for experimentation, as artists reconcile the ephemerality of the digital realm with the handmade processes of traditional art genres. The liminal space between analog and digital formats form the core of André Hemer’s practice, as he captures the language of the internet in his thickly-painted canvases.
Hollis Taggart is pleased to present Highlight: Chelsea, an exhibition of new and recent work by thirteen emerging and mid-career artists that together underscore the formal and conceptual diversity of contemporary practice. Highlight: Chelsea is guest curated by Paul Efstathiou and marks the gallery’s second collaboration with the independent curator, as it expands its contemporary program. The exhibition will include new work by William Buchina, Elizabeth Cooper, Corydon Cowansage, André Hemer, Hiroya Kurata, John Knuth, Matt Mignanelli, Matt Phillips, Esther Ruiz, Eric Shaw, and Devin Troy Strother, as well as recent works by Marcel Dzama and Brenda Goodman.
Highlight: Chelsea emphasizes the featured artists’ distinct styles and approaches, while also creating dynamic aesthetic juxtapositions and parallels between them. Technology has itself become a fertile space for experimentation, as artists reconcile the ephemerality of the digital realm with the handmade processes of traditional art genres. The liminal space between analog and digital formats form the core of André Hemer’s practice, as he captures the language of the internet in his thickly-painted canvases.
Ruth Buchanan at Badischer Kunstverein
Badischer Kunstverein, Germany
05 October —
02 December 2018
GET RID OF MEANING is a multi-part research project that includes an exhibition and a three-day symposium with international participants from literature, theory and art. The exhibition looks at Kathy Acker from the perspective of her writing. In addition to her literary work, Acker created a performative ego, a carefully staged artist-persona that corresponds to the performative, eclectic character of her texts.
GET RID OF MEANING is the first comprehensive presentation by American avant-garde writer, poet and essayist Kathy Acker (*1947 New York City, died 1997 in Tijuana, Mexico). Acker is one of the most important writers of the 20th century whose work has influenced authors, philosophers and artists to this day. From the early 1970s until the late 1990s, she wrote numerous novels, essays, poems and short stories.
GET RID OF MEANING is a multi-part research project that includes an exhibition and a three-day symposium with international participants from literature, theory and art. The exhibition looks at Kathy Acker from the perspective of her writing. In addition to her literary work, Acker created a performative ego, a carefully staged artist-persona that corresponds to the performative, eclectic character of her texts.
GET RID OF MEANING is the first comprehensive presentation by American avant-garde writer, poet and essayist Kathy Acker (*1947 New York City, died 1997 in Tijuana, Mexico). Acker is one of the most important writers of the 20th century whose work has influenced authors, philosophers and artists to this day. From the early 1970s until the late 1990s, she wrote numerous novels, essays, poems and short stories.
Ruth Woodbury awarded the 2018 Toi Sqwigwialtxw Residency
Longhouse Education and Cultural Centre at Evergreen State College in Olympia, Washington, USA.
01 October —
30 November 2018
Ruth Woodbury (Ngatī Korokoro, Te Pouka, Ngatī Wharara, Te Hikutu) has been awarded the 2018 Toi Sqwigwialtxw Residency, an exchange with Evergreen State College, in Washington, USA. The Sqwigwialtxw residency is jointly supported by Toi Māori Aotearoa, which develops and advocates for Māori art, and by Creative New Zealand. Toi Māori Aotearoa has a longstanding relationship with the Longhouse Education and Cultural Centre, Evergreen State College.
Ruth has a passion for intergenerational knowledge transfer and the activation of Māori cultural practices through cultivation of materials and fabrication of resources. Her dynamic modes of artistic expression include curating and exhibiting, education facilitation and visual arts practice. Earlier this year Ruth mentored Evergreen State College students for six weeks during their study abroad research trip to Ana Pekapeka Studio in Henderson, Auckland. The residency, which will begin in October, will help Ruth to develop her growing relationship with the college.
Ruth Woodbury (Ngatī Korokoro, Te Pouka, Ngatī Wharara, Te Hikutu) has been awarded the 2018 Toi Sqwigwialtxw Residency, an exchange with Evergreen State College, in Washington, USA. The Sqwigwialtxw residency is jointly supported by Toi Māori Aotearoa, which develops and advocates for Māori art, and by Creative New Zealand. Toi Māori Aotearoa has a longstanding relationship with the Longhouse Education and Cultural Centre, Evergreen State College.
Ruth has a passion for intergenerational knowledge transfer and the activation of Māori cultural practices through cultivation of materials and fabrication of resources. Her dynamic modes of artistic expression include curating and exhibiting, education facilitation and visual arts practice. Earlier this year Ruth mentored Evergreen State College students for six weeks during their study abroad research trip to Ana Pekapeka Studio in Henderson, Auckland. The residency, which will begin in October, will help Ruth to develop her growing relationship with the college.
Biljana Popovic in residency at Künstlerhaus Bethanien Berlin
Künstlerhaus Bethanien, Berlin, Germany.
01 October 2018 —
01 October 2019
Artist and spatial designer Biljana Popovic will spend a year in Berlin exploring the relationship between art, architecture and politics as the 2018/2019 recipient of Creative New Zealand's Visual Arts Residency. Her project will involve researching the Berlin underground train network, the U-Bahn, as a unique space for making, displaying and thinking about art.
As part of her research Biljana will examine the current status of the U-Bahn as a state-owned entity, as well as its socio-political history. She will examine this history from a new perspective, by using an intersectional feminist lens that recognises identity is formed by overlapping elements such as gender, race, class, religion or sexual orientation.
The Künstlerhaus Bethanien is one of Europe’s largest international residency programmes for artists. As well as giving the selected artist the chance to experience a new culture and new ideas, Creative New Zealand’s residency helps to raise awareness of our visual arts in Berlin and provides support for an exhibition.
The Visual Arts residency runs from October 2018 to October 2019. It alternates with the biennial Creative New Zealand Berlin Writer’s Residency. Previous recipients are: Oscar Enberg (2016), Greg Semu (2014), Ben Cauchi (2012), Alicia Frankovich (2010), Sara Hughes (2008), Mladen Bizumic (2006), Ronnie van Hout (2004), Michael Stevenson (2002) and Peter Robinson (2000).
Artist and spatial designer Biljana Popovic will spend a year in Berlin exploring the relationship between art, architecture and politics as the 2018/2019 recipient of Creative New Zealand's Visual Arts Residency. Her project will involve researching the Berlin underground train network, the U-Bahn, as a unique space for making, displaying and thinking about art.
As part of her research Biljana will examine the current status of the U-Bahn as a state-owned entity, as well as its socio-political history. She will examine this history from a new perspective, by using an intersectional feminist lens that recognises identity is formed by overlapping elements such as gender, race, class, religion or sexual orientation.
The Künstlerhaus Bethanien is one of Europe’s largest international residency programmes for artists. As well as giving the selected artist the chance to experience a new culture and new ideas, Creative New Zealand’s residency helps to raise awareness of our visual arts in Berlin and provides support for an exhibition.
The Visual Arts residency runs from October 2018 to October 2019. It alternates with the biennial Creative New Zealand Berlin Writer’s Residency. Previous recipients are: Oscar Enberg (2016), Greg Semu (2014), Ben Cauchi (2012), Alicia Frankovich (2010), Sara Hughes (2008), Mladen Bizumic (2006), Ronnie van Hout (2004), Michael Stevenson (2002) and Peter Robinson (2000).
Whose Oceania? - HUM's panel discussion
Penthouse, New Zealand House, London, U.K.
3.00PM — 5.00PM
29 September 2018
Contemporary HUM is proud to present its second public panel discussion, Whose Oceania?
The discussion will respond to the Royal Academy of Arts upcoming exhibition Oceania, on from 29 September - 10 December 2018. This is a major international show for Aotearoa and the Pacific, and HUM is well placed from its European base to facilitate critical discourse around this significant occasion. The panel discussion will address questions surrounding the presentation of historical and contemporary works in foreign contexts, such as the Royal Academy, and discuss the link to the 250th anniversary of Captain Cook's first voyage to the Pacific.
Our panelists are UK-based historian and Beit Professor of Imperial and Commonwealth History at Oxford University James Belich, award-winning artist exhibiting in Oceania Fiona Pardington and Curator Mātauranga Māori at Te Papa Matariki Williams. The New Zealand-based art critic and Editor-in-Chief of The Pantograph Punch Lana Lopesi will be joining the discussion as co-chair, along with HUM's own editor Pauline Autet.
Whose Oceania? will take place just a few blocks away from the Royal Academy, in the Penthouse of the NZ High Commission, on Saturday 29 September at 3pm.
Registration is required to attend. For those interested in joining us for what promises to be an afternoon of dynamic and thought-provoking discussion, please don't forget to register as entry to the NZ High Commission is by invite-list only!
Contemporary HUM is proud to present its second public panel discussion, Whose Oceania?
The discussion will respond to the Royal Academy of Arts upcoming exhibition Oceania, on from 29 September - 10 December 2018. This is a major international show for Aotearoa and the Pacific, and HUM is well placed from its European base to facilitate critical discourse around this significant occasion. The panel discussion will address questions surrounding the presentation of historical and contemporary works in foreign contexts, such as the Royal Academy, and discuss the link to the 250th anniversary of Captain Cook's first voyage to the Pacific.
Our panelists are UK-based historian and Beit Professor of Imperial and Commonwealth History at Oxford University James Belich, award-winning artist exhibiting in Oceania Fiona Pardington and Curator Mātauranga Māori at Te Papa Matariki Williams. The New Zealand-based art critic and Editor-in-Chief of The Pantograph Punch Lana Lopesi will be joining the discussion as co-chair, along with HUM's own editor Pauline Autet.
Whose Oceania? will take place just a few blocks away from the Royal Academy, in the Penthouse of the NZ High Commission, on Saturday 29 September at 3pm.
Registration is required to attend. For those interested in joining us for what promises to be an afternoon of dynamic and thought-provoking discussion, please don't forget to register as entry to the NZ High Commission is by invite-list only!
Ruth Buchanan in Touch
Neue Gesellschaft für bildende Kunst, Berlin, Germany.
29 September —
18 November 2018
The exhibition centers on the meaning of touch in different contexts: as sensory perception, expression of empathy, physical assault, healing technique, or as a gesture in computer technology. On show are contemporary artistic positions that use touch to expose current contradictions in society.
On the one hand, haptic—supposedly intimate—communication via sensory touch pads is increasingly in use, making touch an essential part of our everyday lives; on the other hand, human beings’ fundamental need to be physically touched is being met by a diversifying spectrum of body and healing practices that includes touching. TOUCH interlinks these two realms and investigates how they determine each other. What role does touch play in communication? And how does mediated communication influence our social behaviours and our need for physical contact?
The exhibition centers on the meaning of touch in different contexts: as sensory perception, expression of empathy, physical assault, healing technique, or as a gesture in computer technology. On show are contemporary artistic positions that use touch to expose current contradictions in society.
On the one hand, haptic—supposedly intimate—communication via sensory touch pads is increasingly in use, making touch an essential part of our everyday lives; on the other hand, human beings’ fundamental need to be physically touched is being met by a diversifying spectrum of body and healing practices that includes touching. TOUCH interlinks these two realms and investigates how they determine each other. What role does touch play in communication? And how does mediated communication influence our social behaviours and our need for physical contact?
Oceania, at the Royal Academy
The Royal Academy of Arts, London, U.K.
29 September —
10 December 2018
Marking 250 years since Cook’s first voyage to the Pacific, The Royal Academy celebrates the dazzling and diverse art of the region of Oceania, from the historic to the contemporary. Ten of Aotearoa New Zealand’s leading contemporary visual artists will have their work featured in the United Kingdom’s first major exhibition of Māori and Pacific culture including Mark Adams, Yuki Kihara, Mata Aho Collective, Fiona Pardington, Michael Parekowhai, John Pule and Lisa Reihana.
Oceania will bring together around 200 works from public and private collections worldwide, and will span over 500 years. From shell, greenstone and ceramic ornaments to canoes, we explore important themes of voyaging, place making and encounter. The exhibition draws from historic ethnographic collections dating from the 18th century to the present, and includes seminal works produced by contemporary artists exploring history, identity and climate change. The exhibition has been curated by Professor Nicholas Thomas FBA, Director of the Museum of Archaeology and Anthropology and Fellow of Trinity College, University of Cambridge and Dr Peter Brunt, Senior Lecturer at Victoria University of Wellington in conjunction with Dr Adrian Locke, Senior Curator, Royal Academy of Arts. Entry to the exhibition is free for New Zealand and Pacific Island passport holders.
Marking 250 years since Cook’s first voyage to the Pacific, The Royal Academy celebrates the dazzling and diverse art of the region of Oceania, from the historic to the contemporary. Ten of Aotearoa New Zealand’s leading contemporary visual artists will have their work featured in the United Kingdom’s first major exhibition of Māori and Pacific culture including Mark Adams, Yuki Kihara, Mata Aho Collective, Fiona Pardington, Michael Parekowhai, John Pule and Lisa Reihana.
Oceania will bring together around 200 works from public and private collections worldwide, and will span over 500 years. From shell, greenstone and ceramic ornaments to canoes, we explore important themes of voyaging, place making and encounter. The exhibition draws from historic ethnographic collections dating from the 18th century to the present, and includes seminal works produced by contemporary artists exploring history, identity and climate change. The exhibition has been curated by Professor Nicholas Thomas FBA, Director of the Museum of Archaeology and Anthropology and Fellow of Trinity College, University of Cambridge and Dr Peter Brunt, Senior Lecturer at Victoria University of Wellington in conjunction with Dr Adrian Locke, Senior Curator, Royal Academy of Arts. Entry to the exhibition is free for New Zealand and Pacific Island passport holders.
FAFSWAG at Centre Pompidou
Centre Pompidou, Paris, France.
8.00PM — 10.00PM
27 September 2018
The September edition of the Prospective Cinema program explores the multi-faceted ideas and expressions of queer identity by presenting seven videos made by international artists. The event brings together artists from different regions and backgrounds, including the LGBT Pacific collective FAFSWAG from New Zealand, the Watermelon Sisters artist duo formed by Ming Wong (Singapore) and Yu Cheng-Ta (Taiwan), and American artist based in Belin Wu Tsang. Together, these works examine the complex notions of cultural, political and social movements, through a queer prism.
The September edition of the Prospective Cinema program explores the multi-faceted ideas and expressions of queer identity by presenting seven videos made by international artists. The event brings together artists from different regions and backgrounds, including the LGBT Pacific collective FAFSWAG from New Zealand, the Watermelon Sisters artist duo formed by Ming Wong (Singapore) and Yu Cheng-Ta (Taiwan), and American artist based in Belin Wu Tsang. Together, these works examine the complex notions of cultural, political and social movements, through a queer prism.
Francis Upritchard: Wetwang Slack
The Curve, Barbican Centre, London, U.K.
27 September 2018 —
06 January 2019
Francis Upritchard’s site-specific installation for the Barbican Centre draws from ceramics, tapestry, glassblowing and more. This autumn, New Zealand born artist Francis Upritchard will create a new series of sculptural interventions in the Curve to transform the space with a vibrant collection of materials and figures. Known for her array of archetypal figures in varying sizes from medieval knights to meditating hippies, painted in monochromatic or distinct patterns and decorated with bespoke garments and objects, Upritchard has conceived the gallery as a spectrum in which to play with scale, colour and texture that shifts as you move through the space.
Francis Upritchard’s site-specific installation for the Barbican Centre draws from ceramics, tapestry, glassblowing and more. This autumn, New Zealand born artist Francis Upritchard will create a new series of sculptural interventions in the Curve to transform the space with a vibrant collection of materials and figures. Known for her array of archetypal figures in varying sizes from medieval knights to meditating hippies, painted in monochromatic or distinct patterns and decorated with bespoke garments and objects, Upritchard has conceived the gallery as a spectrum in which to play with scale, colour and texture that shifts as you move through the space.
Luke Willis Thompson in 34th Turner Prize
Tate Britain, London, U.K.
26 September 2018 —
06 January 2019
The Turner Prize returns to Tate Britain for its 34th edition. Nominated artists include New Zealander Luke Willis Thompson as well as Naeem Mohaiemen, Charlotte Prodger and Forensic Architecture.
Working across film, performance, installation and sculpture, Luke Willis Thompson's work tackle traumatic histories of class, racial and social inequality, institutional violence, colonialism and forced migration. He will be presenting Cemetery of Uniforms and Liveries 2016 (9 min 10 sec), Autoportrait 2017 (8 min 50 sec) and _Human 2018 (9 min 30 sec).
The prize is awarded to a British artist for an outstanding exhibition or other presentation of their work in the preceding year as determined by a jury comprised of Oliver Basciano, art critic and International Editor at ArtReview; Elena Filipovic, Director, Kunsthalle Basel; Lisa Le Feuvre, Executive Director, Holt-Smithson Foundation; and Tom McCarthy, novelist and writer. The winner of the prize will be announced at an award ceremony in December 2018.
The Turner Prize returns to Tate Britain for its 34th edition. Nominated artists include New Zealander Luke Willis Thompson as well as Naeem Mohaiemen, Charlotte Prodger and Forensic Architecture.
Working across film, performance, installation and sculpture, Luke Willis Thompson's work tackle traumatic histories of class, racial and social inequality, institutional violence, colonialism and forced migration. He will be presenting Cemetery of Uniforms and Liveries 2016 (9 min 10 sec), Autoportrait 2017 (8 min 50 sec) and _Human 2018 (9 min 30 sec).
The prize is awarded to a British artist for an outstanding exhibition or other presentation of their work in the preceding year as determined by a jury comprised of Oliver Basciano, art critic and International Editor at ArtReview; Elena Filipovic, Director, Kunsthalle Basel; Lisa Le Feuvre, Executive Director, Holt-Smithson Foundation; and Tom McCarthy, novelist and writer. The winner of the prize will be announced at an award ceremony in December 2018.
Lisa Reihana: in Pursuit of Venus [infected]
Théâtre Garonne, Le Printemps de Septembre, Toulouse, France.
21 September —
21 October 2018
At the end of the 18th, and especially at the beginning of the 19th century the wallpaper industry made important progress in France. It particularly developed panoramas, i.e. wallpapers that were scaled to fit entire rooms of the triumphant and world-conquering bourgeoisie's houses. Thus, bourgeois interiors extended to magnificent circular views of the French campaign in Egypt or the faraway isles described by the great voyagers of the 18th century – the Bougainvilles, La Pérouse, Cook, etc. The colonialist conception of the world is present in them, in gestation.
Lisa Reihana unfolds the sentimental imagery of these exotic European wallpapers in her work, In Pursuit of Venus [Infected], 2015-2017. Starting from the famous panorama drawn by Jean-Gabriel Charvet and printed by Joseph Dufour in 1804-1805, Les Sauvages de la mer Pacifique, she implants filmed saynètes into it that stage the first “encounters” between these voyagers and the people they discovered. And we know how disastrous these first contacts were, if only because of the illnesses these “emissaries” brought with them. In this deceptive décor in which the European view is expressed, the interactions are this time imagined from the indigenous point of view. A happy reversal of perspective in which it appears that no veritable encounter can be possible since the otherness is so considerable. Few post-colonial art works have reached this degree of overwhelming intensity. The artist saw in it “an act of resistance against the stereotypes established between the explorers and the inhabitants of the Pacific upon their encounters, by the demystification of older images and a living representation of indigenous cultures…”
At the end of the 18th, and especially at the beginning of the 19th century the wallpaper industry made important progress in France. It particularly developed panoramas, i.e. wallpapers that were scaled to fit entire rooms of the triumphant and world-conquering bourgeoisie's houses. Thus, bourgeois interiors extended to magnificent circular views of the French campaign in Egypt or the faraway isles described by the great voyagers of the 18th century – the Bougainvilles, La Pérouse, Cook, etc. The colonialist conception of the world is present in them, in gestation.
Lisa Reihana unfolds the sentimental imagery of these exotic European wallpapers in her work, In Pursuit of Venus [Infected], 2015-2017. Starting from the famous panorama drawn by Jean-Gabriel Charvet and printed by Joseph Dufour in 1804-1805, Les Sauvages de la mer Pacifique, she implants filmed saynètes into it that stage the first “encounters” between these voyagers and the people they discovered. And we know how disastrous these first contacts were, if only because of the illnesses these “emissaries” brought with them. In this deceptive décor in which the European view is expressed, the interactions are this time imagined from the indigenous point of view. A happy reversal of perspective in which it appears that no veritable encounter can be possible since the otherness is so considerable. Few post-colonial art works have reached this degree of overwhelming intensity. The artist saw in it “an act of resistance against the stereotypes established between the explorers and the inhabitants of the Pacific upon their encounters, by the demystification of older images and a living representation of indigenous cultures…”