Calendar
Calendar
The HUM calendar features exhibitions & events by New Zealand arts practitioners working or living abroad.
Dane Mitchell in We Are Electric, curated by Anna Briers
University of Queensland Art Museum, Brisbane, Australia
14 February —
24 June 2023
Curated by New Zealand-born Anna Briers, and featuring fellow artist Dane Mitchell, We Are Electric is an exhibition about energy: its bodily and planetary flows, the politics of its extraction and exchange, and its inextricable connection to human evolution and industrial expansion.
From the frequencies that careen between our cells—communicating with our hearts, instructing them to beat—to the electromagnetic fields that encompass the Earth and its rhythms, our bodies resonate with planetary vibrations. We are, quite simply, electric beings. However, our relationship with energy has come at a cost. We have trespassed deep into the past, burning ancient sunshine—in the form of fossil fuels—to irrevocably alter our future. Anthropogenic climate change and the settler-colonial lineages of extraction have reshaped the planet beyond human timescales.
We Are Electric is a call to think (and act) beyond petro-capitalism, in sympathetic resonance and solidarity with planetary and non-human systems.
Curated by New Zealand-born Anna Briers, and featuring fellow artist Dane Mitchell, We Are Electric is an exhibition about energy: its bodily and planetary flows, the politics of its extraction and exchange, and its inextricable connection to human evolution and industrial expansion.
From the frequencies that careen between our cells—communicating with our hearts, instructing them to beat—to the electromagnetic fields that encompass the Earth and its rhythms, our bodies resonate with planetary vibrations. We are, quite simply, electric beings. However, our relationship with energy has come at a cost. We have trespassed deep into the past, burning ancient sunshine—in the form of fossil fuels—to irrevocably alter our future. Anthropogenic climate change and the settler-colonial lineages of extraction have reshaped the planet beyond human timescales.
We Are Electric is a call to think (and act) beyond petro-capitalism, in sympathetic resonance and solidarity with planetary and non-human systems.
Judy Millar, Spotlight
Kunstmuseum St. Gallen, St. Gallen, Switzerland
25 December 2023 —
24 March 2024
The permanent collection of the Kunstmuseum St.Gallen is a treasure trove. Following Unexpected Encounters, in which the collection was placed in dialogue with carefully selected loans, and Collection Fever, which explored the history of collecting, Spotlight now focuses on the individual artists for whom we hold significant bodies of work: John M. Armleder, Candice Breitz, Silvie Defraoui, Georg Gatsas, Sharon Hayes, Sara Masüger, Judy Millar, and Carl Ostendarp.
A selection of masking tape on paper works by Millar, made from 1981—1994, are included in the exhibition. Referencing crude, improvised architectural structures, including timber ladders, stairs, lean-tos, fences, gates, bridges, parapets, verandahs, these works are referred to as the Temple Fences.
The permanent collection of the Kunstmuseum St.Gallen is a treasure trove. Following Unexpected Encounters, in which the collection was placed in dialogue with carefully selected loans, and Collection Fever, which explored the history of collecting, Spotlight now focuses on the individual artists for whom we hold significant bodies of work: John M. Armleder, Candice Breitz, Silvie Defraoui, Georg Gatsas, Sharon Hayes, Sara Masüger, Judy Millar, and Carl Ostendarp.
A selection of masking tape on paper works by Millar, made from 1981—1994, are included in the exhibition. Referencing crude, improvised architectural structures, including timber ladders, stairs, lean-tos, fences, gates, bridges, parapets, verandahs, these works are referred to as the Temple Fences.
Nikau Hindin, Badu Gili: Celestial
Sydney Opera House, Gadigal Lands Sydney, Australia
15 December 2023 —
01 December 2024
As a celebration of the rich history and contemporary vibrancy of Australia’s First Nations culture, Badu Gili continues the traditions of Bennelong Point, formerly known as Tubowgule (‘where the knowledge waters meet’), a gathering place for community, ceremony and storytelling for thousands of years. Badu Gili: Celestial, the vibrant new animation of powerful First Nations storytelling features the work of Meriam artist, Gail Mabo from Mer Island in the Torres Strait, and international First Nations artist Nikau Hindin, a Te Rarawa and Ngāpuhi woman from Aotearoa New Zealand.
Using Mabo’s star maps constructed out of bamboo and cotton, and Hindin’s Māori aute (bark cloth), the digital animation explores the ancient practices of celestial navigation across two cultures, with vibrant symbols and sounds bringing to life the stories of our skies and waterways. A soundscape accompanies the animation, with powerful music by Nigel Westlake supporting Mabo’s work, and Te Kahureremoa Taumata (Ngāti Kahungunu, Ngāti Tūwharetoa) and Te Kuru o te Marama Dewes (Ngāti Porou, Ngāti Rangitihi) complementing Hindin’s.
The lighting of the sails occurs daily from sunset, 8pm, 8.30pm, 9pm and 9.30pm.
As a celebration of the rich history and contemporary vibrancy of Australia’s First Nations culture, Badu Gili continues the traditions of Bennelong Point, formerly known as Tubowgule (‘where the knowledge waters meet’), a gathering place for community, ceremony and storytelling for thousands of years. Badu Gili: Celestial, the vibrant new animation of powerful First Nations storytelling features the work of Meriam artist, Gail Mabo from Mer Island in the Torres Strait, and international First Nations artist Nikau Hindin, a Te Rarawa and Ngāpuhi woman from Aotearoa New Zealand.
Using Mabo’s star maps constructed out of bamboo and cotton, and Hindin’s Māori aute (bark cloth), the digital animation explores the ancient practices of celestial navigation across two cultures, with vibrant symbols and sounds bringing to life the stories of our skies and waterways. A soundscape accompanies the animation, with powerful music by Nigel Westlake supporting Mabo’s work, and Te Kahureremoa Taumata (Ngāti Kahungunu, Ngāti Tūwharetoa) and Te Kuru o te Marama Dewes (Ngāti Porou, Ngāti Rangitihi) complementing Hindin’s.
The lighting of the sails occurs daily from sunset, 8pm, 8.30pm, 9pm and 9.30pm.
Brit Bunkley, film screening at FiVA 11
Centro Cultural San Martín, Buenos Aires, Argentina
15 December —
17 December 2023
Brit Bunkley's 2023 experimental video The Peaceable Kingdom has been selected from more than 600 works to screen at the 11th edition of the Festival Internacional de Videoarte in Buenos Aires. Bunkley's work screens on 16 December 2023 from 5pm — 8pm, as part of the offical selection.
Brit Bunkley's 2023 experimental video The Peaceable Kingdom has been selected from more than 600 works to screen at the 11th edition of the Festival Internacional de Videoarte in Buenos Aires. Bunkley's work screens on 16 December 2023 from 5pm — 8pm, as part of the offical selection.
Richard Frater, What remains of a naturalist
Klosterruine, Berlin, Germany
10 December 2023 —
27 April 2024
Richard Frater presents a site-responsive structure at Klosterruine Berlin, a historical monument and space for contemporary art, adapted to local raptors that he had been observing onsite over the spring and summer. In conjunction, the artist presents a comparative video-study that studies the shrinking and expanding territorial ranges of avian species—whether into increasingly remote and hostile environments or into urban expansion—as two unsettling threads of the same conservation reality today.
For the exhibition’s finissage, Frater’s video study is joined by one more screening event; a video for which Frater records his own biological father’s reflections of their trans-identity and gender journey. Here, too, dominant notions of biological determinism, environmental and cultural constructs are combated, however this time through an anthropological moderation of such questions.
Richard Frater presents a site-responsive structure at Klosterruine Berlin, a historical monument and space for contemporary art, adapted to local raptors that he had been observing onsite over the spring and summer. In conjunction, the artist presents a comparative video-study that studies the shrinking and expanding territorial ranges of avian species—whether into increasingly remote and hostile environments or into urban expansion—as two unsettling threads of the same conservation reality today.
For the exhibition’s finissage, Frater’s video study is joined by one more screening event; a video for which Frater records his own biological father’s reflections of their trans-identity and gender journey. Here, too, dominant notions of biological determinism, environmental and cultural constructs are combated, however this time through an anthropological moderation of such questions.
Ilke Gers, Moving Backwards to Go Forwards
Oemoemenoe rugby club, Middelburg, the Netherlands
10 December 2023
For the third edition of Oemoemenoe, the public programme from Vleeshal Center for Contemporary Art, artist Ilke Gers will collaborate with the rugby club of the same name in Middelburg to develop an action that builds on her existing work. This action titled Moving Backwards to Go Forwards takes place on Sunday, 10 December 2023, prior to the match between Oemoemenoe and Feanster, and sees Gers draw a specific line in chalk on the rugby field, inspired by the rules of rugby, where the ball may only be passed backward, and never forward.
Launched in 2023, as part of the Local Nomadic Program, Oemoemenoe invites contemporary artists to develop a project in collaboration with local associations and businesses in Zeeland, including sports clubs, swimming pools, hotels and restaurants. The initiative encourages artists to question, each in their own way, accepted norms through their artistic practice.
For the third edition of Oemoemenoe, the public programme from Vleeshal Center for Contemporary Art, artist Ilke Gers will collaborate with the rugby club of the same name in Middelburg to develop an action that builds on her existing work. This action titled Moving Backwards to Go Forwards takes place on Sunday, 10 December 2023, prior to the match between Oemoemenoe and Feanster, and sees Gers draw a specific line in chalk on the rugby field, inspired by the rules of rugby, where the ball may only be passed backward, and never forward.
Launched in 2023, as part of the Local Nomadic Program, Oemoemenoe invites contemporary artists to develop a project in collaboration with local associations and businesses in Zeeland, including sports clubs, swimming pools, hotels and restaurants. The initiative encourages artists to question, each in their own way, accepted norms through their artistic practice.
Richard Lewer, NGV Triennial
NGV International, Melbourne, Australia
03 December 2023 —
07 April 2024
Through twelve paintings, Richard Lewer (b. 1970 Aotearoa New Zealand) examines the creation story of Adam and Eve, central to Abrahamic religions. Particular to Christianity is how this story of the original human couple also represents the concept of ‘original sin’ and ‘the fall of man’.
The story has served as a source of inspiration and commentary by artists throughout the history of Western art. Lewer’s series sits in association with the Carved retable of the Passion of Christ, also known as the Antwerp altarpiece (c. 1511–20) – created as a didactic edifice for the contemplation by the faithful. The associationof this significant historical work with Lewer’s series is indicative of how people have always and continue to look to biblical stories for self-examination and understanding of their contemporary world.
Through twelve paintings, Richard Lewer (b. 1970 Aotearoa New Zealand) examines the creation story of Adam and Eve, central to Abrahamic religions. Particular to Christianity is how this story of the original human couple also represents the concept of ‘original sin’ and ‘the fall of man’.
The story has served as a source of inspiration and commentary by artists throughout the history of Western art. Lewer’s series sits in association with the Carved retable of the Passion of Christ, also known as the Antwerp altarpiece (c. 1511–20) – created as a didactic edifice for the contemplation by the faithful. The associationof this significant historical work with Lewer’s series is indicative of how people have always and continue to look to biblical stories for self-examination and understanding of their contemporary world.
Brent Harris, Surrender & Catch
TarraWarra Museum of Art, Wurundjeri Country, Healesville, Australia
02 December 2023 —
11 March 2024
This exhibition, curated by Maria Zagala, explores the work of artist Brent Harris (b. 1956, Papaioea Palmerston North, Aotearoa New Zealand). Moving between figuration and abstraction, Harris deploys both humour and the grotesque to examine psychological subject matter and visualise his complex and contradictory feelings.
Indeed, the exhibition title refers to Harris’ interest in sociologist Kurt H. Wolff’s notion of ‘surrender and catch’ as a process for self-analysis and as a method of working. Addressing the experience of the body and desire, faith (and the question of what follows death), and childhood memories of porous familial relationships, Harris’ ambiguous forms derive from his use of the Surrealist technique of automatic drawing to access unconscious imagery. Working concurrently across painting, printmaking and drawing, Harris has developed a generative methodology, where each medium feeds the development of his art in unexpected ways.
This exhibition, curated by Maria Zagala, explores the work of artist Brent Harris (b. 1956, Papaioea Palmerston North, Aotearoa New Zealand). Moving between figuration and abstraction, Harris deploys both humour and the grotesque to examine psychological subject matter and visualise his complex and contradictory feelings.
Indeed, the exhibition title refers to Harris’ interest in sociologist Kurt H. Wolff’s notion of ‘surrender and catch’ as a process for self-analysis and as a method of working. Addressing the experience of the body and desire, faith (and the question of what follows death), and childhood memories of porous familial relationships, Harris’ ambiguous forms derive from his use of the Surrealist technique of automatic drawing to access unconscious imagery. Working concurrently across painting, printmaking and drawing, Harris has developed a generative methodology, where each medium feeds the development of his art in unexpected ways.
Yukari Kaihori, Listening to the wind and breath
Ma Umi artist residency, Ishigaki Island, Japan
01 December —
20 December 2023
For two weeks in December, Yukari Kaihori participates in a research project at Ma Umi artist residency that is guided by the study of the ecological and geographic environment of Ishigaki and Taketomi of Yaeyama Islands and her ongoing interests in the more-than-human-world. During her stay, the artist aims to engage and listen to the local people’s story, folklore and mythology, and visit the site to examine how it is connected to the natural environment today.
Ma Umi Residencies is a self-funded and not-for-profit, international hub for artists and researchers. Invited guests concentrate on a wide range of specialisations, disciplines and practices, but come together to live and work in the Northern Peninsula of Ishigaki Island, Japan. The programme is intended to create a lively platform; to collect, discuss, and experiment with the land, the ocean, and nearby communities.
For two weeks in December, Yukari Kaihori participates in a research project at Ma Umi artist residency that is guided by the study of the ecological and geographic environment of Ishigaki and Taketomi of Yaeyama Islands and her ongoing interests in the more-than-human-world. During her stay, the artist aims to engage and listen to the local people’s story, folklore and mythology, and visit the site to examine how it is connected to the natural environment today.
Ma Umi Residencies is a self-funded and not-for-profit, international hub for artists and researchers. Invited guests concentrate on a wide range of specialisations, disciplines and practices, but come together to live and work in the Northern Peninsula of Ishigaki Island, Japan. The programme is intended to create a lively platform; to collect, discuss, and experiment with the land, the ocean, and nearby communities.
Jen Valender, Art for Change Prize
Saatchi Gallery, London, UK
30 November 2023 —
14 January 2024
M&C Saatchi, in collaboration with Saatchi Gallery, team up for the second year to present an international art initiative—the annual Art for Change Prize. As part of a shared mission in making art, culture, and creativity accessible to everyone, this free-to-enter prize is a celebration of emerging artistic talent. It aims to highlight and stimulate dialogue around visual arts as a medium for positive global and social change and give exposure to emerging artists worldwide. With the concept of 'Art for Change' in mind, this year’s prize invited emerging artists from around the world to creatively respond to the theme of Regeneration.
Jen Valender (b. Aotearoa New Zealand, based in Naarm Melbourne, Australia) is one of six regional winners of the 2023 Art for Change Prize, receiving a share of the total prize fund of £20,000 and exhibiting her winning work in an exhibition at Saatchi Gallery in London until January 2024.
M&C Saatchi, in collaboration with Saatchi Gallery, team up for the second year to present an international art initiative—the annual Art for Change Prize. As part of a shared mission in making art, culture, and creativity accessible to everyone, this free-to-enter prize is a celebration of emerging artistic talent. It aims to highlight and stimulate dialogue around visual arts as a medium for positive global and social change and give exposure to emerging artists worldwide. With the concept of 'Art for Change' in mind, this year’s prize invited emerging artists from around the world to creatively respond to the theme of Regeneration.
Jen Valender (b. Aotearoa New Zealand, based in Naarm Melbourne, Australia) is one of six regional winners of the 2023 Art for Change Prize, receiving a share of the total prize fund of £20,000 and exhibiting her winning work in an exhibition at Saatchi Gallery in London until January 2024.
David Rickard, Sistema Tempo
MO.CA Center for New Cultures, Brescia, Italy
22 November —
10 December 2023
The Sistema Tempo exhibition displays particular and personal interpretations of the concept of time, proposed by nine contemporary artists, with works of painting, sculpture, installations and video art. We often think that time flows smoothly from the past to the present and is measurable through the use of a clock. In fact, however, this concept has been inseparable from our life since its inception. Are we sure we can consider it only as a unit of measurement to quantify its flow? When did it start? And when does it end?
Time shapes our life, the space in which we move and our perceptive system: it is much more intimate and familiar to us than a normal unit of measurement. The surrounding world is made up of events rather than things, and events tend to 'happen', not 'be'. Different factors can be chosen to measure change, but none will ever be detailed enough to include all our perceptive realities linked to the events we experience.
The Sistema Tempo exhibition displays particular and personal interpretations of the concept of time, proposed by nine contemporary artists, with works of painting, sculpture, installations and video art. We often think that time flows smoothly from the past to the present and is measurable through the use of a clock. In fact, however, this concept has been inseparable from our life since its inception. Are we sure we can consider it only as a unit of measurement to quantify its flow? When did it start? And when does it end?
Time shapes our life, the space in which we move and our perceptive system: it is much more intimate and familiar to us than a normal unit of measurement. The surrounding world is made up of events rather than things, and events tend to 'happen', not 'be'. Different factors can be chosen to measure change, but none will ever be detailed enough to include all our perceptive realities linked to the events we experience.
Darcy Lange, Videography as Social Practice by Mercedes Vicente
Available to order online
21 November 2023 —
21 November 2028
Darcy Lange, Videography as Social Practice, by Mercedes Vicente, is a critical monograph of a pivotal figure in early analogue video. Trained as a sculptor at the Royal College of Art, Lange developed a socially engaged video practice with remarkable studies of people at work in industrial, farming, and teaching contexts that drew from conceptual art, social documentary and structuralist filmmaking. Lange saw in portable video a democratic tool for communication and social transformation, continuing the legacy of the revolutionary avant-garde projects that merged art with social life and turned audiences into producers.
Darcy Lange, Videography as Social Practice, by Mercedes Vicente, is a critical monograph of a pivotal figure in early analogue video. Trained as a sculptor at the Royal College of Art, Lange developed a socially engaged video practice with remarkable studies of people at work in industrial, farming, and teaching contexts that drew from conceptual art, social documentary and structuralist filmmaking. Lange saw in portable video a democratic tool for communication and social transformation, continuing the legacy of the revolutionary avant-garde projects that merged art with social life and turned audiences into producers.
Kah Bee Chow, Études
A Maior, Viseu, Portugal
18 November 2023 —
28 January 2024
A new installation by Sweden and Malaysia-based artist Kah Bee Chow, which includes the artworks Études (2023), a vinyl work installed on the windows of A Maior; Debts (A Maior) (2023), a small sculptural piece made from steel, beeswax, resin and pigment; and 1991 (2023), an altered digital scan of an examination mark form, with translated examiner's comments (translation: Bruno Zhu). Études is produced with support from Konstnärsnämnden.
A new installation by Sweden and Malaysia-based artist Kah Bee Chow, which includes the artworks Études (2023), a vinyl work installed on the windows of A Maior; Debts (A Maior) (2023), a small sculptural piece made from steel, beeswax, resin and pigment; and 1991 (2023), an altered digital scan of an examination mark form, with translated examiner's comments (translation: Bruno Zhu). Études is produced with support from Konstnärsnämnden.
Ruth Watson, FLASHBACK
GUSTAV, Herne, Germany
17 November —
15 December 2023
GUSTAV gallery presents FLASHBACK, a new solo exhibition by Ruth Watson which includes her installation Je Reviens alongside a number of objects from recent years, some of which were created for this occasion.
Known for her extensive body of work featuring globes, cartography and souvenirs, Watson's practice addresses individual, often very poetic, narratives about images of the world that draw on collective memories, established clichés and historically and culturally determined knowledge. GUSTAV is open by invitation or appointment only.
GUSTAV gallery presents FLASHBACK, a new solo exhibition by Ruth Watson which includes her installation Je Reviens alongside a number of objects from recent years, some of which were created for this occasion.
Known for her extensive body of work featuring globes, cartography and souvenirs, Watson's practice addresses individual, often very poetic, narratives about images of the world that draw on collective memories, established clichés and historically and culturally determined knowledge. GUSTAV is open by invitation or appointment only.
Jenna Eriksen, Kiku No Kami
72 Gallery, Tokyo Institute of Photography, Japan
13 November —
17 November 2023
A new body of work by multidisciplinary artist and filmmaker Jenna Eriksen, completed as part of The Kōwhai Residency, an international initiative jointly run by New Zealand's Auckland Festival of Photography, Asia New Zealand Foundation and the Tokyo Institute of Photography.
Now in its second year, The Kōwhai Residency offers Aotearoa artists a unique opportunity for a comprehensive learning experience in Tokyo and to gain knowledge from Japanese practitioners.
A new body of work by multidisciplinary artist and filmmaker Jenna Eriksen, completed as part of The Kōwhai Residency, an international initiative jointly run by New Zealand's Auckland Festival of Photography, Asia New Zealand Foundation and the Tokyo Institute of Photography.
Now in its second year, The Kōwhai Residency offers Aotearoa artists a unique opportunity for a comprehensive learning experience in Tokyo and to gain knowledge from Japanese practitioners.
Rychèl Thérin in Vienna Art Week
WEST Space, Vienna, Austria
11 November —
12 November 2023
Rychèl Thérin is one of more than 50 artists who open their studios to the public, as part of Vienna Art Week 2023. This two-day event is a highlight of the programme, allowing visitors to take a look behind the scenes of artistic creation and engage in conversations with the artists.
Rychèl Thérin (b. 1984) is an artist of Māori and Jérriais descent, working with installation, assemblage and lens based media to explore themes of genealogy, inheritance and place making. Thérin grew up in Aotearoa New Zealand, and Jersey in the Channel Islands (GB). She graduated from the University of the Arts London: Camberwell College of Arts BA Painting programme in 2007; and after having her first child, she gained a Masters of Māori Visual Arts with Distinction from Massey University, New Zealand in 2012. Thérin exhibits across Europe, Great Britain and New Zealand.
Rychèl Thérin is one of more than 50 artists who open their studios to the public, as part of Vienna Art Week 2023. This two-day event is a highlight of the programme, allowing visitors to take a look behind the scenes of artistic creation and engage in conversations with the artists.
Rychèl Thérin (b. 1984) is an artist of Māori and Jérriais descent, working with installation, assemblage and lens based media to explore themes of genealogy, inheritance and place making. Thérin grew up in Aotearoa New Zealand, and Jersey in the Channel Islands (GB). She graduated from the University of the Arts London: Camberwell College of Arts BA Painting programme in 2007; and after having her first child, she gained a Masters of Māori Visual Arts with Distinction from Massey University, New Zealand in 2012. Thérin exhibits across Europe, Great Britain and New Zealand.
Simon Denny, Landscapes
Fine Arts, Sydney, Sydney, Australia
09 November —
20 December 2023
Fine Arts, Sydney presents four new paintings on linen by Simon Denny; the most recent developments in this format of Denny’s work, which debuted earlier in 2023 with his solo exhibition at Kunstverein Hannover, Germany, and have since been the focus of solo exhibitions at Frans Masereel Centrum, Kasterlee, Belgium and at Altman Siegel, San Francisco, United States.
These new works are painterly landscapes, each depicting a place in a metaverse. They speak to colonial landscape painting: a genre which, from the 15th—19th centuries and beyond, used the artistic languages of largely European picture-making that were familiar to its intended audience to represent unfamiliar territories and enhance claims to ownership of the places depicted. Adopting the strategy rather than the style, Denny has reinvented and shifted the genre for our time and conditions with an artistic language that feels familiar to us, using styles, formats and techniques of modern and contemporary painting to represent unfamiliar new territories of the metaverse and enhance claims to it.
Fine Arts, Sydney presents four new paintings on linen by Simon Denny; the most recent developments in this format of Denny’s work, which debuted earlier in 2023 with his solo exhibition at Kunstverein Hannover, Germany, and have since been the focus of solo exhibitions at Frans Masereel Centrum, Kasterlee, Belgium and at Altman Siegel, San Francisco, United States.
These new works are painterly landscapes, each depicting a place in a metaverse. They speak to colonial landscape painting: a genre which, from the 15th—19th centuries and beyond, used the artistic languages of largely European picture-making that were familiar to its intended audience to represent unfamiliar territories and enhance claims to ownership of the places depicted. Adopting the strategy rather than the style, Denny has reinvented and shifted the genre for our time and conditions with an artistic language that feels familiar to us, using styles, formats and techniques of modern and contemporary painting to represent unfamiliar new territories of the metaverse and enhance claims to it.
Mladen Bizumic, COPIA: Collection of Post-Industrial Arts
Georg Kargl Fine Arts, Vienna, Austria
09 November 2023 —
23 February 2024
Not many people know that Georg Kargl Fine Arts gallery was once a printers, the Druckerei Guberner & Hierhammer, whose presses occupied the gallery’s large central space. Today, this kind of printing is fading from sight, replaced by the digital files pulsing across our screens.
Mladen Bizumic’s solo exhibition COPIA: Collection of Post-Industrial Arts examines and contests this shift, weaving together historical and contemporary photographic techniques into hybrid images, mixtures of analog and digital technology that form part of his ongoing practice of media archeology uncovering our past in order to understand our present.
Not many people know that Georg Kargl Fine Arts gallery was once a printers, the Druckerei Guberner & Hierhammer, whose presses occupied the gallery’s large central space. Today, this kind of printing is fading from sight, replaced by the digital files pulsing across our screens.
Mladen Bizumic’s solo exhibition COPIA: Collection of Post-Industrial Arts examines and contests this shift, weaving together historical and contemporary photographic techniques into hybrid images, mixtures of analog and digital technology that form part of his ongoing practice of media archeology uncovering our past in order to understand our present.
Alexis Hunter, Women in Revolt: Art, Activism and the Women’s movement in the UK 1970–1990
Tate Britain, London, UK
08 November 2023 —
07 April 2024
The first of its kind, Women in Revolt! is a major survey of work by over 100 women artists practicing in the UK from 1970 to 1990, using a wide variety of mediums including painting, drawing, sculpture, film and performance.
This exhibition explores and reflects on issues and events such as: the British Women’s Liberation movement, the fight for legal changes impacting women, maternal and domestic experiences, Rock Against Racism and Punk, Greenham Common and the peace movement, the visibility of Black and South Asian Women Artists, Section 28 and the AIDs pandemic.
The show celebrates the work and lived experiences of women who, frequently working outside mainstream art institutions, were largely left out of the artistic narratives of the time. It showcases a productive, politically engaged set of communities, who changed the face of British culture and paved the way for future generations of artists.
The first of its kind, Women in Revolt! is a major survey of work by over 100 women artists practicing in the UK from 1970 to 1990, using a wide variety of mediums including painting, drawing, sculpture, film and performance.
This exhibition explores and reflects on issues and events such as: the British Women’s Liberation movement, the fight for legal changes impacting women, maternal and domestic experiences, Rock Against Racism and Punk, Greenham Common and the peace movement, the visibility of Black and South Asian Women Artists, Section 28 and the AIDs pandemic.
The show celebrates the work and lived experiences of women who, frequently working outside mainstream art institutions, were largely left out of the artistic narratives of the time. It showcases a productive, politically engaged set of communities, who changed the face of British culture and paved the way for future generations of artists.
Ta Mataora
Bergman Gallery, Rarotonga, Cook Islands
06 November —
23 December 2023
Ta Mataora is an exhibition of Cook Islands contemporary art, sculpture and film in recognition of the 52nd Pacific Islands Forum Leaders meeting held in the Cook Islands from 6—10 November. In the tradition of BCA projects, Tatou (2002) and Te Ata Ou (2003), Ta Mataora presents a survey of recently created Cook Islands artwork, by artists including Mahiriki Tangaroa, Sylvia Marsters, Kay George, Ian George, Tim Buchanan, Brent Holley, Nina Oberg Humphries, Joan Gragg, Glenda Tuaine and Loretta Reynolds.
"As global Pacific influence grows, as a group of self determining Pacific nations, it is political forums like this, hosted in central Polynesia, where we recognise our inherent self worth and learn to play a far larger role in determining our collective future. As the theme of the leaders conference reflects, our choices, our voices, our Pacific way. Ta Mataroa, it's time to celebrate." - Bergman Gallery
Ta Mataora is an exhibition of Cook Islands contemporary art, sculpture and film in recognition of the 52nd Pacific Islands Forum Leaders meeting held in the Cook Islands from 6—10 November. In the tradition of BCA projects, Tatou (2002) and Te Ata Ou (2003), Ta Mataora presents a survey of recently created Cook Islands artwork, by artists including Mahiriki Tangaroa, Sylvia Marsters, Kay George, Ian George, Tim Buchanan, Brent Holley, Nina Oberg Humphries, Joan Gragg, Glenda Tuaine and Loretta Reynolds.
"As global Pacific influence grows, as a group of self determining Pacific nations, it is political forums like this, hosted in central Polynesia, where we recognise our inherent self worth and learn to play a far larger role in determining our collective future. As the theme of the leaders conference reflects, our choices, our voices, our Pacific way. Ta Mataroa, it's time to celebrate." - Bergman Gallery
Zac Langdon-Pole, Entity Studies
Station Gallery, Sydney, Australia
04 November —
25 November 2023
Entity Studies by Zac Langdon-Pole is a new series of puzzle works that employ a third image or ‘ghost stencil’ which haunts the combination of two distinct images. Spanning the spectrum of abstraction and figuration, the works ask viewers to trace the moment when one thing can become another.
Langdon-Pole’s investigation into visual perception stems from cognitive science studies, which use two-tone black and white images, known as ‘Mooney images’, to test the laws of ‘closure’. By reducing an image to its most abstracted palette of purely dark and light tones, reminiscent of Rorschach ink-blot tests, scientists can understand how prior experience and ‘best guess inference’ shapes our perception.
Pushing these cognitive experiments to their extreme, Langdon-Pole layers connections between such disparate images as: recent NASA space telescope photographs, 19th-century colonial landscape paintings, marbled paper bookends of taxonomic encyclopaedias, and mythological fable paintings such as The Ship of Theseus and The Bird in the Borrowed Feathers. With this new body of work Langdon-Pole seeks to unravel historical mythologies that shape our present.
Entity Studies by Zac Langdon-Pole is a new series of puzzle works that employ a third image or ‘ghost stencil’ which haunts the combination of two distinct images. Spanning the spectrum of abstraction and figuration, the works ask viewers to trace the moment when one thing can become another.
Langdon-Pole’s investigation into visual perception stems from cognitive science studies, which use two-tone black and white images, known as ‘Mooney images’, to test the laws of ‘closure’. By reducing an image to its most abstracted palette of purely dark and light tones, reminiscent of Rorschach ink-blot tests, scientists can understand how prior experience and ‘best guess inference’ shapes our perception.
Pushing these cognitive experiments to their extreme, Langdon-Pole layers connections between such disparate images as: recent NASA space telescope photographs, 19th-century colonial landscape paintings, marbled paper bookends of taxonomic encyclopaedias, and mythological fable paintings such as The Ship of Theseus and The Bird in the Borrowed Feathers. With this new body of work Langdon-Pole seeks to unravel historical mythologies that shape our present.
Yuki Kihara, Project Banaba
Bernice Pauahi Bishop Museum, Honolulu, Hawaiʻi
04 November 2023 —
19 February 2024
In Project Banaba, Banaban scholar and artist Katerina Teaiwa brings together rare historical archives and multimedia works that shed light on this little-known history, and its ongoing impact on Pacific communities.
The exhibition is co-curated by Yuki Kihara, Joy Enomoto, Bishop Museum’s Curator of Archaeology Pūlama Lima and Director of Cultural Resources Healoha Johnston, based on Katerina’s archival research, interviews, film, photographs, and performance work, informed by the flows of phosphate rocks, mining workers, and the Banaban people.
In Project Banaba, Banaban scholar and artist Katerina Teaiwa brings together rare historical archives and multimedia works that shed light on this little-known history, and its ongoing impact on Pacific communities.
The exhibition is co-curated by Yuki Kihara, Joy Enomoto, Bishop Museum’s Curator of Archaeology Pūlama Lima and Director of Cultural Resources Healoha Johnston, based on Katerina’s archival research, interviews, film, photographs, and performance work, informed by the flows of phosphate rocks, mining workers, and the Banaban people.
Kah Bee Chow, Eyes horizontal, nose vertical
Tørreloft, Copenhagen, Denmark
03 November —
01 December 2023
Sweden/Malaysia-based artist Kah Bee Chow features in Eyes horizontal, nose vertical, a joint exhibition with Finnish artist Mikko Kuorinki, at Tørreloft in Copenhagen. Chow presents new cast works Debts I (2023) and Days I (2023).
Sweden/Malaysia-based artist Kah Bee Chow features in Eyes horizontal, nose vertical, a joint exhibition with Finnish artist Mikko Kuorinki, at Tørreloft in Copenhagen. Chow presents new cast works Debts I (2023) and Days I (2023).
Travis MacDonald, fly by night
JVDW, Düsseldorf, Germany
03 November —
03 December 2023
The paintings of Travis MacDonald (b. 1990 in Bunnythorpe, Aotearoa New Zealand, lives and works in Melbourne, Australia) form a symbiosis of memories and surrealism. Often wrapped in the atmosphere of evening and imbued with a pleasant cloudiness, the artist responds to what is around him with dreamlike resolutions, calling invented subjects into being. Many of his works feature landscapes, figurations and objects embedded in the urban context, drawing on souvenirs or people familiar to him, backdrops and social activities of Aotearoa and Australia.
Borrowing its title from a song and album by Canadian rock band Rush, the solo exhibition fly by night features an array of new paintings that delve into MacDonald’s world of thought, continuing to fuse traditional genres of landscape and figurative painting with pop cultural imagery, giving his oeuvre a particular complexity. The impact of his art historical allusions makes clear how he ceaselessly rethinks the expected.
The paintings of Travis MacDonald (b. 1990 in Bunnythorpe, Aotearoa New Zealand, lives and works in Melbourne, Australia) form a symbiosis of memories and surrealism. Often wrapped in the atmosphere of evening and imbued with a pleasant cloudiness, the artist responds to what is around him with dreamlike resolutions, calling invented subjects into being. Many of his works feature landscapes, figurations and objects embedded in the urban context, drawing on souvenirs or people familiar to him, backdrops and social activities of Aotearoa and Australia.
Borrowing its title from a song and album by Canadian rock band Rush, the solo exhibition fly by night features an array of new paintings that delve into MacDonald’s world of thought, continuing to fuse traditional genres of landscape and figurative painting with pop cultural imagery, giving his oeuvre a particular complexity. The impact of his art historical allusions makes clear how he ceaselessly rethinks the expected.
Miranda Bellamy and Amanda Fauteux, residency
The Sointula Art Shed, Malcolm Island, Canada
01 November —
01 December 2023
For the month of November, artists Miranda Bellamy and Amanda Fauteux attend the Sointula Art Shed, a small artist-run residency in a cottage, located in the unceded Kwakwaka'wakw Territory of the Kwakiutl, Mamalilikala, and 'Namgis First Nations on Malcolm Island.
During the last week of their residency, from 21—29 November, the artists present Horse Latitudes, a looping video installed in the cottage which includes images of fruits, flowers, seed pods, and leaves all found on Kawau Island in the Hauraki Gulf, Aotearoa New Zealand in February 2021. While the island has had many inhabitants, today its unique ecological composition is due in large part to the exotic fauna and flora introduced by Sir George Grey. Grey, an early Governor of colonial New Zealand and botany enthusiast, purchased the island in 1862 and lived there intermittently until 1888. During that time he introduced many hundreds of exotic plants and animals, which have irreversibly damaged the island’s ecosystem.
For the month of November, artists Miranda Bellamy and Amanda Fauteux attend the Sointula Art Shed, a small artist-run residency in a cottage, located in the unceded Kwakwaka'wakw Territory of the Kwakiutl, Mamalilikala, and 'Namgis First Nations on Malcolm Island.
During the last week of their residency, from 21—29 November, the artists present Horse Latitudes, a looping video installed in the cottage which includes images of fruits, flowers, seed pods, and leaves all found on Kawau Island in the Hauraki Gulf, Aotearoa New Zealand in February 2021. While the island has had many inhabitants, today its unique ecological composition is due in large part to the exotic fauna and flora introduced by Sir George Grey. Grey, an early Governor of colonial New Zealand and botany enthusiast, purchased the island in 1862 and lived there intermittently until 1888. During that time he introduced many hundreds of exotic plants and animals, which have irreversibly damaged the island’s ecosystem.
Brit Bunkley and Gavin Hipkins, Rencontres Internationales Paris/Berlin
various venues across Paris, France
31 October —
05 November 2023
Two experimental videos from two Aotearoa artists have been selected for this year's prestigious Rencontres Internationales film festival, taking place in Paris.
Included in the Non Human, All Too Human programme is Brit Bunkley's The Peaceable Kingdom (2023), screening alongside videos by Matthias Müller and Christoph Girardet, Andro Eradze, Freja Sofie Kirk, Matthew Lax and Eteam, at Paris' Museum of Hunting and Nature, on 2 November, from 4pm.
Screening in the Generation programme, on 1 November from 4pm at MEP Maison Européenne de la Photographie, is Gavin Hipkins' Nature Writing (2022). Hipkins' work joins videos by Siyanda Marrengane, Ben Russell, Ibrahim Quraishi, Udval Altangerel, Jane Jin Kaisen and Thuy-han Nguyen-chi.
Two experimental videos from two Aotearoa artists have been selected for this year's prestigious Rencontres Internationales film festival, taking place in Paris.
Included in the Non Human, All Too Human programme is Brit Bunkley's The Peaceable Kingdom (2023), screening alongside videos by Matthias Müller and Christoph Girardet, Andro Eradze, Freja Sofie Kirk, Matthew Lax and Eteam, at Paris' Museum of Hunting and Nature, on 2 November, from 4pm.
Screening in the Generation programme, on 1 November from 4pm at MEP Maison Européenne de la Photographie, is Gavin Hipkins' Nature Writing (2022). Hipkins' work joins videos by Siyanda Marrengane, Ben Russell, Ibrahim Quraishi, Udval Altangerel, Jane Jin Kaisen and Thuy-han Nguyen-chi.
David Rickard, SEISMIC: Art meets Science
GIANT Gallery, Bournemouth, UK
28 October 2023 —
20 January 2024
In SEISMIC: Art meets Science, ten artists present works inspired by or connected to specific scientific ideas, in a dynamic exhibition that comprises painting, photography, film, sculpture and installation.
For each artwork, curator Paul Carey-Kent offers a written interpretation of the piece to sit alongside an informative text by a relevant scientific expert: astrophysicist Professor Bill Chaplin comments on David Rickard’s new installation, which delves into the phenomenon of cosmic rays; biomedical scientist Dr Caroline Pellet-Many explains what lies behind Elpida Hadzi-Vasileva’s sculptural use of guts; and Machine Learning Designer George Simms explores what 0rphan Drift’s consideration of the octopus tells us about artificial intelligence.
In SEISMIC: Art meets Science, ten artists present works inspired by or connected to specific scientific ideas, in a dynamic exhibition that comprises painting, photography, film, sculpture and installation.
For each artwork, curator Paul Carey-Kent offers a written interpretation of the piece to sit alongside an informative text by a relevant scientific expert: astrophysicist Professor Bill Chaplin comments on David Rickard’s new installation, which delves into the phenomenon of cosmic rays; biomedical scientist Dr Caroline Pellet-Many explains what lies behind Elpida Hadzi-Vasileva’s sculptural use of guts; and Machine Learning Designer George Simms explores what 0rphan Drift’s consideration of the octopus tells us about artificial intelligence.
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, Intimate confession is a project
Blaffer Art Museum, Houston, Texas, USA
27 October 2023 —
10 March 2024
Intimate confession is a project is a group exhibition that considers transmission, intergenerational life, and cultural inheritance through the prism of intimacy and infrastructure. Through the work of ten multifaceted artists spanning generations and geographies, the exhibition thinks through infrastructure as an intimate holding cell, capable of affective and affirmative power.
The title is borrowed from a sonnet line by poet Juliana Spahr and is recast to reflect on the relational infrastructures of cultural material. In recent years, a surge of scholarship on the built and unbuilt environments has emerged contrasting “humans, things, words, and non-humans into patterned conjunctures,” to quote feminist theorist Michelle Murphy. The upper galleries at the Blaffer Art Museum will serve as a conductive space for hosting — to welcome the practices of ten artists, three of them commissions, critically engaging material and immaterial histories of Houston.
Intimate confession is a project is a group exhibition that considers transmission, intergenerational life, and cultural inheritance through the prism of intimacy and infrastructure. Through the work of ten multifaceted artists spanning generations and geographies, the exhibition thinks through infrastructure as an intimate holding cell, capable of affective and affirmative power.
The title is borrowed from a sonnet line by poet Juliana Spahr and is recast to reflect on the relational infrastructures of cultural material. In recent years, a surge of scholarship on the built and unbuilt environments has emerged contrasting “humans, things, words, and non-humans into patterned conjunctures,” to quote feminist theorist Michelle Murphy. The upper galleries at the Blaffer Art Museum will serve as a conductive space for hosting — to welcome the practices of ten artists, three of them commissions, critically engaging material and immaterial histories of Houston.
Li-Ming Hu, Can it be I’m not meant to play this part?
The 8th Floor, New York, USA
6.00PM — 8.00PM
26 October 2023
Combining narration, reenactment, found footage, karaoke, animation and a sprinkling of augmented reality, Li-Ming Hu’s performance Can it be I’m not meant to play this part? explores representation, identity and cultural production through the artist’s experiences as a professional actor and emerging artist, in conversation with key moments in the history of Asian American theatre.
This programme is part of the second season of Sight/Geist, a series at The 8th Floor that supports local emerging film and performance artists. The performance will begin by 6:30pm, to be followed by an artist discussion and Q&A led by George Bolster, Curator at the Rubin Foundation. The event is free and open to the public, with RSVPs encouraged.
Combining narration, reenactment, found footage, karaoke, animation and a sprinkling of augmented reality, Li-Ming Hu’s performance Can it be I’m not meant to play this part? explores representation, identity and cultural production through the artist’s experiences as a professional actor and emerging artist, in conversation with key moments in the history of Asian American theatre.
This programme is part of the second season of Sight/Geist, a series at The 8th Floor that supports local emerging film and performance artists. The performance will begin by 6:30pm, to be followed by an artist discussion and Q&A led by George Bolster, Curator at the Rubin Foundation. The event is free and open to the public, with RSVPs encouraged.
Anh Trần, MCMLXXXIX
Société, Berlin, Germany
26 October —
25 November 2023
Société presents MCMLXXXIX, a new series of paintings by Berlin-based Anh Trần (b. 1989, Bến Tre, Vietnam). Trần's intuitive, expressionistic approach to painting records different speeds and textures of movement and thought on each canvas. Developing multiple works at one time, her immersive large-scale paintings map traces of their own production in synergetic constellations. This is Trần's first solo exhibition with the gallery.
Société presents MCMLXXXIX, a new series of paintings by Berlin-based Anh Trần (b. 1989, Bến Tre, Vietnam). Trần's intuitive, expressionistic approach to painting records different speeds and textures of movement and thought on each canvas. Developing multiple works at one time, her immersive large-scale paintings map traces of their own production in synergetic constellations. This is Trần's first solo exhibition with the gallery.