Calendar
Calendar
The HUM calendar features exhibitions & events by New Zealand arts practitioners working or living abroad.
Li-Ming Hu, ISCP residency
ISCP, New York, USA
01 October —
30 November 2022
An interdisciplinary artist from Aotearoa New Zealand, Li-Ming Hu is currently based in New York City, where she has been selected to complete a two-month residency at International Studio & Curatorial Program (ISCP).
Often employing a carnivalesque sensibility, her work engages with the imperatives of our high performance culture, and draws on her past experiences in the entertainment industry to explore the relationships between cultural production and the construction of subjectivities. About her work Hu says: "Much of my content has been to do with my art world anxiety, particularly in terms of the performance of artistic identity and the labour of art making, which, in our high performance culture, are becoming less distinct."
An interdisciplinary artist from Aotearoa New Zealand, Li-Ming Hu is currently based in New York City, where she has been selected to complete a two-month residency at International Studio & Curatorial Program (ISCP).
Often employing a carnivalesque sensibility, her work engages with the imperatives of our high performance culture, and draws on her past experiences in the entertainment industry to explore the relationships between cultural production and the construction of subjectivities. About her work Hu says: "Much of my content has been to do with my art world anxiety, particularly in terms of the performance of artistic identity and the labour of art making, which, in our high performance culture, are becoming less distinct."
Antonia Barnett McIntosh, Susceptible Chambers residency and performance
EMPAC, New York, USA
25 March —
06 April 2024
Composer-performers Antonia Barnett McIntosh and Jessie Marino return to EMPAC to continue the development of their commissioned work Susceptible Chambers, a piece that combines sound, sculpture, light, projection, and movement in an exploration of the myriad possibilities of one of the most foundational instruments of electronic music: the microphone.
This is the final part in a series of residencies that began in August 2023, which culminates in an installation and live performance on 5 April 2024 at 8:00 pm.
As a performance, Susceptible Chambers sees Barnett McIntosh and Marino collect technologies from bygone eras—pulley systems, pianolas, needlepoint, sodium vapor lamps—and place them in conversation with bespoke, handmade and electronic objects. The pair's newest production draws the audience into an unusual, idiosyncratic, and playful sonic and visual world, experimenting with and challenging generally accepted practices of today’s electronic music, and contemporary music more broadly.
Composer-performers Antonia Barnett McIntosh and Jessie Marino return to EMPAC to continue the development of their commissioned work Susceptible Chambers, a piece that combines sound, sculpture, light, projection, and movement in an exploration of the myriad possibilities of one of the most foundational instruments of electronic music: the microphone.
This is the final part in a series of residencies that began in August 2023, which culminates in an installation and live performance on 5 April 2024 at 8:00 pm.
As a performance, Susceptible Chambers sees Barnett McIntosh and Marino collect technologies from bygone eras—pulley systems, pianolas, needlepoint, sodium vapor lamps—and place them in conversation with bespoke, handmade and electronic objects. The pair's newest production draws the audience into an unusual, idiosyncratic, and playful sonic and visual world, experimenting with and challenging generally accepted practices of today’s electronic music, and contemporary music more broadly.
Ann Shelton, worm, root, wort...& bane
Alice Austen House, New York, USA
09 March —
26 May 2024
Systems of belief concerning the medicinal, magical and spiritual uses of plant materials were well established in the lives of European forest, nomadic and ancient peoples. However, these beliefs were forcibly supplanted as pagan practices were displaced across Europe and other continents in the wake of Christianity and the rise of capitalism. The consequences of the suppression and attempted erasure of this plant-based belief system continue to be profound. Knowledge, often held by women, of the healing and spiritual effects of plants has been replaced by a significantly more limited emphasis on their predominantly aesthetic qualities. This separation informs our contemporary relationship to plants as being primarily one of commodification.
The images in worm, root, wort…& bane, Ann Shelton's first solo institutional exhibition in the United States, are part of the re-assemblage of fragments of this old knowledge and, in their ontology, invoke the persecution of wise women, witches and wortcunners who kept this knowledge safe but whose understanding of plants and their connection with reproduction, in particular, represented a threat to the new order. This body of work asks that we reconsider this complex nexus of lost understanding; that we re-examine the continuing persecution of women, their gender roles and physical bodies, and honour the position they have held in this long-contested space.
Systems of belief concerning the medicinal, magical and spiritual uses of plant materials were well established in the lives of European forest, nomadic and ancient peoples. However, these beliefs were forcibly supplanted as pagan practices were displaced across Europe and other continents in the wake of Christianity and the rise of capitalism. The consequences of the suppression and attempted erasure of this plant-based belief system continue to be profound. Knowledge, often held by women, of the healing and spiritual effects of plants has been replaced by a significantly more limited emphasis on their predominantly aesthetic qualities. This separation informs our contemporary relationship to plants as being primarily one of commodification.
The images in worm, root, wort…& bane, Ann Shelton's first solo institutional exhibition in the United States, are part of the re-assemblage of fragments of this old knowledge and, in their ontology, invoke the persecution of wise women, witches and wortcunners who kept this knowledge safe but whose understanding of plants and their connection with reproduction, in particular, represented a threat to the new order. This body of work asks that we reconsider this complex nexus of lost understanding; that we re-examine the continuing persecution of women, their gender roles and physical bodies, and honour the position they have held in this long-contested space.
Simon Denny, Multi-User Dungeon (MUD)
Petzel Gallery, New York, USA
21 February —
30 March 2024
Petzel presents Multi-User Dungeon (MUD), a group exhibition curated by Simon Denny, featuring works by etoy.corporation, Öyvind Fahlström, Genevieve Goffman, Jack Goldstein, Matthias Groebel, Peter Halley, Yngve Holen, Josh Kline, Isabelle Frances McGuire, Seth Price, Harris Rosenblum, Avery Singer, Suzanne Treister, and Anicka Yi.
The exhibition takes its title from an historical genre of computer game, called Multi-User Dungeons (MUDs). Early online adventure games often based on genres like fantasy or science-fiction, MUDs were text-based software that accepted connections from many simultaneous users. Starting in the 1970s, MUDs were the predecessors of contemporary Massive Multiplayer Online Role Playing Games (MMORPGs or MMOs). The era of the MUD’s emergence and prominence can be seen as an in-between time, which bridged the emergence of the commercial internet and earlier networked systems like Bulletin Board Systems (BBS) and academic internets.
Petzel presents Multi-User Dungeon (MUD), a group exhibition curated by Simon Denny, featuring works by etoy.corporation, Öyvind Fahlström, Genevieve Goffman, Jack Goldstein, Matthias Groebel, Peter Halley, Yngve Holen, Josh Kline, Isabelle Frances McGuire, Seth Price, Harris Rosenblum, Avery Singer, Suzanne Treister, and Anicka Yi.
The exhibition takes its title from an historical genre of computer game, called Multi-User Dungeons (MUDs). Early online adventure games often based on genres like fantasy or science-fiction, MUDs were text-based software that accepted connections from many simultaneous users. Starting in the 1970s, MUDs were the predecessors of contemporary Massive Multiplayer Online Role Playing Games (MMORPGs or MMOs). The era of the MUD’s emergence and prominence can be seen as an in-between time, which bridged the emergence of the commercial internet and earlier networked systems like Bulletin Board Systems (BBS) and academic internets.
Simon Denny, Dungeon
Petzel Gallery, New York, USA
21 February —
30 March 2024
A new exhibition by Berlin-based artist Simon Denny, Dungeon features sculptures and paintings responding to the fantasy idiom of the dungeon, celebrating the importance of the format in the history and present of virtual world and game design, and how it has been integrated within technology businesses as they build online environments.
The sculptures and paintings mix digital and analogue technologies, including rough and ready 3D prints (some very crude and others more high resolution) and traditional media like oil on canvas overlaid with digital print. The painted maps and sculptural artifacts are rough, touched; forged together in unconventional combinations of surfaces and techniques.
Translating the virtual into the tangible, Dungeon synthesizes a visceral impression of a world between realities. Organised in conjunction with Petzel Gallery, Denny also presents the exhibition Read Write Own at Dunkunsthalle in New York, open from 22 February—31 March 2024.
A new exhibition by Berlin-based artist Simon Denny, Dungeon features sculptures and paintings responding to the fantasy idiom of the dungeon, celebrating the importance of the format in the history and present of virtual world and game design, and how it has been integrated within technology businesses as they build online environments.
The sculptures and paintings mix digital and analogue technologies, including rough and ready 3D prints (some very crude and others more high resolution) and traditional media like oil on canvas overlaid with digital print. The painted maps and sculptural artifacts are rough, touched; forged together in unconventional combinations of surfaces and techniques.
Translating the virtual into the tangible, Dungeon synthesizes a visceral impression of a world between realities. Organised in conjunction with Petzel Gallery, Denny also presents the exhibition Read Write Own at Dunkunsthalle in New York, open from 22 February—31 March 2024.
Martin Basher, The First Taste
Anat Ebgi, New York, USA
19 January —
02 March 2024
Anat Ebgi presents The First Taste, the inaugural exhibition at 372 Broadway, New York, the premises of their new Tribeca gallery.
With works from 34 artists in a wide range of media, the exhibition highlights the breadth and scope of artistic practices represented in the gallery’s roster, which includes Aotearoa artist Martin Basher.
Anat Ebgi presents The First Taste, the inaugural exhibition at 372 Broadway, New York, the premises of their new Tribeca gallery.
With works from 34 artists in a wide range of media, the exhibition highlights the breadth and scope of artistic practices represented in the gallery’s roster, which includes Aotearoa artist Martin Basher.
Kalisolaite 'Uhila, ISCP residency
ISCP, New York, USA
01 January —
31 March 2024
Two years after receiving the biannual Harriet Friedlander residency award, Kalisolaite ‘Uhila joins 12 other international artists at ISCP in New York.
‘Uhila, originally from Tonga, creates unique visual art that conveys ideas metaphorically, sparking reflection in viewers. His performances involve immersive experiences, such as living on the streets in Tāmaki Makaurau Auckland, inhabiting a pig crate, and conducting the waves of the Pacific Ocean from its shore. 'Uhila’s work delves into cultural, social, and political themes, examining the intersection of traditional Tongan notions about the relationship between people and sacred animals with Western concepts.
Two years after receiving the biannual Harriet Friedlander residency award, Kalisolaite ‘Uhila joins 12 other international artists at ISCP in New York.
‘Uhila, originally from Tonga, creates unique visual art that conveys ideas metaphorically, sparking reflection in viewers. His performances involve immersive experiences, such as living on the streets in Tāmaki Makaurau Auckland, inhabiting a pig crate, and conducting the waves of the Pacific Ocean from its shore. 'Uhila’s work delves into cultural, social, and political themes, examining the intersection of traditional Tongan notions about the relationship between people and sacred animals with Western concepts.
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.
Kahurangiariki Smith, Lisa Reihana and Yuki Kihara, Singing in Unison Part 8: Between Waves
Industry City, New York, USA
10 October 2023 —
12 January 2024
Between Waves, curated by Alice, Nien-Pu Ko, encompasses contemporary images, stories, histories, and oceanic myths through the works of seventeen artists from the Asia-Pacific region. Focusing on the interconnectedness of islands and oceans linked by transformative technology, the artworks trace currents between individual islands and groups of islanders carrying memory, historical trauma, reflection on co-existence, and new possibilities.
Drawing on histories, oceanic myths, stories, in addition to the shared political traumas resulting from colonialism, the Cold War, militarism, warfare, and ecological disaster, many of the regions remain in constant flux: an ever-changing militarisation throughout the islands. This exhibition explores these layers of complexity through the works of artists, filmmakers, photographers, poets, musicians, and thinkers from Taiwan, Japan, the Philippines, Borneo, Jeju Island, the Hawaiian islands, Sāmoa and Aotearoa New Zealand.
Between Waves, curated by Alice, Nien-Pu Ko, encompasses contemporary images, stories, histories, and oceanic myths through the works of seventeen artists from the Asia-Pacific region. Focusing on the interconnectedness of islands and oceans linked by transformative technology, the artworks trace currents between individual islands and groups of islanders carrying memory, historical trauma, reflection on co-existence, and new possibilities.
Drawing on histories, oceanic myths, stories, in addition to the shared political traumas resulting from colonialism, the Cold War, militarism, warfare, and ecological disaster, many of the regions remain in constant flux: an ever-changing militarisation throughout the islands. This exhibition explores these layers of complexity through the works of artists, filmmakers, photographers, poets, musicians, and thinkers from Taiwan, Japan, the Philippines, Borneo, Jeju Island, the Hawaiian islands, Sāmoa and Aotearoa New Zealand.
various jewellery artists, NZ Jewelry Edit
The Jewelry Edit, New York, USA
28 September —
12 October 2023
Inspired by the beauty of Aotearoa's diverse landscapes and rich cultural heritage, and paying homage to the hidden talent and natural materials that are found there, The Jewelry Edit presents work by ten Aotearoa designers in an in-person and online sale. Each piece in this collection boasts a fusion of design elements, from traditional Māori motifs, to emblems of local flora and fauna; hand-crafted with precision and using only the finest native materials.
The selection features work by Aimee Gruar, Base I, Courtney Marama, Karen Walker, Johnathan Percy Stone, Gwyneth Hulse Design, Lisa West, Remix Plastic, Thompson Carvers and Meadowlark. Visit the in-person sale at 485 Park Avenue in New York from 28 September—12 October and browse the curated selection online from 28 September.
Inspired by the beauty of Aotearoa's diverse landscapes and rich cultural heritage, and paying homage to the hidden talent and natural materials that are found there, The Jewelry Edit presents work by ten Aotearoa designers in an in-person and online sale. Each piece in this collection boasts a fusion of design elements, from traditional Māori motifs, to emblems of local flora and fauna; hand-crafted with precision and using only the finest native materials.
The selection features work by Aimee Gruar, Base I, Courtney Marama, Karen Walker, Johnathan Percy Stone, Gwyneth Hulse Design, Lisa West, Remix Plastic, Thompson Carvers and Meadowlark. Visit the in-person sale at 485 Park Avenue in New York from 28 September—12 October and browse the curated selection online from 28 September.
Emma McIntyre, An echo, a stain
David Zwirner, New York, USA
21 September —
28 October 2023
David Zwirner presents An echo, a stain, a solo exhibition of new paintings by Los Angeles-based artist Emma McIntyre at the gallery’s 69th Street location. This is the artist’s first exhibition in New York.
McIntyre’s protean canvases evolve alchemically, transformed by the artist’s interventions and the unbridled organic interactions of her chosen materials: oil and resin, together with unconventional substances like oxidized iron. She begins by pouring paint from above, letting her colors pool, splash and stretch across her substrate. The artist then reorients her supports and, in a process that is at once intuitive and revelatory, applies additional layers of paint, further modifying her surfaces using brushes, rags, or parts of her body.
McIntyre pairs her extemporaneous modes of creation with a repertoire of motifs and compositional strategies gleaned from a close study of art history. Atmospheric yet grounded, McIntyre’s compositions hover between spontaneity and deliberate action; effervescent at the surface, they exist at the edge of perception, forming and reforming before our eyes.
David Zwirner presents An echo, a stain, a solo exhibition of new paintings by Los Angeles-based artist Emma McIntyre at the gallery’s 69th Street location. This is the artist’s first exhibition in New York.
McIntyre’s protean canvases evolve alchemically, transformed by the artist’s interventions and the unbridled organic interactions of her chosen materials: oil and resin, together with unconventional substances like oxidized iron. She begins by pouring paint from above, letting her colors pool, splash and stretch across her substrate. The artist then reorients her supports and, in a process that is at once intuitive and revelatory, applies additional layers of paint, further modifying her surfaces using brushes, rags, or parts of her body.
McIntyre pairs her extemporaneous modes of creation with a repertoire of motifs and compositional strategies gleaned from a close study of art history. Atmospheric yet grounded, McIntyre’s compositions hover between spontaneity and deliberate action; effervescent at the surface, they exist at the edge of perception, forming and reforming before our eyes.
Susan Te Kahurangi King, Playdate
Ruttkowski;68, New York, USA
05 September —
07 October 2023
Susan Te Kahurangi King (b. 1951, Te Aroha, Aotearoa New Zealand) and Philip Emde (b. 1976, Mannheim, Germany) present their unfolding worlds in the exhibition Playdate at Ruttkowski;68 in New York.
King’s power of speech famously declined at a young age, then dried up entirely. As a child, she began drawing prolifically on scraps of paper that came to hand. Her inventive, evolving drawings incorporate observations of her surroundings—including favorite comic book characters, animals, logos, landmarks and household items.
Similarly, Emde paints what is around him in his studio, which doubles as an archive for his extensive collection of stuffed-toy animals. His works also offer densely packed scenes fashioned from abstracted and deconstructed bodies and things. Although arising from very different life experiences, King and Emde both playfully conjure memories, as they access, process and translate their perceptions of the world, which are juxtaposed and shown together for the first time in this exhibition.
Susan Te Kahurangi King (b. 1951, Te Aroha, Aotearoa New Zealand) and Philip Emde (b. 1976, Mannheim, Germany) present their unfolding worlds in the exhibition Playdate at Ruttkowski;68 in New York.
King’s power of speech famously declined at a young age, then dried up entirely. As a child, she began drawing prolifically on scraps of paper that came to hand. Her inventive, evolving drawings incorporate observations of her surroundings—including favorite comic book characters, animals, logos, landmarks and household items.
Similarly, Emde paints what is around him in his studio, which doubles as an archive for his extensive collection of stuffed-toy animals. His works also offer densely packed scenes fashioned from abstracted and deconstructed bodies and things. Although arising from very different life experiences, King and Emde both playfully conjure memories, as they access, process and translate their perceptions of the world, which are juxtaposed and shown together for the first time in this exhibition.
Pelenakeke Brown and Sally Tran, BRIClab residency
BRIC, New York City, USA
01 September 2023 —
01 September 2024
Two artists from Aotearoa have been selected as part of the 2023/2024 BRIClab artist in residence programme: Pelenakeke Brown in the Contemporary Art group, and Sally Tran in the Film + TV group.
A year-long journey for emerging and mid-career artists, this year's programme is all about connection and collaboration, exploring topics like mutual aid, artistic care, and interconnectedness. In-process public events for the 2023/2024 cohort will take place from September 2023 through May 2024.
Two artists from Aotearoa have been selected as part of the 2023/2024 BRIClab artist in residence programme: Pelenakeke Brown in the Contemporary Art group, and Sally Tran in the Film + TV group.
A year-long journey for emerging and mid-career artists, this year's programme is all about connection and collaboration, exploring topics like mutual aid, artistic care, and interconnectedness. In-process public events for the 2023/2024 cohort will take place from September 2023 through May 2024.
Alexa Wilson, ALIEN
CPR - Center for Performance Research, New York, USA
18 August 2023
This evening of shared live solo works by Alexa Wilson and Emilee Lord offers an intimacy and vulnerability of experience from varying perspectives in the post-Covid climate, where the shared and individual bodily experience was altered over these years and our understandings of connection profoundly changed.
Part-dance, part-song, part-embodied TED talk, part-cyberpunk, part-performance art, part-possession, Alexa Wilson's ALIEN embraces the body as foreign to self and others, often alienated inside change. ALIEN was developed in 2022 between Tāmaki Makaurau Auckland and New York on a Mothership residency. Performances run from 7:30 pm – 9:00 pm.
This evening of shared live solo works by Alexa Wilson and Emilee Lord offers an intimacy and vulnerability of experience from varying perspectives in the post-Covid climate, where the shared and individual bodily experience was altered over these years and our understandings of connection profoundly changed.
Part-dance, part-song, part-embodied TED talk, part-cyberpunk, part-performance art, part-possession, Alexa Wilson's ALIEN embraces the body as foreign to self and others, often alienated inside change. ALIEN was developed in 2022 between Tāmaki Makaurau Auckland and New York on a Mothership residency. Performances run from 7:30 pm – 9:00 pm.
Brit Bunkley, New Realism / Altered Reality
Gallery 23 NY, New York City, USA
16 August —
24 September 2023
See|Me presents New Realism / Altered Reality, a group exhibition in which 25 artists share works inspired by a personal representation of what is true and real, free from the expectation to produce a fixed, visual likeness. Released from the axiom that there is a single, factual worldly reality, these artists are playfully in command of the freedom artistic license affords to explore how we see, interpret, and understand.
New York-based video artist Brit Bunkley exhibits work alongside Brittany Forrest, Carol Bouyoucos, Christl Stringer, Daniela Acosta, Honey Brennan, Ira Upin, Laara Cassells, Micah Ofstedahl, Noelle Maline, Tom Potisit and William Ye.
See|Me presents New Realism / Altered Reality, a group exhibition in which 25 artists share works inspired by a personal representation of what is true and real, free from the expectation to produce a fixed, visual likeness. Released from the axiom that there is a single, factual worldly reality, these artists are playfully in command of the freedom artistic license affords to explore how we see, interpret, and understand.
New York-based video artist Brit Bunkley exhibits work alongside Brittany Forrest, Carol Bouyoucos, Christl Stringer, Daniela Acosta, Honey Brennan, Ira Upin, Laara Cassells, Micah Ofstedahl, Noelle Maline, Tom Potisit and William Ye.
Li-Ming Hu, If Work
anonymous gallery, New York, USA
04 August —
19 August 2023
anonymous presents If Work, a group exhibition curated by Francesca Altamura and Miranda Samuels which brings together new and existing works by nine artists from the 2023–23 Interdisciplinary Art and Theory Program (IATP). Although the artists in If Work embrace a range of conceptual tactics and media, what all share is a concern for the interactions between artmaking and the social, intellectual and political systems in which art operates.
New York-based Hu presents a new video revisiting a series of commercials she appeared in for 'Asian’ foods while in Aotearoa New Zealand and the process of making the piece.
anonymous presents If Work, a group exhibition curated by Francesca Altamura and Miranda Samuels which brings together new and existing works by nine artists from the 2023–23 Interdisciplinary Art and Theory Program (IATP). Although the artists in If Work embrace a range of conceptual tactics and media, what all share is a concern for the interactions between artmaking and the social, intellectual and political systems in which art operates.
New York-based Hu presents a new video revisiting a series of commercials she appeared in for 'Asian’ foods while in Aotearoa New Zealand and the process of making the piece.
Pelenakeke Brown, Downbeat: Denniston Hill
Marian Goodman Gallery, New York, USA
13 July —
18 August 2023
Marian Goodman Gallery presents Downbeat, an exhibition about Denniston Hill, the artist residency founded by artists Julie Mehretu and Paul Pfeiffer and architect Lawrence Chua.
The exhibition takes its title from Denniston Hill’s concept of the “downbeat”: a rhythmic kind of time stretched out to make space for rest, reflection, research, and rejuvenation—essential components of the creative process. Artists exist under a constant pressure to produce. Artist studios are expected to operate like factories, many without the benefit of staff or distribution systems. The Denniston Hill “downbeat” is a counterbalance to this energy. It recognises artists as whole human beings and nourishes all aspects of artistic production.
Downbeat features alumni and collaborators of Denniston Hill’s residency program, including Pelenakeke Brown. Brown's Crossings (2018) series simultaneously untethers and reunites language into new cosmologic patterns to explore “crip time": a term the artist uses to describe a pace liberated from a Capitalist, able-bodied clock.
Marian Goodman Gallery presents Downbeat, an exhibition about Denniston Hill, the artist residency founded by artists Julie Mehretu and Paul Pfeiffer and architect Lawrence Chua.
The exhibition takes its title from Denniston Hill’s concept of the “downbeat”: a rhythmic kind of time stretched out to make space for rest, reflection, research, and rejuvenation—essential components of the creative process. Artists exist under a constant pressure to produce. Artist studios are expected to operate like factories, many without the benefit of staff or distribution systems. The Denniston Hill “downbeat” is a counterbalance to this energy. It recognises artists as whole human beings and nourishes all aspects of artistic production.
Downbeat features alumni and collaborators of Denniston Hill’s residency program, including Pelenakeke Brown. Brown's Crossings (2018) series simultaneously untethers and reunites language into new cosmologic patterns to explore “crip time": a term the artist uses to describe a pace liberated from a Capitalist, able-bodied clock.
Ann Shelton, The First Ten Years
Denny Dimin Gallery, New York, USA
06 July —
18 August 2023
Denny Gallery first opened its doors in January 2013 at a space on Broome Street, in the Lower East Side, New York City. In 2019 the gallery was one of the early adopters moving to Tribeca and concurrently opened a space in Hong Kong, building an enduring reputation across the United States and in Asia with a global roster of artists. To mark this first decade, the gallery presents a group exhibition of their represented artists, remembering exhibitions from each of their first ten years while simultaneously looking to the gallery’s future.
Artists include: Amanda Valdez, Sean Fader, Michael Mandiberg, Paula Wilson, Scott Anderson, Jessie Edelman, Andy Woll, Dana Sherwood, Ann Shelton, Jeremy Couillard, Sheida Soleimani, Judy Ledgerwood, Amir H. Fallah, Future Retrieval, Stephen Thorpe and Damien H. Ding.
Denny Gallery first opened its doors in January 2013 at a space on Broome Street, in the Lower East Side, New York City. In 2019 the gallery was one of the early adopters moving to Tribeca and concurrently opened a space in Hong Kong, building an enduring reputation across the United States and in Asia with a global roster of artists. To mark this first decade, the gallery presents a group exhibition of their represented artists, remembering exhibitions from each of their first ten years while simultaneously looking to the gallery’s future.
Artists include: Amanda Valdez, Sean Fader, Michael Mandiberg, Paula Wilson, Scott Anderson, Jessie Edelman, Andy Woll, Dana Sherwood, Ann Shelton, Jeremy Couillard, Sheida Soleimani, Judy Ledgerwood, Amir H. Fallah, Future Retrieval, Stephen Thorpe and Damien H. Ding.
André Hemer, Troposphere
Hollis Taggart, New York City, USA
11 May —
24 June 2023
Hollis Taggart presents Troposphere, the Vienna-based artist André Hemer’s second solo show with the gallery. Continuing his ongoing engagement with nature, the nine new canvases and new video work in the exhibition reflect the artist’s deep study of the sky as well as his fascination with documenting light.
New to this body of work is Hemer’s experimentation with oval-shaped canvases, which, combined with his masterful fusion of digital media and painting, create a stunning portal-like effect of bursting open his iridescent compositions of glowing sunset colours to the viewer.
Hollis Taggart presents Troposphere, the Vienna-based artist André Hemer’s second solo show with the gallery. Continuing his ongoing engagement with nature, the nine new canvases and new video work in the exhibition reflect the artist’s deep study of the sky as well as his fascination with documenting light.
New to this body of work is Hemer’s experimentation with oval-shaped canvases, which, combined with his masterful fusion of digital media and painting, create a stunning portal-like effect of bursting open his iridescent compositions of glowing sunset colours to the viewer.
Michael Stevenson, Chosen Memories: Contemporary Latin American Art from the Patricia Phelps de Cisneros Gift and Beyond
MoMA, New York, USA
30 April —
09 September 2023
Chosen Memories brings together contemporary works by Latin American artists who have been investigating history as source material for their work. “History is a living organism,” said the Brazilian artist Rosângela Rennó, one of the 40 artists featured in the exhibition. Bringing together videos, photographs, paintings and sculptures made over the past four decades, the exhibition reveals how some of today’s most relevant art is conceived through investigating and retelling history in new ways.
The exhibition is anchored by a transformative gift of works from trustee Patricia Phelps de Cisneros, including a work by Aotearoa artist Michael Stevenson, The Fountain of Prosperity (Answers to Some Questions About Bananas), 2006. This is a replica of the MONIAC, a hydraulic proto-computer that economist Bill Phillips created in 1949 while studying at the London School of Economics. Adjustable pipes and containers direct flows of water which illustrate the flows of capital in and out of a national economy.
Chosen Memories brings together contemporary works by Latin American artists who have been investigating history as source material for their work. “History is a living organism,” said the Brazilian artist Rosângela Rennó, one of the 40 artists featured in the exhibition. Bringing together videos, photographs, paintings and sculptures made over the past four decades, the exhibition reveals how some of today’s most relevant art is conceived through investigating and retelling history in new ways.
The exhibition is anchored by a transformative gift of works from trustee Patricia Phelps de Cisneros, including a work by Aotearoa artist Michael Stevenson, The Fountain of Prosperity (Answers to Some Questions About Bananas), 2006. This is a replica of the MONIAC, a hydraulic proto-computer that economist Bill Phillips created in 1949 while studying at the London School of Economics. Adjustable pipes and containers direct flows of water which illustrate the flows of capital in and out of a national economy.
Atamira Dance Company, Te Wheke international tour
various locations in Hawai'i and USA
21 March —
14 April 2023
Atamira Dance Company was selected for the Performing Arts Global Exchange program with Mid Atlantic Arts, and in March 2023, tours internationally for the first time since 2019, taking their legacy and succession work Te Wheke to the following locations:
Kahilu Theatre, Hawai'i, Tuesday 21 March, 2023; Maui Arts and Cultural Centre, Hawai'i, Friday 24 March, 2023; The Joyce Theater, New York, Wednesday 29 March – Sunday 2 April, 2023; UC San Diego, San Diego, Wednesday 5 April, 2023; University of Hawai'i at Mānoa Outreach College, Hawai'i, Friday 14 April, 2023.
Atamira Dance Company was selected for the Performing Arts Global Exchange program with Mid Atlantic Arts, and in March 2023, tours internationally for the first time since 2019, taking their legacy and succession work Te Wheke to the following locations:
Kahilu Theatre, Hawai'i, Tuesday 21 March, 2023; Maui Arts and Cultural Centre, Hawai'i, Friday 24 March, 2023; The Joyce Theater, New York, Wednesday 29 March – Sunday 2 April, 2023; UC San Diego, San Diego, Wednesday 5 April, 2023; University of Hawai'i at Mānoa Outreach College, Hawai'i, Friday 14 April, 2023.
Anh Trần, Some Landscapes
Bortolami, New York, USA
10 March —
04 May 2023
Some Landscapes brings together works by a group of five international artists, including Robert Bordo, Andreas Eriksson, Marina Rheingantz, Christine Safa, and Aotearoa artist Anh Trần.
The natural world, in its blending of the material and immaterial, was an early and rich source for abstraction. Helen Frankenthaler commented on nature’s instinctive transformation into painting: “Anything that has beauty and provides order (rather than chaos or shock value) can be resolved in a picture (as in nature) and gives pleasure—a sense of rightness, as in being one in nature.”
Culling from the long tradition of abstract landscape painting, shaped and morphed by a variety of geographies and the tendencies they reveal, the artists in this exhibition each push the constraints of an ever-changing and continuously generative genre.
Some Landscapes brings together works by a group of five international artists, including Robert Bordo, Andreas Eriksson, Marina Rheingantz, Christine Safa, and Aotearoa artist Anh Trần.
The natural world, in its blending of the material and immaterial, was an early and rich source for abstraction. Helen Frankenthaler commented on nature’s instinctive transformation into painting: “Anything that has beauty and provides order (rather than chaos or shock value) can be resolved in a picture (as in nature) and gives pleasure—a sense of rightness, as in being one in nature.”
Culling from the long tradition of abstract landscape painting, shaped and morphed by a variety of geographies and the tendencies they reveal, the artists in this exhibition each push the constraints of an ever-changing and continuously generative genre.
Ann Shelton, i am an old phenomenon
Denny Dinim, New York, USA
04 November —
22 December 2022
For the past decade, Ann Shelton has explored plants and their histories. As we enter a critical age in gender politics and the climate crisis, Shelton’s work bears even greater significance as she reinvestigates lost knowledge pertaining to plants and their ontology in relation to women. Her previous exhibition jane says looked at plants with abortifacient and/or fertility-controlling properties. Within this latest exhibition, i am an old phenomenon Shelton concentrates on the figure of the witch as a traditional keeper of wisdom and knowledge that has since been suppressed. The collection of images looks to re-assemble the information set forth by women who were persecuted for their understanding of plants especially those with a connection to reproduction and the female body.
For the past decade, Ann Shelton has explored plants and their histories. As we enter a critical age in gender politics and the climate crisis, Shelton’s work bears even greater significance as she reinvestigates lost knowledge pertaining to plants and their ontology in relation to women. Her previous exhibition jane says looked at plants with abortifacient and/or fertility-controlling properties. Within this latest exhibition, i am an old phenomenon Shelton concentrates on the figure of the witch as a traditional keeper of wisdom and knowledge that has since been suppressed. The collection of images looks to re-assemble the information set forth by women who were persecuted for their understanding of plants especially those with a connection to reproduction and the female body.
Li-Ming Hu, Double Foreign New Zealand Chinese Kitchen
Flux Factory, Governors Island, USA
22 October —
30 October 2022
As the third and final artist in the series Mama's Augmented Reality curated by Eleni Zaharopoulos, Aotearoa artist Li-Ming Hu presents new work installed in the kitchen of Flux Factory's residency home on Governors Island.
In the spirit of a “mother’s work” which traditionally embodies a DIY aesthetic (think homemade fast food, cardboard costumes, sheet forts, pots and pans instruments) Mama’s Augmented Reality is an exhibition that invites artists to create/interpret their mom’s kitchens as they exist in memory with whatever materials they have at their disposal- just like a resourceful mother would do. Mama’s Augmented Reality is homemade AR defined and interpreted by cheap art practices.
Double Foreign New Zealand Chinese Kitchen is on view 22 - 23 October and 29 - 30 October 2022, 12 - 5pm.
As the third and final artist in the series Mama's Augmented Reality curated by Eleni Zaharopoulos, Aotearoa artist Li-Ming Hu presents new work installed in the kitchen of Flux Factory's residency home on Governors Island.
In the spirit of a “mother’s work” which traditionally embodies a DIY aesthetic (think homemade fast food, cardboard costumes, sheet forts, pots and pans instruments) Mama’s Augmented Reality is an exhibition that invites artists to create/interpret their mom’s kitchens as they exist in memory with whatever materials they have at their disposal- just like a resourceful mother would do. Mama’s Augmented Reality is homemade AR defined and interpreted by cheap art practices.
Double Foreign New Zealand Chinese Kitchen is on view 22 - 23 October and 29 - 30 October 2022, 12 - 5pm.
Kate Newby, We are such stuff
Laurel Gitlen Gallery, New York, USA
07 September —
22 October 2022
A plastic shopping bag waves like a flag caught in a tree; a flag printed with a bit of found language hangs high in the air from a balcony across from a former Masonic lodge occupied by Kate Newby’s installations. A red rope is threaded through the roof of a Brutalist building, a scarlet line drawing the eye. Maybe. Or, maybe you miss it. Ropes dangle outside from the roof of Laurel Gitlen’s space. Inside, they’re threaded with blown glass tubes, a horizon directing the gaze beyond the gallery walls. About the bag Kate wrote, “It was having the time of its life... flying past the rules and regulations of the city. Not a bad model for art in the world. Why not let it fly instead of fitting into these narrow spaces.”
A plastic shopping bag waves like a flag caught in a tree; a flag printed with a bit of found language hangs high in the air from a balcony across from a former Masonic lodge occupied by Kate Newby’s installations. A red rope is threaded through the roof of a Brutalist building, a scarlet line drawing the eye. Maybe. Or, maybe you miss it. Ropes dangle outside from the roof of Laurel Gitlen’s space. Inside, they’re threaded with blown glass tubes, a horizon directing the gaze beyond the gallery walls. About the bag Kate wrote, “It was having the time of its life... flying past the rules and regulations of the city. Not a bad model for art in the world. Why not let it fly instead of fitting into these narrow spaces.”
Garth Maxwell, 'Jack Be Nimble' film screening in 'Horror: Messaging the Monstrous'
The Museum of Modern Art, New York, United States
12 July —
13 July 2022
From 23 June through 05 September 2022, The Museum of Modern Art hosts Horror: Messaging the Monstrous, a 10-week film series that includes over 110 features and a selection of short films that capture the horror genre’s uncanny ability to express the lurking fears of a society and the anxieties caused by social, cultural, and political change.
Week Three: Gender and Horror will include the New York City premiere of New Zealand filmmaker Garth Maxwell’s rarely seen masterwork Jack Be Nimble (1993), screening on Tuesday 12 July at 7 PM with Maxwell in attendance for Q&A, and on Wednesday 13 July at 4:30 PM.
From 23 June through 05 September 2022, The Museum of Modern Art hosts Horror: Messaging the Monstrous, a 10-week film series that includes over 110 features and a selection of short films that capture the horror genre’s uncanny ability to express the lurking fears of a society and the anxieties caused by social, cultural, and political change.
Week Three: Gender and Horror will include the New York City premiere of New Zealand filmmaker Garth Maxwell’s rarely seen masterwork Jack Be Nimble (1993), screening on Tuesday 12 July at 7 PM with Maxwell in attendance for Q&A, and on Wednesday 13 July at 4:30 PM.
Sara Cowdell, 'Houses of Madness' A performance art work
Grace Exhibition Space Upstate, Kingston, New York, USA
02 July —
03 July 2022
Houses of Madness is the second in a series of works in homage to Sara Cowdell's great aunt. This work investigates the ongoing tensions of performing normality and internal experiences of intrusive and obsessive thoughts.
"You built a house in your mind, for only you and your madness - but now you have a house for your body, one that is built with wood, it has a door that opens to meadow, and windows with no pains. In this house maybe something new, mad and shared can emerge." - Sara Cowdell
Houses of Madness is the second in a series of works in homage to Sara Cowdell's great aunt. This work investigates the ongoing tensions of performing normality and internal experiences of intrusive and obsessive thoughts.
"You built a house in your mind, for only you and your madness - but now you have a house for your body, one that is built with wood, it has a door that opens to meadow, and windows with no pains. In this house maybe something new, mad and shared can emerge." - Sara Cowdell
Alexa Wilson, Mothership residency
Mothership, New York, USA
01 July —
01 August 2022
New Zealand performance artist and writer Alexa Wilson will complete a one-month residency at Mothership in Brooklyn starting July 2022, working on her book, Asymmetry of Transformation: The 12th House, the 4th installment in a series on the 4 elements.
From the artist: "This is a musing across layers both imagined (a TV series of characters in global role play) and real (my travel, sex, death and love) on nothingness, death, solitude and the beyond, alongside memories of performances (as ghosts) translated like psychic mediums, the power of trauma and our karmic relationship to community, justice and healing. It is interwoven with a semi-documentary project with interviews about death, and a live (ghost) work about living and dying."
New Zealand performance artist and writer Alexa Wilson will complete a one-month residency at Mothership in Brooklyn starting July 2022, working on her book, Asymmetry of Transformation: The 12th House, the 4th installment in a series on the 4 elements.
From the artist: "This is a musing across layers both imagined (a TV series of characters in global role play) and real (my travel, sex, death and love) on nothingness, death, solitude and the beyond, alongside memories of performances (as ghosts) translated like psychic mediums, the power of trauma and our karmic relationship to community, justice and healing. It is interwoven with a semi-documentary project with interviews about death, and a live (ghost) work about living and dying."
Imogen Taylor, ISCP residency
ISCP, New York, USA
01 July —
30 September 2022
After being postponed from 2020, Aotearoa artist Imogen Taylor's residency at The International Studio & Curatorial Program (ISCP) in New York City resumes on 1 July and runs until 30 September 2022.
ISCP supports the creative development of artists and curators, and promotes exchange through residencies and public programs. Housed in a former factory in Brooklyn, with 35 light-filled work studios, two galleries, and a project space, ISCP is New York’s most comprehensive international visual arts residency program, founded in 1994.
After being postponed from 2020, Aotearoa artist Imogen Taylor's residency at The International Studio & Curatorial Program (ISCP) in New York City resumes on 1 July and runs until 30 September 2022.
ISCP supports the creative development of artists and curators, and promotes exchange through residencies and public programs. Housed in a former factory in Brooklyn, with 35 light-filled work studios, two galleries, and a project space, ISCP is New York’s most comprehensive international visual arts residency program, founded in 1994.
Jess Johnson, Core Dump
Jack Hanley Gallery, New York, USA
25 March —
23 April 2022
Jess Johnson (b. 1979 in Tauranga, New Zealand) lives and works in New York City. Johnson’s optical, graphical explorations envision a dystopian space. The fastidiously rendered complex drawings merge 1980’s video games with a very sophisticated spatial awareness. Johnson is particularly intrigued by the notion of “world-building.” Her colorful works are like hypnotic rock posters with their flattened perspective and inviting fantasy world of astral planes. In this mind-twitching alternative virtual reality, the artist aims to show “architectural monu- ments’ of some alien civilization and are populated with contorted humanoid figures and bat-faced aliens.” We are taught to think that reality is fixed, but Johnson approaches it as a multidimensional and ever-changing. Her works explore the bounds of technology and multiple futures, and through her nonthreatening virtual reality, we have a connecting force through which we can dissolve boundaries. Core Dump is Johnson's third exhibition with Jack Hanley Gallery.
Jess Johnson (b. 1979 in Tauranga, New Zealand) lives and works in New York City. Johnson’s optical, graphical explorations envision a dystopian space. The fastidiously rendered complex drawings merge 1980’s video games with a very sophisticated spatial awareness. Johnson is particularly intrigued by the notion of “world-building.” Her colorful works are like hypnotic rock posters with their flattened perspective and inviting fantasy world of astral planes. In this mind-twitching alternative virtual reality, the artist aims to show “architectural monu- ments’ of some alien civilization and are populated with contorted humanoid figures and bat-faced aliens.” We are taught to think that reality is fixed, but Johnson approaches it as a multidimensional and ever-changing. Her works explore the bounds of technology and multiple futures, and through her nonthreatening virtual reality, we have a connecting force through which we can dissolve boundaries. Core Dump is Johnson's third exhibition with Jack Hanley Gallery.