Calendar
Calendar
The HUM calendar features exhibitions & events by New Zealand arts practitioners working or living abroad.
Luke Willis Thompson, The Mouth is for Speaking
Löwenbräukunst, Zurich, Switzerland
03 March —
28 May 2022
The Mouth is for Speaking brings together contemporary positions that deal with the issue of human rights, especially freedom of expression. Quoting cultural critic and writer Olivia Laing, "The mouth is for speaking, how do you speak if no one’s listening, how do you speak if your voice is prohibited, or no one understands your tongue?"
The Mouth is for Speaking brings together contemporary positions that deal with the issue of human rights, especially freedom of expression. Quoting cultural critic and writer Olivia Laing, "The mouth is for speaking, how do you speak if no one’s listening, how do you speak if your voice is prohibited, or no one understands your tongue?"
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.
Denise Batchelor, Miranda Parkes and Janine Randerson, Experiment 120
OORtreders Festival 2022, Pelt, Belgium
21 October —
23 October 2022
Experiment 120, a programme of experimental films for children, presents a selection of very short films around water and sound art for all ages at OORtreders Festival in Pelt, Belgium. The programme includes artworks Patrick Bokanowski, Pierre Bastien, Elena Duque, République Géniale, Wasser Biennale, Jordyn Stewart, Maki Satake, Florence Cha Cayron, and Aotearoa artists Denise Batchelor, Miranda Parkes and Janine Randerson. Get ready to travel, for 40 minutes, along the paths of water and sound through pools, boats, and glaciers; but also through jellyfish beds, singing rivers, and artificial landscapes, with a selection of films that celebrate experimentation in many poetic, sonic, and visual aspects.
Experiment 120, a programme of experimental films for children, presents a selection of very short films around water and sound art for all ages at OORtreders Festival in Pelt, Belgium. The programme includes artworks Patrick Bokanowski, Pierre Bastien, Elena Duque, République Géniale, Wasser Biennale, Jordyn Stewart, Maki Satake, Florence Cha Cayron, and Aotearoa artists Denise Batchelor, Miranda Parkes and Janine Randerson. Get ready to travel, for 40 minutes, along the paths of water and sound through pools, boats, and glaciers; but also through jellyfish beds, singing rivers, and artificial landscapes, with a selection of films that celebrate experimentation in many poetic, sonic, and visual aspects.
Peter Stichbury, Limited hangout
Fine Arts Sydney, Sydney, Australia
21 October —
03 December 2022
For his second solo exhibition with Fine Arts, Sydney, Peter Stichbury presents a series of paintings, each depicting an allusive single figure and are counterposing in scale. Using the pictorial conventions of traditional portraiture and exacting oil painting technique, Stichbury's paintings are constituted from the study of real, depicted, and imagined figures; his subjects are typically composites of images and identities drawn together from sources found in photographic media, as well as narrative-based material and images in the public domain. With sequent bodies of work over recent years, Stichbury has painted a cast of subjects whose portrait-like representations speak softly to the artist’s thematic interest in the observance of consciousness.
For his second solo exhibition with Fine Arts, Sydney, Peter Stichbury presents a series of paintings, each depicting an allusive single figure and are counterposing in scale. Using the pictorial conventions of traditional portraiture and exacting oil painting technique, Stichbury's paintings are constituted from the study of real, depicted, and imagined figures; his subjects are typically composites of images and identities drawn together from sources found in photographic media, as well as narrative-based material and images in the public domain. With sequent bodies of work over recent years, Stichbury has painted a cast of subjects whose portrait-like representations speak softly to the artist’s thematic interest in the observance of consciousness.
Rea Burton and Meg Porteous, Birds
Neon Parc, Melbourne, Australia
21 October —
19 November 2022
Neon Parc presents Birds, a two-person exhibition of new work by Aotearoa-based artists Rea Burton and Meg Porteous. In Birds, Burton and Porteous use the city pigeon, which congregate outside the window of their shared studio, as a subject and muse for the exhibition. Burton and Porteous present these two bodies of work alongside a new, collaborative short film titled Nancy Treadler (2022), in which they position themselves as directors, casting pigeons and friends as talent in a theatrical mimicry of the art world the artists occupy.
Neon Parc presents Birds, a two-person exhibition of new work by Aotearoa-based artists Rea Burton and Meg Porteous. In Birds, Burton and Porteous use the city pigeon, which congregate outside the window of their shared studio, as a subject and muse for the exhibition. Burton and Porteous present these two bodies of work alongside a new, collaborative short film titled Nancy Treadler (2022), in which they position themselves as directors, casting pigeons and friends as talent in a theatrical mimicry of the art world the artists occupy.
Pippa Blake, Undercurrents
Cromwell Place, London & Candida Stevens Gallery, Chichester
18 October —
11 November 2022
In Undercurrents, painter Pippa Blake presents a new body of work exploring creeks, streams, and rivers. Born from the centrality of voyaging by sea, land, and air to the artist’s life and career, this collection of paintings looks at waterways as routes of travel for humans, non-humans, and elemental forces alike. Many of the works in Undercurrents quietly touch on the sinister side of nature, creating a subtle tension between the beautiful and the unknown encapsulated in the reflective surfaces of apparently tranquil water.
This exhibition will run from 18 - 23 October in Gallery 3, Cromwell Place, London and 29 October - 11 November at Candida Stevens Gallery, Chichester. Some of the work will be shown at British Art Fair, Saatchi Gallery 29 September - 2 October.
In Undercurrents, painter Pippa Blake presents a new body of work exploring creeks, streams, and rivers. Born from the centrality of voyaging by sea, land, and air to the artist’s life and career, this collection of paintings looks at waterways as routes of travel for humans, non-humans, and elemental forces alike. Many of the works in Undercurrents quietly touch on the sinister side of nature, creating a subtle tension between the beautiful and the unknown encapsulated in the reflective surfaces of apparently tranquil water.
This exhibition will run from 18 - 23 October in Gallery 3, Cromwell Place, London and 29 October - 11 November at Candida Stevens Gallery, Chichester. Some of the work will be shown at British Art Fair, Saatchi Gallery 29 September - 2 October.
Simon Denny, Dotcom Séance
Now Building, London, UK
16 October —
04 December 2022
Simon Denny's major public project Dotcom Séance is an expansive digital installation reflecting core facets of the artist's work, which explores technology’s sustained influence upon global cultural and political development, with particular focus on the tech industry. For this project, Denny has selected 21 dotcom era companies declared ‘dead’ in the wake of the ostensible dotcom crash in the early 2000s, with the purpose of “resurrecting” their existence as it stands in a contemporary setting. Presented every Sunday from 12 pm – 6 pm in the Now Building on Tottenham Court Road in London.
Simon Denny's major public project Dotcom Séance is an expansive digital installation reflecting core facets of the artist's work, which explores technology’s sustained influence upon global cultural and political development, with particular focus on the tech industry. For this project, Denny has selected 21 dotcom era companies declared ‘dead’ in the wake of the ostensible dotcom crash in the early 2000s, with the purpose of “resurrecting” their existence as it stands in a contemporary setting. Presented every Sunday from 12 pm – 6 pm in the Now Building on Tottenham Court Road in London.
Brian Fuata at Singapore Biennale 2022
Tanjong Pagar Distripark and various locations, Singapore
16 October 2022 —
19 March 2023
At the seventh edition of the Singapore Biennale, named Natasha, Brian Fuata will present Untitled (Intermission) (2022), a series of structured improvisations comprising spoken word, vocalised sounds, and movements.
The new work is a continuation of Fuata’s previous work Intermission (first staged at the ANTI Festival in Finland) and, taking place during the opening week of the Biennale, is grounded by the kinesthetic practice of BodyWeather. BodyWeather is a philosophical approach to performance founded in the early 1980s by Japanese dancer Min Tanaka. This approach conceives the body not as a stable unitary subject, but a changing and complex system of forces, like the weather. This performance is also framed by the concept of autophagy, a metabolic process of renewal by removing old components, in which each successive performance builds upon and deletes components from the previous iteration.
At the seventh edition of the Singapore Biennale, named Natasha, Brian Fuata will present Untitled (Intermission) (2022), a series of structured improvisations comprising spoken word, vocalised sounds, and movements.
The new work is a continuation of Fuata’s previous work Intermission (first staged at the ANTI Festival in Finland) and, taking place during the opening week of the Biennale, is grounded by the kinesthetic practice of BodyWeather. BodyWeather is a philosophical approach to performance founded in the early 1980s by Japanese dancer Min Tanaka. This approach conceives the body not as a stable unitary subject, but a changing and complex system of forces, like the weather. This performance is also framed by the concept of autophagy, a metabolic process of renewal by removing old components, in which each successive performance builds upon and deletes components from the previous iteration.
Anh Trần, Now that we have settled by the water’s edge
Galerie Fons Welters, Amsterdam, the Netherlands
15 October —
09 November 2022
Anh Trần's new solo show at Galerie Fons Welters in Amsterdam draws on the history of Western postwar painting, including American Abstract Expressionism and 1980s German abstractionism. Rather than mine the discursive, theoretical, or technical aspects of this history, the artist responds to the emotive quality of these works. Trần is interested in liberating the expressive capacity of painting from formal and academic stricture and in decentering art history to question the false dualisms of original and replica, centre and periphery, authenticity and forgery, while also responding to Western modernism's appropriation of other aesthetic traditions.
Anh Trần's new solo show at Galerie Fons Welters in Amsterdam draws on the history of Western postwar painting, including American Abstract Expressionism and 1980s German abstractionism. Rather than mine the discursive, theoretical, or technical aspects of this history, the artist responds to the emotive quality of these works. Trần is interested in liberating the expressive capacity of painting from formal and academic stricture and in decentering art history to question the false dualisms of original and replica, centre and periphery, authenticity and forgery, while also responding to Western modernism's appropriation of other aesthetic traditions.
Yuki Kihara and Ngahuia Te Awekotuku, TALANOA FORUM: Swimming Against the Tide
Online & Venice, Italy & Leiden/Amsterdam, the Netherlands
11 October —
19 October 2022
As an extension of Paradise Camp presented at the New Zealand Pavilion curated by Natalie King as part of the 59th International Art Exhibition of La Biennale di Venezia, artist Yuki Kihara has organised the Talanoa Forum in close partnership with Natalie King (University of Melbourne), Francesca Tarocco (NICHE, Ca’ Foscari University of Venice), Cristina Baldacci (Ca’ Foscari University of Venice), Wonu Veys & Erna Lilje (National Museum of World Cultures, The Netherlands).
Talanoa Forum is an artist-led gathering that aggregates artists, curators, scholars, activists, community leaders and policymakers to extend the themes from Paradise Camp into a series of critical talanoa/conversations. Its title Swimming Against the Tide is lifted from a quote by the late Māori New Zealand filmmaker Merata Mita, whose work explored the political tensions in Aotearoa New Zealand during the 1970s and the 80s which brought issues such as Indigenous sovereignty and gender equality to the fore. Talanoa Forum is a hybrid format with online talanoa presented in September and in-person talanoa presented in Venice, Italy on 11/12/13 October and Leiden/Amsterdam, the Netherlands on 15-19 October 2022.
As an extension of Paradise Camp presented at the New Zealand Pavilion curated by Natalie King as part of the 59th International Art Exhibition of La Biennale di Venezia, artist Yuki Kihara has organised the Talanoa Forum in close partnership with Natalie King (University of Melbourne), Francesca Tarocco (NICHE, Ca’ Foscari University of Venice), Cristina Baldacci (Ca’ Foscari University of Venice), Wonu Veys & Erna Lilje (National Museum of World Cultures, The Netherlands).
Talanoa Forum is an artist-led gathering that aggregates artists, curators, scholars, activists, community leaders and policymakers to extend the themes from Paradise Camp into a series of critical talanoa/conversations. Its title Swimming Against the Tide is lifted from a quote by the late Māori New Zealand filmmaker Merata Mita, whose work explored the political tensions in Aotearoa New Zealand during the 1970s and the 80s which brought issues such as Indigenous sovereignty and gender equality to the fore. Talanoa Forum is a hybrid format with online talanoa presented in September and in-person talanoa presented in Venice, Italy on 11/12/13 October and Leiden/Amsterdam, the Netherlands on 15-19 October 2022.
Dan Arps, Parallel Universe
Neon Parc, Melbourne, Australia
07 October —
05 November 2022
Parallel Universe is an installation of new work by Tāmaki Makaurau Auckland-based Dan Arps that uses the formal language of suburban fencing to explore concepts of boundaries, porousity and neighbourliness. For Parallel Universe, Arps presents a suite of new, ambitious, yet understated sculptural works, examining the domestic ramparts that delineate between public and private spaces, and thus, become markers for the division of capital.
Parallel Universe is an installation of new work by Tāmaki Makaurau Auckland-based Dan Arps that uses the formal language of suburban fencing to explore concepts of boundaries, porousity and neighbourliness. For Parallel Universe, Arps presents a suite of new, ambitious, yet understated sculptural works, examining the domestic ramparts that delineate between public and private spaces, and thus, become markers for the division of capital.
Taipei Popcorn, L’œil du cyclone (Eye of the Cyclone)
Le Lieu Unique, Nantes, France
07 October 2022 —
08 January 2023
The exhibition Eye of the Cyclone explores Taiwan’s vibrant and diverse contemporary art scene, echoing the daily concerns of its population, as well as the interactions between the island and its environment. This exhibition presents ordinary, everyday life where celebrations and disaster coexist, and lingers on the interactions between the individual and the collective in our globalised world. How should we react to environmental change, or to being tossed about by surrounding political storms? How are we to form an opinion in a whirlwind of information that mixes fact and fiction?
Somewhere between tradition and anticipation, these 15 works by contemporary artists paint a cultural portrait of Taiwan while exploring the frontiers of contemporary imagination.
The exhibition Eye of the Cyclone explores Taiwan’s vibrant and diverse contemporary art scene, echoing the daily concerns of its population, as well as the interactions between the island and its environment. This exhibition presents ordinary, everyday life where celebrations and disaster coexist, and lingers on the interactions between the individual and the collective in our globalised world. How should we react to environmental change, or to being tossed about by surrounding political storms? How are we to form an opinion in a whirlwind of information that mixes fact and fiction?
Somewhere between tradition and anticipation, these 15 works by contemporary artists paint a cultural portrait of Taiwan while exploring the frontiers of contemporary imagination.
Ella Sutherland, Speaker of the House
Futures Gallery, Melbourne, Australia
06 October —
05 November 2022
For Speaker of the House Sutherland has created a suite of robust and lively paintings in the tradition of hard-edge abstraction which think through the forms of politics and engage strategies of queering. The artist considers politics in an abstract manner, focussing on the systems by which decisions are recorded, collated and archived. Through this process, two characters emerge: the 'speaker' and the 'voter'. The design of paper ballots and parliamentary architecture is used by the artist as compositional devices which is interrupted with 'bad' data, shapes, numbers and forms; elements that relate to the more volatile participants active within this system.
For Speaker of the House Sutherland has created a suite of robust and lively paintings in the tradition of hard-edge abstraction which think through the forms of politics and engage strategies of queering. The artist considers politics in an abstract manner, focussing on the systems by which decisions are recorded, collated and archived. Through this process, two characters emerge: the 'speaker' and the 'voter'. The design of paper ballots and parliamentary architecture is used by the artist as compositional devices which is interrupted with 'bad' data, shapes, numbers and forms; elements that relate to the more volatile participants active within this system.
Kaaterina Kerekere, Kereama Taepa and Johnson Witehira at Nuit Blanche
various locations, Toronto, Canada
01 October 2022
For one night only, 150 artists animate Etobicoke, downtown Toronto, North York, for Nuit Blanche, the city’s all-night celebration of contemporary art. Led by inaugural Artistic Director Dr. Julie Nagam, this year’s curatorial theme, The Space Between Us, invites artists to transform the city by creatively sharing stories about their connection to place while bridging cultures and connecting with communities and the environment. Aotearoa artists Kaaterina Kerekere, Kereama Taepa and Johnson Witehira present VR works at the event.
For one night only, 150 artists animate Etobicoke, downtown Toronto, North York, for Nuit Blanche, the city’s all-night celebration of contemporary art. Led by inaugural Artistic Director Dr. Julie Nagam, this year’s curatorial theme, The Space Between Us, invites artists to transform the city by creatively sharing stories about their connection to place while bridging cultures and connecting with communities and the environment. Aotearoa artists Kaaterina Kerekere, Kereama Taepa and Johnson Witehira present VR works at the event.
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."
Milarky, Spaced Out
Nomadic Art Gallery, Herent, Belgium
24 September —
31 October 2022
In our era of post-post modernism, the accompanying technologization and climate threat, many fellow humans are tormented and therefore fueled by the desire to escape into a dream world. The exhibition 'Spaced out' attempts to map the anthropocentric bias of this age by literally and figuratively fleeing from it. The impending tension that the exhibition interprets is recognizable to all, and its quest yields enigmatic, mesmerizing works created by New Plymouth-based street art phenomenon Milarky. The works evoke a longing for peace, ecstasy or a kind of absorption in nature or self-imagined world; in yet others, that longing is obscured by a kind of voyeuristic loneliness, dark fatalism or existential doubt. These works push the conceptual and spiritual limits of the all-encompassing connations of the universe, pictured in a visual way.
In our era of post-post modernism, the accompanying technologization and climate threat, many fellow humans are tormented and therefore fueled by the desire to escape into a dream world. The exhibition 'Spaced out' attempts to map the anthropocentric bias of this age by literally and figuratively fleeing from it. The impending tension that the exhibition interprets is recognizable to all, and its quest yields enigmatic, mesmerizing works created by New Plymouth-based street art phenomenon Milarky. The works evoke a longing for peace, ecstasy or a kind of absorption in nature or self-imagined world; in yet others, that longing is obscured by a kind of voyeuristic loneliness, dark fatalism or existential doubt. These works push the conceptual and spiritual limits of the all-encompassing connations of the universe, pictured in a visual way.
Anh Trần, Is it morning for you yet?, 58th Carnegie International
Carnegie Museum of Art, Pittsburgh, USA
24 September 2022 —
02 April 2023
The 58th Carnegie International, which is titled Is it morning for you yet? unfolds along two conceptual overlapping currents: historical works from the collections of international institutions, estates, and artists, alongside new commissions and recent works by contemporary artists, including Aotearoa artist Anh Trần.
Organised by Sohrab Mohebbi, the Kathe and Jim Patrinos Curator of the 58th Carnegie International, and associate curator Ryan Inouye with curatorial assistant Talia Heiman, the exhibition traces the geopolitical imprint of the United States since 1945 to situate the “international” within a local context. The exhibition borrows its title from a Mayan Kaqchikel expression, where instead of saying “Good morning” it is customary to ask, “Is it morning for you yet?” Inspired by a conversation with artist Édgar Calel, who will present a new commission for the show, Is it morning for you yet? acknowledges that human beings’ internal clocks and experiences are different: when it’s morning for some, it might still be night for others.
The 58th Carnegie International, which is titled Is it morning for you yet? unfolds along two conceptual overlapping currents: historical works from the collections of international institutions, estates, and artists, alongside new commissions and recent works by contemporary artists, including Aotearoa artist Anh Trần.
Organised by Sohrab Mohebbi, the Kathe and Jim Patrinos Curator of the 58th Carnegie International, and associate curator Ryan Inouye with curatorial assistant Talia Heiman, the exhibition traces the geopolitical imprint of the United States since 1945 to situate the “international” within a local context. The exhibition borrows its title from a Mayan Kaqchikel expression, where instead of saying “Good morning” it is customary to ask, “Is it morning for you yet?” Inspired by a conversation with artist Édgar Calel, who will present a new commission for the show, Is it morning for you yet? acknowledges that human beings’ internal clocks and experiences are different: when it’s morning for some, it might still be night for others.
Francis Upritchard, A Loose Hold
Kunsthaus Pasquart, Biel, Switzerland
18 September —
20 November 2022
On the 18th of September, a new site-specific piece by Francis Upritchard will be on view at Kunsthaus Pasquart. Kunsthaus Pasquart provides visitors of all ages with access to contemporary art through exhibitions, publications, events and its art education programme. Upritchard’s work draws on craft traditions and design, combining references from science fiction and folklore to ancient sculptures and the animal kingdom.
There will be an artist talk on the 17th September at 4pm.
On the 18th of September, a new site-specific piece by Francis Upritchard will be on view at Kunsthaus Pasquart. Kunsthaus Pasquart provides visitors of all ages with access to contemporary art through exhibitions, publications, events and its art education programme. Upritchard’s work draws on craft traditions and design, combining references from science fiction and folklore to ancient sculptures and the animal kingdom.
There will be an artist talk on the 17th September at 4pm.
Sriwhana Spong, 17th Istanbul Biennial
Pera Museum, Istanbul, Turkey
17 September —
20 November 2022
Postponed from 2021, the 17th edition of the Istanbul Biennial is curated by Ute Meta Bauer, Amar Kanwar and David Teh, and invites a wide range of artists and other initiatives to share and develop the raw elements of their practices for this year's event, including London-based Aotearoa artist Sriwhana Spong.
Spong's new body of work This Tree is Mine! consists of objects, performance and film, and takes as its points of departure the dreams of two important women in early Sufi mysticism of the 8th and 9th centuries that both feature a tree, and bear a resemblance to one dreamt by the artist herself. This resonance launched an investigation into how our past, present, and futures are connected not only to the biological functions and material presence of trees but also to what they symbolise in our dreaming and waking lives.
This Tree is Mine! is located within the Pera Museum, Meşrutiyet Caddesi No: 65 Tepebaşı, Beyoğlu. Performances take place every Saturday at 3pm.
Postponed from 2021, the 17th edition of the Istanbul Biennial is curated by Ute Meta Bauer, Amar Kanwar and David Teh, and invites a wide range of artists and other initiatives to share and develop the raw elements of their practices for this year's event, including London-based Aotearoa artist Sriwhana Spong.
Spong's new body of work This Tree is Mine! consists of objects, performance and film, and takes as its points of departure the dreams of two important women in early Sufi mysticism of the 8th and 9th centuries that both feature a tree, and bear a resemblance to one dreamt by the artist herself. This resonance launched an investigation into how our past, present, and futures are connected not only to the biological functions and material presence of trees but also to what they symbolise in our dreaming and waking lives.
This Tree is Mine! is located within the Pera Museum, Meşrutiyet Caddesi No: 65 Tepebaşı, Beyoğlu. Performances take place every Saturday at 3pm.
Virginia Leonard, Composition & Layout: Contemporary Design & Objects
Mindy Solomon Gallery, Miami, USA
17 September —
22 October 2022
Mindy Solomon presents an exhibition highlighting a selection of furniture, lighting, textile and objects culled from an array of artisans and designers from across the United States, Latin America, Europe, Asia, New Zealand and Australia. With a focus on the handmade, viewers will be able to experience a tactile exploration of form and function from a gallerist perspective.
Mindy Solomon presents an exhibition highlighting a selection of furniture, lighting, textile and objects culled from an array of artisans and designers from across the United States, Latin America, Europe, Asia, New Zealand and Australia. With a focus on the handmade, viewers will be able to experience a tactile exploration of form and function from a gallerist perspective.
André Hemer, Phenomena
LUIS DE JESUS, Los Angeles, USA
17 September —
29 October 2022
André Hemer’s newest body of work, and his third solo exhibition with the gallery, was conceived while the artist was in residence at the SARP Foundation in Sicily during 2022 – a programme which facilitates artists to develop work onsite at Palazzo Previtera, built in 1649 at the foothills of Mount Etna. The works in this exhibition represent this beautiful but complex environment as both a moment in time, but also as a palimpsest of nature and contemporary artefact; incorporating the backdrop of the continually smoking volcano, a European heatwave, as well as the occasional sandstorm carried across the Mediterranean from the Sahara.
André Hemer’s newest body of work, and his third solo exhibition with the gallery, was conceived while the artist was in residence at the SARP Foundation in Sicily during 2022 – a programme which facilitates artists to develop work onsite at Palazzo Previtera, built in 1649 at the foothills of Mount Etna. The works in this exhibition represent this beautiful but complex environment as both a moment in time, but also as a palimpsest of nature and contemporary artefact; incorporating the backdrop of the continually smoking volcano, a European heatwave, as well as the occasional sandstorm carried across the Mediterranean from the Sahara.
Karma Barnes and Sarah Hudson, Wild Pigment Project
form and concept, Santa Fe, USA
17 September —
03 December 2022
Wild Pigment Project promotes ecological balance and regenerative economies through a passion for wild pigments, their places of origin, and their cultural histories. The project connects artists to the land by providing resources, education and inspiration to integrate plant and mineral pigments, hand-gathered and prepared in local landscapes, into studio practice.
Wild Pigment Project promotes ecological balance and regenerative economies through a passion for wild pigments, their places of origin, and their cultural histories. The project connects artists to the land by providing resources, education and inspiration to integrate plant and mineral pigments, hand-gathered and prepared in local landscapes, into studio practice.
Simon Denny, POST-CAPITAL: Art and the Economics of the Digital Age
Kunsthal Charlottenborg, Copenhagen, Denmark
17 September 2022 —
15 January 2023
POST-CAPITAL brings together works of sculpture, painting, photography, video and performance that address the nature of production, consumption and wealth. Developed within a period of significant change and uncertainty, the exhibition takes as its starting point the inherent paradox within a capitalist system that is both dependent upon and threatened by technological progress.
Today, forms of labour, currency, commodities and the nature of consumption have been dramatically transformed by technologies that continue to evolve. Multinational information technology and e-commerce firms are amongst the highest-valued publicly traded companies. Information that is both abundant and infinitely replicable has become a valuable commodity that defies traditional economic principles, whereby value is determined by scarcity. POST-CAPITAL presents works by twenty-one artists that variously explore the aesthetics, paradoxes, absurdities and ethical questions posed by post-industrial and perhaps post-capital economies.
POST-CAPITAL brings together works of sculpture, painting, photography, video and performance that address the nature of production, consumption and wealth. Developed within a period of significant change and uncertainty, the exhibition takes as its starting point the inherent paradox within a capitalist system that is both dependent upon and threatened by technological progress.
Today, forms of labour, currency, commodities and the nature of consumption have been dramatically transformed by technologies that continue to evolve. Multinational information technology and e-commerce firms are amongst the highest-valued publicly traded companies. Information that is both abundant and infinitely replicable has become a valuable commodity that defies traditional economic principles, whereby value is determined by scarcity. POST-CAPITAL presents works by twenty-one artists that variously explore the aesthetics, paradoxes, absurdities and ethical questions posed by post-industrial and perhaps post-capital economies.
Talia Smith and Edith Amituanai, The Salt of the Earth
Singapore International Photography Festival, Singapore
16 September —
30 October 2022
The Salt of the Earth is a group exhibition that explores the way in which family and the ties that bind, shape and inform who we are. From family archives to the way culture is presented in migrant lounge rooms to objects that represent the strength of culture and love to the grief of losing a mother who represented your connection to culture, each artist takes their lived experiences to show the inextricable way that our familial histories – no matter how hard or easy those relationships may be – continue to shape us. Although there are common threads that can be woven throughout each artist’s work, The Salt of the Earth as an exhibition aims to assert that families are multifaceted and complex, and perhaps the true beauty is within the way that our different experiences are celebrated.
Curated by Talia Smith and featuring the work of Edith Amituanai. There will be a public talk with Talia Smith on the 18th of September, from 4-5 pm. More info on the SIPF website.
The Salt of the Earth is a group exhibition that explores the way in which family and the ties that bind, shape and inform who we are. From family archives to the way culture is presented in migrant lounge rooms to objects that represent the strength of culture and love to the grief of losing a mother who represented your connection to culture, each artist takes their lived experiences to show the inextricable way that our familial histories – no matter how hard or easy those relationships may be – continue to shape us. Although there are common threads that can be woven throughout each artist’s work, The Salt of the Earth as an exhibition aims to assert that families are multifaceted and complex, and perhaps the true beauty is within the way that our different experiences are celebrated.
Curated by Talia Smith and featuring the work of Edith Amituanai. There will be a public talk with Talia Smith on the 18th of September, from 4-5 pm. More info on the SIPF website.
Raewyn Turner and Brian Harris, Sensoria. The Art and Science of our Senses
LAZNIA Centre for Contemporary Art, Gdansk, Poland and York University, Toronto, Canada
16 September —
30 October 2022
Sensoria: The Art and Science of Our Senses is a multi-site exhibition and hybrid symposium that bridges LAZNIA Centre for Contemporary Art (LCCA) in Gdansk, Poland and Sensorium: Centre for Digital Arts & Technology at York University in Toronto, Canada. Held simultaneously in both locations, the exhibition and symposium engage multi-sensory research that revitalises our sensory connections to our surroundings, through and despite technological tools, networks and latencies.
Sensoria is co-curated by distinguished curator Nina Czegledy and Sensorium director Joel Ong, with the support of assistant curators Eva Lu and Cleo Sallis-Parchet. The project explores the intersection of art, science and the senses, bringing together an international network of artists: Guy van Belle, Roberta Buiani, Lorella Di Cintio, Grace Grothaus, Kavi, Hrysovalanti Maheras, Agnes Meyer-Brandis, Gayil Nalls, Michael Palumbo, Michaela Pnacekova, Raewyn Turner and Brian Harris.
Sensoria: The Art and Science of Our Senses is a multi-site exhibition and hybrid symposium that bridges LAZNIA Centre for Contemporary Art (LCCA) in Gdansk, Poland and Sensorium: Centre for Digital Arts & Technology at York University in Toronto, Canada. Held simultaneously in both locations, the exhibition and symposium engage multi-sensory research that revitalises our sensory connections to our surroundings, through and despite technological tools, networks and latencies.
Sensoria is co-curated by distinguished curator Nina Czegledy and Sensorium director Joel Ong, with the support of assistant curators Eva Lu and Cleo Sallis-Parchet. The project explores the intersection of art, science and the senses, bringing together an international network of artists: Guy van Belle, Roberta Buiani, Lorella Di Cintio, Grace Grothaus, Kavi, Hrysovalanti Maheras, Agnes Meyer-Brandis, Gayil Nalls, Michael Palumbo, Michaela Pnacekova, Raewyn Turner and Brian Harris.
Jen Valender, Mixed Methodologies, Picture Berlin Artist Residency
WIRWIR Gallery Berlin-Neukölln, Germany
16 September —
18 September 2022
A group exhibition for Berlin’s Art Week featuring PICTURE BERLIN's Spring Session residents, including Aotearoa artist Jen Valender. The exhibition considers the methodologies around and behind collage, and how it relates to an artistic practice. The works span a wide breadth of mediums including spoken word, photography, interactive performance, video and sculpture.
A group exhibition for Berlin’s Art Week featuring PICTURE BERLIN's Spring Session residents, including Aotearoa artist Jen Valender. The exhibition considers the methodologies around and behind collage, and how it relates to an artistic practice. The works span a wide breadth of mediums including spoken word, photography, interactive performance, video and sculpture.
Yota Ayaan, myoo-choo-uh-liz-uhm
Espaço Pontes, Fundão, Portugal
15 September —
04 November 2022
Machine intelligence and the interdependence of natural and non-natural substance is approached through a system of electronics and clay. Two channels of speakers. Matter that vibrates. Objects that perform and speak. Formless bodies of raw clay. Expanding liquid skin coating electronic networks. Clay as living matter. Sound as invisible skin. Coexisting compounds. A cyborg.
Yota Ayaan and Inês Teles' exhibition is the result of ongoing interaction and site visits to Fundão.
Machine intelligence and the interdependence of natural and non-natural substance is approached through a system of electronics and clay. Two channels of speakers. Matter that vibrates. Objects that perform and speak. Formless bodies of raw clay. Expanding liquid skin coating electronic networks. Clay as living matter. Sound as invisible skin. Coexisting compounds. A cyborg.
Yota Ayaan and Inês Teles' exhibition is the result of ongoing interaction and site visits to Fundão.
Gill Gatfield, Artist Talk
Palazzo Bembo, Venice, Italy
14 September —
15 September 2022
New Zealand sculptor Gill Gatfield presents two artist talks on UNITY, from ancient worlds to the metaverse, a philosophy and practice explored in two precisely sited sculptures - the precious miniature Harmony at the 15th century Palazzo Bembo and the digital monument Native Tongue XR at Marinaressa Gardens on the monumental Venetian promenade.
Wednesday 14th September from 17:00 Harmony at Palazzo Bembo
Thursday 15th September from 17:00 Native Tongue XR at Marinaressa Gardens – Levante.
New Zealand sculptor Gill Gatfield presents two artist talks on UNITY, from ancient worlds to the metaverse, a philosophy and practice explored in two precisely sited sculptures - the precious miniature Harmony at the 15th century Palazzo Bembo and the digital monument Native Tongue XR at Marinaressa Gardens on the monumental Venetian promenade.
Wednesday 14th September from 17:00 Harmony at Palazzo Bembo
Thursday 15th September from 17:00 Native Tongue XR at Marinaressa Gardens – Levante.
Robbie Motion, Bodily Incarnations
Nomadic Art Gallery, Online
13 September —
30 October 2022
"Bodily Incarnation", a term coined by Deleuze's in his interpretation of the work ("The logic of Sensation") of English painter Francis Bacon, brings to mind the idea of descent (the spirit coming down) and flesh (the spiritual clothed in the body). Descent implies a movement in time and body, a destination. The seven drawings from Wellington-based artist Robbie Motion on display catapult the spectator into a bizarre and dream like environment where a serene play between attraction-repulsion, time-space, motion-stilness and body-mind arises.
"Bodily Incarnation", a term coined by Deleuze's in his interpretation of the work ("The logic of Sensation") of English painter Francis Bacon, brings to mind the idea of descent (the spirit coming down) and flesh (the spiritual clothed in the body). Descent implies a movement in time and body, a destination. The seven drawings from Wellington-based artist Robbie Motion on display catapult the spectator into a bizarre and dream like environment where a serene play between attraction-repulsion, time-space, motion-stilness and body-mind arises.
Taipei Popcorn, 1972, Toffler – Su Hui-Yu Solo Exhibition
Double Square Gallery, Taipei, Taiwan
13 September —
29 October 2022
Double Square Gallery presents 1972, Toffler – Su Hui-Yu Solo Exhibition, the artist's third solo exhibition at the gallery, which includes work featuring legendary drag artist Taipei Popcorn, from Aotearoa New Zealand.
A sequel to Su’s Future Shock (2019), the exhibition features a brand-new video installation, photographic works, and sketches. The main work showcased in the exhibition, a video installation titled Toffler, Oliver, and the Last Man on Earth (2022), draws inspiration from Alvin Toffler’s 1970 masterpiece, Future Shock, and is created with the approach of “re-shooting” – Su’s signature creative method, which has become well-known in recent years – to embed imagination of the future from the 1970s in a contemporary context, and further lead the audience into an imaginary sci-fi world of “the future from the past” by interweaving human fragility, advancement and evolution of modern information technology with predictions about life and politics.
Double Square Gallery presents 1972, Toffler – Su Hui-Yu Solo Exhibition, the artist's third solo exhibition at the gallery, which includes work featuring legendary drag artist Taipei Popcorn, from Aotearoa New Zealand.
A sequel to Su’s Future Shock (2019), the exhibition features a brand-new video installation, photographic works, and sketches. The main work showcased in the exhibition, a video installation titled Toffler, Oliver, and the Last Man on Earth (2022), draws inspiration from Alvin Toffler’s 1970 masterpiece, Future Shock, and is created with the approach of “re-shooting” – Su’s signature creative method, which has become well-known in recent years – to embed imagination of the future from the 1970s in a contemporary context, and further lead the audience into an imaginary sci-fi world of “the future from the past” by interweaving human fragility, advancement and evolution of modern information technology with predictions about life and politics.
Lisa Walker, An den Zäunen Rüttelnd
Galerie Belleparais, Munich, Germany
09 September —
12 November 2022
An den Zäunen Rüttelnd is a group show curated by Valio Tchenkov, featuring five artists: Stephan Conrady, Benedikt Grahl, Pravdoliub Ivanov, Valio Tchenkov and Aotearoa artist Lisa Walker. The exhibition deals with the contradictions, resistance and demarcations between different aesthetic positions and categories within art, exploring questions related to discrepancies between artist and artwork, good taste and current political themes.
An den Zäunen Rüttelnd is a group show curated by Valio Tchenkov, featuring five artists: Stephan Conrady, Benedikt Grahl, Pravdoliub Ivanov, Valio Tchenkov and Aotearoa artist Lisa Walker. The exhibition deals with the contradictions, resistance and demarcations between different aesthetic positions and categories within art, exploring questions related to discrepancies between artist and artwork, good taste and current political themes.