Calendar
Calendar
The HUM calendar features exhibitions & events by New Zealand arts practitioners working or living abroad.
Steve Carr, Collection+
Mornington Peninsula Regional Gallery, Melbourne, Australia
26 May —
31 July 2022
The second iteration of Mornington Peninsula Regional Gallery’s (MPRG) new Collection+ series is curated by Ainsley Gowing and includes new and existing work by Melbourne-based artist Louise Rippert alongside New Zealand contemporary artist Steve Carr.
Carr’s large Smoke bubble photographs from the NGV collection were one of the initial inspirations to pairing these artists, which has been carefully developed by MPRG Registrar Ainsley Gowing. This exhibition looks at some of the unifying themes in Rippert and Carr’s work – time, repetition, stillness and tension, circular references and mandalas, structure behind simplicity, memories and family. Bringing the work of Rippert and Carr together creates a visually stunning show that highlights these linkages while presenting their distinct individual practices.
The second iteration of Mornington Peninsula Regional Gallery’s (MPRG) new Collection+ series is curated by Ainsley Gowing and includes new and existing work by Melbourne-based artist Louise Rippert alongside New Zealand contemporary artist Steve Carr.
Carr’s large Smoke bubble photographs from the NGV collection were one of the initial inspirations to pairing these artists, which has been carefully developed by MPRG Registrar Ainsley Gowing. This exhibition looks at some of the unifying themes in Rippert and Carr’s work – time, repetition, stillness and tension, circular references and mandalas, structure behind simplicity, memories and family. Bringing the work of Rippert and Carr together creates a visually stunning show that highlights these linkages while presenting their distinct individual practices.
Kate Newby, Handover
GUIMARÃES and Laurenz, Vienna, Austria
31 December 2022 —
31 January 2023
Six years after Guimarães opened the first exhibition at Linke Wienzeile 36 in Vienna, it is time to move on and hand over the space to Laurenz. No better time than the start of the new year could have been found to celebrate this new beginning together. And what greater way to mark a momentous occasion than holding a glass of sparkling liquid in your hand? The joint exhibition Handover invites artists to create a work which visitors will encounter while celebrating. A message in the form of a text, a drawing or a secret code is engraved in champagne glasses. They gravitate around the bar and wander in space. From hand to hand.
With works by: Masaya Chiba, Ana Jotta, Sebastian Koeck, Lazar Lyutakov, Ute Müller, Kate Newby, Marie Reichel, Hans Schabus, Titania Seidl, Lukas Thaler and Heimo Zobernig.
Six years after Guimarães opened the first exhibition at Linke Wienzeile 36 in Vienna, it is time to move on and hand over the space to Laurenz. No better time than the start of the new year could have been found to celebrate this new beginning together. And what greater way to mark a momentous occasion than holding a glass of sparkling liquid in your hand? The joint exhibition Handover invites artists to create a work which visitors will encounter while celebrating. A message in the form of a text, a drawing or a secret code is engraved in champagne glasses. They gravitate around the bar and wander in space. From hand to hand.
With works by: Masaya Chiba, Ana Jotta, Sebastian Koeck, Lazar Lyutakov, Ute Müller, Kate Newby, Marie Reichel, Hans Schabus, Titania Seidl, Lukas Thaler and Heimo Zobernig.
Paul Cullen Archive, Digital r/p/m proposition #1: Planetarium
Eise Eisinga Planetarium, Franeker, the Netherlands and online
22 December 2022 —
22 December 2025
A virtual installation at the Eise Eisinga Planetarium, Franeker, the Netherlands. This interactive, virtual project realises a speculative proposal made by artist Paul Cullen in 2011 to install works from his r/p/m (revolutions per minute) series around the globe at historical centres for scientific study (sites that the artist had visited and researched).
For Proposition #1: Planetarium, Cullen proposed situating r/p/m artworks, including Lost (2007), The Orange Theory (2007), and Geographer [1] and [2] (1995), at the Eise Eisinga Planetarium in Franeker, the Netherlands. Propositions #2, #3, #4 and #5 locate artworks at the Octagon Room in the Royal Observatory in Greenwich, England; Musick Memorial Radio Station on Naupata Reserve, Aotearoa; Linnaeus Garden in Uppsala, Sweden; and the Alhambra in Granada, Spain.
The Paul Cullen Archive will realise propositions 1–4 as virtual installations between December 2022 and March 2023.
A virtual installation at the Eise Eisinga Planetarium, Franeker, the Netherlands. This interactive, virtual project realises a speculative proposal made by artist Paul Cullen in 2011 to install works from his r/p/m (revolutions per minute) series around the globe at historical centres for scientific study (sites that the artist had visited and researched).
For Proposition #1: Planetarium, Cullen proposed situating r/p/m artworks, including Lost (2007), The Orange Theory (2007), and Geographer [1] and [2] (1995), at the Eise Eisinga Planetarium in Franeker, the Netherlands. Propositions #2, #3, #4 and #5 locate artworks at the Octagon Room in the Royal Observatory in Greenwich, England; Musick Memorial Radio Station on Naupata Reserve, Aotearoa; Linnaeus Garden in Uppsala, Sweden; and the Alhambra in Granada, Spain.
The Paul Cullen Archive will realise propositions 1–4 as virtual installations between December 2022 and March 2023.
Anh Trần, Let us run
Plymouth Rock, Zürich, Switzerland
17 December 2022 —
04 February 2023
There’s something spontaneous and intimate at the heart of Anh Trần’s paintings. The personal is expressed textually and physically, but that personal reaches out to all of us. The layers and construction are felt with the eyes, distant and closer. Mark making moves beyond the paintbrush, with fingers, palette knives, sprays all connecting each body who views them directly to their surface. The letter ‘I’ repeats as either the initial roman numeral or a centering of the painter herself within her canvases. There’s a care that these offspring do not run off with her control. The formal influences of the big boys of abstract expressionism can not be denied, as Trần gently extends their history to include herself and so much left out from that initial moment. That some life could be returned to that well worn art historical area eighty years after its beginnings comes completely from a criticality delivered indirectly through humor and a lighthearted touch. Trần’s works recall the past as they shine outward, like Sleeping Beauty woken decades later with a kiss of the wider world.
There’s something spontaneous and intimate at the heart of Anh Trần’s paintings. The personal is expressed textually and physically, but that personal reaches out to all of us. The layers and construction are felt with the eyes, distant and closer. Mark making moves beyond the paintbrush, with fingers, palette knives, sprays all connecting each body who views them directly to their surface. The letter ‘I’ repeats as either the initial roman numeral or a centering of the painter herself within her canvases. There’s a care that these offspring do not run off with her control. The formal influences of the big boys of abstract expressionism can not be denied, as Trần gently extends their history to include herself and so much left out from that initial moment. That some life could be returned to that well worn art historical area eighty years after its beginnings comes completely from a criticality delivered indirectly through humor and a lighthearted touch. Trần’s works recall the past as they shine outward, like Sleeping Beauty woken decades later with a kiss of the wider world.
Wesley John Fourie, New Paradigms of Happiness, 28th Slavonian Biennale
Museum of Fine Arts, Osijek, Croatia
15 December 2022 —
28 February 2023
This exhibition aims to be the starting point for stepping into real life, to be among the life forms that seek, lose, find or produce a new paradigm(s) of happiness. It is designed to be a platform for gesture, action, behaviour—an entry into public life among people, random passers-by, intentional interlocutors or unexpected partners and lost ghostly figures wandering around the city, passageways, corridors, staircases and squares.
At this edition of the Biennale, Aotearoa artist Wesley John Fourie presents a scale model of Mount Mafadi, the tallest mountain in South Africa: 3446m of finger knitting as a tribute to the artist's country of birth.
This exhibition aims to be the starting point for stepping into real life, to be among the life forms that seek, lose, find or produce a new paradigm(s) of happiness. It is designed to be a platform for gesture, action, behaviour—an entry into public life among people, random passers-by, intentional interlocutors or unexpected partners and lost ghostly figures wandering around the city, passageways, corridors, staircases and squares.
At this edition of the Biennale, Aotearoa artist Wesley John Fourie presents a scale model of Mount Mafadi, the tallest mountain in South Africa: 3446m of finger knitting as a tribute to the artist's country of birth.
Fiona Connor and Emma McIntyre, Oceans of Time
Château Shatto, Los Angeles, USA
10 December 2022 —
04 February 2023
“I have crossed oceans of time to find you.”—Francis Ford Coppola, Bram Stoker’s Dracula, 1992.
The gelid paradox of the vampire—in which life is invited into eternity through its cold suspension in death—is a negative construct that is familiar to artworks and their states of being.
Oceans of Time is a group exhibition that follows what circulates in and around the mythological and metaphorical imaginings of vampirism and runs into questions of suspension, duplication, necromancy, desire, and the nocturnal.
“I have crossed oceans of time to find you.”—Francis Ford Coppola, Bram Stoker’s Dracula, 1992.
The gelid paradox of the vampire—in which life is invited into eternity through its cold suspension in death—is a negative construct that is familiar to artworks and their states of being.
Oceans of Time is a group exhibition that follows what circulates in and around the mythological and metaphorical imaginings of vampirism and runs into questions of suspension, duplication, necromancy, desire, and the nocturnal.
12 contemporary NZ jewellery artists, Handshake 7
Gallery Marzee, Nijmegen, the Netherlands
04 December 2022 —
11 February 2023
Curated by Marie-José van Hout, the latest iteration of Handshake includes 12 contemporary jewellery artists from Aotearoa New Zealand: Kristin D’Agostino, Becky Bliss, Nadene Carr, Aphra Cheesman, Nina van Duijnhoven, Mandy Flood, Nik Hanton, Lisa Higgins, Mia Straka, Simon Swale, Caroline Thomas and Raewyn Walsh.
Handshake is an initiative from Aotearoa where emerging jewellery designers are given the opportunity to collaborate with experienced makers in order to inspire the new generation of designers (to “lend a hand”) with combined knowledge and experience.
Curated by Marie-José van Hout, the latest iteration of Handshake includes 12 contemporary jewellery artists from Aotearoa New Zealand: Kristin D’Agostino, Becky Bliss, Nadene Carr, Aphra Cheesman, Nina van Duijnhoven, Mandy Flood, Nik Hanton, Lisa Higgins, Mia Straka, Simon Swale, Caroline Thomas and Raewyn Walsh.
Handshake is an initiative from Aotearoa where emerging jewellery designers are given the opportunity to collaborate with experienced makers in order to inspire the new generation of designers (to “lend a hand”) with combined knowledge and experience.
Michael Parekowhai and Victoria Hunt, Dreamhome: Stories of Art and Shelter
Art Gallery of New South Wales, Sydney, Australia
03 December 2022 —
27 August 2023
‘Home’ is a small and familiar word that carries a live load of meaning. We think we know what is meant when we hear it. But the term trembles with pressure. Whose home is in question? Who shares that space? How is the sense of home measured? Dreamhome: Stories of Art and Shelter reveals what 29 artists from Australia and farther afield have made of the idea of home. For these artists, home is not only a house or a place, it’s also memories, people – and stories.
Māori-Australian dancer and choreographer Victoria Hunt presents a newly commissioned dance work KŌIWI as part of Dreamhome. Through dance, sound, song, lighting and body adornment, this immersive new work continues the artist’s investigation into the story of her ancestral meeting house, Hinemihi. Michael Parekowhai's Te Ao Hau installation also features in the exhibition.
‘Home’ is a small and familiar word that carries a live load of meaning. We think we know what is meant when we hear it. But the term trembles with pressure. Whose home is in question? Who shares that space? How is the sense of home measured? Dreamhome: Stories of Art and Shelter reveals what 29 artists from Australia and farther afield have made of the idea of home. For these artists, home is not only a house or a place, it’s also memories, people – and stories.
Māori-Australian dancer and choreographer Victoria Hunt presents a newly commissioned dance work KŌIWI as part of Dreamhome. Through dance, sound, song, lighting and body adornment, this immersive new work continues the artist’s investigation into the story of her ancestral meeting house, Hinemihi. Michael Parekowhai's Te Ao Hau installation also features in the exhibition.
Richard Lewer, Lisa Reihana and Francis Upritchard, Sydney Modern Project
Art Gallery of New South Wales, Sydney, Australia
02 December 2022 —
02 December 2024
Nine Asia Pacific artists have been selected by Art Gallery of New South Wales (AGNSW) to create site-specific works for the gallery’s groundbreaking expansion project, Sydney Modern – a new standalone gallery that will almost double AGNSW’s existing exhibition space.
Said to be the largest commissioning program in AGNSW’s 150 year history, the nine artists are Lorraine Connelly-Northey (Waradgerie / VIC) Karla Dickens (Wiradjuri / NSW), Simryn Gill (Singapore / Australia), Jonathan Jones (Wiradjuri / Kamilaroi / NSW), Yayoi Kusama (Japan), Richard Lewer (VIC / NZ), Lee Mingwei (Taiwanese-American), Lisa Reihana (Māori / NZ) and Francis Upritchard (NZ). Displayed within and between the two buildings of this indoor-outdoor campus, the new commissions will be among the first artworks to welcome visitors, with many able to be experienced night and day.
Nine Asia Pacific artists have been selected by Art Gallery of New South Wales (AGNSW) to create site-specific works for the gallery’s groundbreaking expansion project, Sydney Modern – a new standalone gallery that will almost double AGNSW’s existing exhibition space.
Said to be the largest commissioning program in AGNSW’s 150 year history, the nine artists are Lorraine Connelly-Northey (Waradgerie / VIC) Karla Dickens (Wiradjuri / NSW), Simryn Gill (Singapore / Australia), Jonathan Jones (Wiradjuri / Kamilaroi / NSW), Yayoi Kusama (Japan), Richard Lewer (VIC / NZ), Lee Mingwei (Taiwanese-American), Lisa Reihana (Māori / NZ) and Francis Upritchard (NZ). Displayed within and between the two buildings of this indoor-outdoor campus, the new commissions will be among the first artworks to welcome visitors, with many able to be experienced night and day.
Mladen Bizumic, Little Precious Things
Georg Kargl BOX, Vienna, Austria
02 December 2022 —
04 March 2023
Held in George Kargl BOX, a storefront project in a historic residential building, designed by Jabornegg & Pálffy architects in close collaboration with the American artist Richard Artschwager (1923–2013), Little Precious Things combines fragments of everyday life, documents of lived experiences and materialisations of the immaterial. It juxtaposes prompts and critical responses to the now together with the investigations of the medium. In the world of objects, not all occupy the same place. Or, to paraphrase Artschwager: on some (things), we can sit, but some might carry the potential to change the way we think and are. Exhibiting artists include: Mladen Bizumic, Rafał Bujnowski, Katrina Daschner, Mark Dion, David Fesl, Jakob Lena Knebl, Denisa Lehocká, Mercedes Mangrané, Josse Pyl, Paula Rego, Rosa Rendl.
Held in George Kargl BOX, a storefront project in a historic residential building, designed by Jabornegg & Pálffy architects in close collaboration with the American artist Richard Artschwager (1923–2013), Little Precious Things combines fragments of everyday life, documents of lived experiences and materialisations of the immaterial. It juxtaposes prompts and critical responses to the now together with the investigations of the medium. In the world of objects, not all occupy the same place. Or, to paraphrase Artschwager: on some (things), we can sit, but some might carry the potential to change the way we think and are. Exhibiting artists include: Mladen Bizumic, Rafał Bujnowski, Katrina Daschner, Mark Dion, David Fesl, Jakob Lena Knebl, Denisa Lehocká, Mercedes Mangrané, Josse Pyl, Paula Rego, Rosa Rendl.
Mizuho Nishioka, Personal Structures Public Screening
Palazzo Michiel, Venice, Italy
4.00PM — 5.30PM
26 November 2022
Mizuho Nishioka's project MachineTime_NatureTime: Propagations has been selected to screen at the 2022 PS | Public Screening, an event that closes ECC's Personal Structures exhibition at the 59th Venice Biennale.
Used to question photography and its role in the act of representation, the film is created using a durational photographic practice, allowing the artist to delve into the minutiae of her work and exposing a hidden galaxy of petals, pollen, sand, soil and insects. "We capture the sea, but not the sea and the tide, or we capture the sand, but not the seagrasses holding the sand in place in the tide.” - Mizuho Nishioka.
Mizuho Nishioka's project MachineTime_NatureTime: Propagations has been selected to screen at the 2022 PS | Public Screening, an event that closes ECC's Personal Structures exhibition at the 59th Venice Biennale.
Used to question photography and its role in the act of representation, the film is created using a durational photographic practice, allowing the artist to delve into the minutiae of her work and exposing a hidden galaxy of petals, pollen, sand, soil and insects. "We capture the sea, but not the sea and the tide, or we capture the sand, but not the seagrasses holding the sand in place in the tide.” - Mizuho Nishioka.
Kate Newby, So close,come on
The Sunday Painter, London, UK
25 November 2022 —
21 January 2023
So close,come on showcases a new series of site-responsive works that explore ideas around excavation and replacement, revealing Newby’s ongoing commitment to underline the limits and nature of sculpture.
For this exhibition, gleaming yellow glass panes produced in collaboration with Atelier Loire in Chartes using the process of jaune d'argent – a technique born in the 14th century – will replace the gallery windows. Other works on show include a large-scale handmade ceramic mural produced at Royce Wood Studio in Derbyshire, as well as a series of etchings revealing intricate motifs left behind by birds, cows, raccoons and the weather made over the course of several months at the artist’s home in Floresville, Texas. The synergetic nature of all the works on show – which have been produced in collaboration with either local artisans or the natural environment – always convey a strong sense of their direct, lived circumstance.
Varying in scale, Newby’s ecologically-minded artworks are dependent on their chosen site and its individual particularities, encouraging the viewer to consider sculpture’s connection and relationship to the natural world.
So close,come on showcases a new series of site-responsive works that explore ideas around excavation and replacement, revealing Newby’s ongoing commitment to underline the limits and nature of sculpture.
For this exhibition, gleaming yellow glass panes produced in collaboration with Atelier Loire in Chartes using the process of jaune d'argent – a technique born in the 14th century – will replace the gallery windows. Other works on show include a large-scale handmade ceramic mural produced at Royce Wood Studio in Derbyshire, as well as a series of etchings revealing intricate motifs left behind by birds, cows, raccoons and the weather made over the course of several months at the artist’s home in Floresville, Texas. The synergetic nature of all the works on show – which have been produced in collaboration with either local artisans or the natural environment – always convey a strong sense of their direct, lived circumstance.
Varying in scale, Newby’s ecologically-minded artworks are dependent on their chosen site and its individual particularities, encouraging the viewer to consider sculpture’s connection and relationship to the natural world.
James Robinson, Face-Down on the Earth
Nomadic Art Gallery, Ghent, Belgium
18 November 2022 —
24 February 2023
Art measured against the universe dwindles to dust grains and reverberations in recent works by New Zealand artist James Robinson. He is the artist as artificer, on the verge of inventing his own religion, a syncretic mojo man. And yet his prolific and obsessive output of metaphoric objects, assembled from found vernacular matter, is always in the service of beauty, at once haunting, forbidding, eerie. Finding beauty in the abject, doing the heavy lifting, getting stuff back to the studio, Robinson is a kind of body builder, uniting disparate materials to bulge under skins of enamel and latex paint.
Art measured against the universe dwindles to dust grains and reverberations in recent works by New Zealand artist James Robinson. He is the artist as artificer, on the verge of inventing his own religion, a syncretic mojo man. And yet his prolific and obsessive output of metaphoric objects, assembled from found vernacular matter, is always in the service of beauty, at once haunting, forbidding, eerie. Finding beauty in the abject, doing the heavy lifting, getting stuff back to the studio, Robinson is a kind of body builder, uniting disparate materials to bulge under skins of enamel and latex paint.
Xin Cheng, DOING EARTH
MOM art space, Hamburg, Germany
18 November —
27 November 2022
Curated by Dagmar Rauwald, DOING EARTH consists of an exhibition, panel discussion, and performances. The project uses an analytical approach in which artistic research in ecological and social developments is understood as a result of performative and dynamic attribution and thus sets itself apart from a purely scientific perspective and parameters that can be assigned empirically. In the Anthropocene we are in the process of destroying our planet through overexploitation, industrial overproduction, and environmental pollution. In this situation, neither technological optimism nor a cynical doomsday mood is an appropriate attitude. Biologist and philosopher Donna Haraway explains that we will not survive as individuals, but only by “becoming with” other species, in “sympoiesis” and as symbionts.
Performances will take place on 18 and 23 November at 7:00 pm and feature Yi-jou Chuang, Chinook Ulrich Schneider and Aotearoa artist Xin Cheng.
Curated by Dagmar Rauwald, DOING EARTH consists of an exhibition, panel discussion, and performances. The project uses an analytical approach in which artistic research in ecological and social developments is understood as a result of performative and dynamic attribution and thus sets itself apart from a purely scientific perspective and parameters that can be assigned empirically. In the Anthropocene we are in the process of destroying our planet through overexploitation, industrial overproduction, and environmental pollution. In this situation, neither technological optimism nor a cynical doomsday mood is an appropriate attitude. Biologist and philosopher Donna Haraway explains that we will not survive as individuals, but only by “becoming with” other species, in “sympoiesis” and as symbionts.
Performances will take place on 18 and 23 November at 7:00 pm and feature Yi-jou Chuang, Chinook Ulrich Schneider and Aotearoa artist Xin Cheng.
Jess Johnson, we can’t keep going the way we’ve been going but we know no other way to go
Shepparton Art Museum, Shepparton, Australia
16 November 2022 —
04 February 2024
Jess Johnson brings to life a complex fictional world through hand-drawn images that are inspired by her interests in science fiction, comic books, technology, architecture, and theories of consciousness. For this site-responsive commission in the SAM Atrium and Central Void, Johnson has created four 7-metre-long silk banners. They appear suspended in the expansive space, reminiscent of portals offering a glimpse into a different realm.
Jess Johnson brings to life a complex fictional world through hand-drawn images that are inspired by her interests in science fiction, comic books, technology, architecture, and theories of consciousness. For this site-responsive commission in the SAM Atrium and Central Void, Johnson has created four 7-metre-long silk banners. They appear suspended in the expansive space, reminiscent of portals offering a glimpse into a different realm.
Yota Ayaan, Postscript
Atelier Concorde, Lisbon, Portugal
16 November —
19 November 2022
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“data” “as" “sound”
“binary" “code” “as” “sheet" “music"
“the" “cloud” “is” ”an” ”apparition”
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There is no such thing as the cloud it's just someone else’s server cluster. Postscript is a series of audio-visual hybrid works on sound as data and the apparition of the cloud. Binary code has been reclaimed by the artist, composed as hypertext sheet music and redistributed through a network of computers.
</code>
“data” “as" “sound”
“binary" “code” “as” “sheet" “music"
“the" “cloud” “is” ”an” ”apparition”
</code>
There is no such thing as the cloud it's just someone else’s server cluster. Postscript is a series of audio-visual hybrid works on sound as data and the apparition of the cloud. Binary code has been reclaimed by the artist, composed as hypertext sheet music and redistributed through a network of computers.
Fiona Pardington, Wairua o te hau
1301SW, Melbourne, Australia
12 November —
23 December 2022
Wairua o te hau is Fiona Pardington's debut exhibition in Melbourne and her first solo presentation in Australia in eight years. Pardington presents a series of new works continuing her relationship to image making and its ability to capture hidden things, death, beauty and history. Pardington has long mined the collections of natural history museums, seeing her capture significant objects of Māori heritage such as hei tiki (greenstone pendants), while this new collection focuses on the revered and now extinct huia bird and other birds of cultural significance. This investigation and documentation are an act of re-claiming, breathing new life into these now stagnant creatures to raise awareness of the importance of conservation and cultural history — a process interrogating death whilst celebrating collecting and preservation.
Wairua o te hau is Fiona Pardington's debut exhibition in Melbourne and her first solo presentation in Australia in eight years. Pardington presents a series of new works continuing her relationship to image making and its ability to capture hidden things, death, beauty and history. Pardington has long mined the collections of natural history museums, seeing her capture significant objects of Māori heritage such as hei tiki (greenstone pendants), while this new collection focuses on the revered and now extinct huia bird and other birds of cultural significance. This investigation and documentation are an act of re-claiming, breathing new life into these now stagnant creatures to raise awareness of the importance of conservation and cultural history — a process interrogating death whilst celebrating collecting and preservation.
Patrick Lundberg, ∙∙ ∙∙
Goya Curtain, Tokyo, Japan
12 November —
10 December 2022
Patrick Lundberg is a painter who favours alternative painting supports such as marbles, shoe laces, strips of fabric, found wood, and paper tube inners. His works are quiet, often small in scale, and deeply considered. While formally referencing minimalism and abstraction, it has been stated that his primary concern is with the politics of perception and attention. The exhibition borrows its title from a Lorine Niedecker poem, in which the ∙∙ ∙∙ stands for the tick tock of a pendulum. It is possibly somewhere within this meditative motion which marks both the passing of time and the rhythm of its return that the significance of Lundberg's minor notes begin to emerge.
Patrick Lundberg is a painter who favours alternative painting supports such as marbles, shoe laces, strips of fabric, found wood, and paper tube inners. His works are quiet, often small in scale, and deeply considered. While formally referencing minimalism and abstraction, it has been stated that his primary concern is with the politics of perception and attention. The exhibition borrows its title from a Lorine Niedecker poem, in which the ∙∙ ∙∙ stands for the tick tock of a pendulum. It is possibly somewhere within this meditative motion which marks both the passing of time and the rhythm of its return that the significance of Lundberg's minor notes begin to emerge.
Natalie Tozer at Sluice Lisbon: Territory
various locations throughout Barreiro, Lisbon, Portugal
10 November —
13 November 2022
Sluice and PADA are bringing together an interdisciplinary selection of artist and curator-led projects to explore the impact and interconnections of the ecological, environmental and political consequences of territory. Territory is a year-long focus which culminates in Lisbon on 11-13 November 2022, running in conjunction with Lisbon Art Weekend. Exhibitions, performances, screenings and talks featuring over 80 artists are situated throughout the Barreiro district (on the south side of the Tagus River).
Aotearoa artist Natalie Tozer is presenting a large-scale, digital video installation titled Deucalion & Pyrrha, a sci-fi parable that seeks knowledge from the underground and merges the art forms of dance, animation and sculpture in an experimental artwork about archaeology, time and kaitiakitanga.
Sluice and PADA are bringing together an interdisciplinary selection of artist and curator-led projects to explore the impact and interconnections of the ecological, environmental and political consequences of territory. Territory is a year-long focus which culminates in Lisbon on 11-13 November 2022, running in conjunction with Lisbon Art Weekend. Exhibitions, performances, screenings and talks featuring over 80 artists are situated throughout the Barreiro district (on the south side of the Tagus River).
Aotearoa artist Natalie Tozer is presenting a large-scale, digital video installation titled Deucalion & Pyrrha, a sci-fi parable that seeks knowledge from the underground and merges the art forms of dance, animation and sculpture in an experimental artwork about archaeology, time and kaitiakitanga.
Séraphine Pick, Sundogs
STATION, Sydney, Australia
10 November —
21 December 2022
Sundogs presents a suite of oil paintings informed by the green and lush surroundings of the artist’s studio, each work containing fragments of her experience and relationship to the location. These new works explore the human history and connection to the botanical, encouraging the viewer to consider the importance of the natural world.
Employing an intuitive, semi-abstract approach to painting, Pick’s dreamlike works explore the transformative energies of nature. Through this approach, Pick offers a connection to the unseen inner space, to revel in the visual experiences and sensations of the natural world. Unstretched canvases, colourfully painted and stained, provide a backdrop for the paintings, turning the gallery into an immersive atmosphere. Pick’s works sit in a place between the abstract and figurative, the digital and the natural, the up-lifting and reflective, that encourage audiences to foster a sense of connection with the natural world.
Sundogs presents a suite of oil paintings informed by the green and lush surroundings of the artist’s studio, each work containing fragments of her experience and relationship to the location. These new works explore the human history and connection to the botanical, encouraging the viewer to consider the importance of the natural world.
Employing an intuitive, semi-abstract approach to painting, Pick’s dreamlike works explore the transformative energies of nature. Through this approach, Pick offers a connection to the unseen inner space, to revel in the visual experiences and sensations of the natural world. Unstretched canvases, colourfully painted and stained, provide a backdrop for the paintings, turning the gallery into an immersive atmosphere. Pick’s works sit in a place between the abstract and figurative, the digital and the natural, the up-lifting and reflective, that encourage audiences to foster a sense of connection with the natural world.
André Hemer and Grace Wright at West Bund Art & Design
West Bund Art Center, Shanghai, China
10 November —
13 November 2022
The ninth edition of West Bund Art & Design will be held over three days at West Bund Art Center with a line-up of 118 leading galleries and art institutions from 19 countries and 43 cities, presenting artworks ranging from paintings and sculptures to photography, installations, design and digital art.
Vienna-based Aotearoa artist André Hemer presents his 2022 HD video/NFT work Sky Sculpture (Sterkfontein/Vienna/Sicily), and Tāmaki Makaurau Auckland-based Grace Wright presents two new acrylic on linen works, Nature Replay (2022), and Insisting On Imagination (2022).
The ninth edition of West Bund Art & Design will be held over three days at West Bund Art Center with a line-up of 118 leading galleries and art institutions from 19 countries and 43 cities, presenting artworks ranging from paintings and sculptures to photography, installations, design and digital art.
Vienna-based Aotearoa artist André Hemer presents his 2022 HD video/NFT work Sky Sculpture (Sterkfontein/Vienna/Sicily), and Tāmaki Makaurau Auckland-based Grace Wright presents two new acrylic on linen works, Nature Replay (2022), and Insisting On Imagination (2022).
Simon Denny, Merge
Heidelberger Kunstverein, Heidelberg, Germany
05 November 2022 —
08 January 2023
Simon Denny’s exhibition Merge results from the artist’s longstanding engagement with different technologies and politics of extractivism, the mining and monetisation of raw materials. The project explores the supposed logic of economies that make screens glow and computers calculate, cars drive, and trade fairs trade on a worldwide basis. What mechanisms and ways of thinking shape the global on- and offline industries that determine the consumption of natural resources as well as post-colonial power relations?
In Denny’s work, the question of how alternative models can be generated through the use of the internet always resonates. The project is part of an exhibition series at the Heidelberger Kunstverein that began last June with Alice Creischer and will continue next year with Marwa Arsanios.
Simon Denny’s exhibition Merge results from the artist’s longstanding engagement with different technologies and politics of extractivism, the mining and monetisation of raw materials. The project explores the supposed logic of economies that make screens glow and computers calculate, cars drive, and trade fairs trade on a worldwide basis. What mechanisms and ways of thinking shape the global on- and offline industries that determine the consumption of natural resources as well as post-colonial power relations?
In Denny’s work, the question of how alternative models can be generated through the use of the internet always resonates. The project is part of an exhibition series at the Heidelberger Kunstverein that began last June with Alice Creischer and will continue next year with Marwa Arsanios.
Tim J. Veling, Dad, Pete, Opa book launch
a ilha / XYZ Bookshop, Lisbon, Portugal
6.00PM — 10.00PM
04 November 2022
Ōtautahi Christchurch-based photographer Tim J. Veling celebrates the release of his new book Dad, Pete, Opa, with a book launch hosted by publishers XYZ Books. The event is part of the IMAGO LISBOA Photo Festival and the photographer will be present on the night.
“I have been admitted to hospital. Please don’t worry, but call me when you can. Lots of love, D,P,O.” It was always how he signed off; shorthand for Dad, Pete, Opa. Tim J. Veling would soon learn his father had been diagnosed with terminal lung cancer with an estimated three months to live. The rug was suddenly pulled out from under his feet. D,P,O is a record of those last, precious months.
The photographs are testament to not only the grief that father and son worked through together, but more importantly the love and admiration they shared; an account of the inevitable slowing of one life set to a backdrop of a new life and relationships thriving. Intensely moving in its unflinching intimacy and honesty, D,P,O reminds us that while death comes to us all, we must live in the present and treasure deeply the company of people we hold dear. For within those that remain, love and life endure.
Ōtautahi Christchurch-based photographer Tim J. Veling celebrates the release of his new book Dad, Pete, Opa, with a book launch hosted by publishers XYZ Books. The event is part of the IMAGO LISBOA Photo Festival and the photographer will be present on the night.
“I have been admitted to hospital. Please don’t worry, but call me when you can. Lots of love, D,P,O.” It was always how he signed off; shorthand for Dad, Pete, Opa. Tim J. Veling would soon learn his father had been diagnosed with terminal lung cancer with an estimated three months to live. The rug was suddenly pulled out from under his feet. D,P,O is a record of those last, precious months.
The photographs are testament to not only the grief that father and son worked through together, but more importantly the love and admiration they shared; an account of the inevitable slowing of one life set to a backdrop of a new life and relationships thriving. Intensely moving in its unflinching intimacy and honesty, D,P,O reminds us that while death comes to us all, we must live in the present and treasure deeply the company of people we hold dear. For within those that remain, love and life endure.
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.
Fiona Connor, Long Distance
Maureen Paley, London, UK
04 November 2022 —
15 January 2023
Maureen Paley Gallery in London presents its first exhibition by Aotearoa-born, Los Angeles-based artist Fiona Connor.
Connor’s work draws attention to specific objects and architectural spaces and seeks to investigate and interact with social arenas such as public parks, night clubs or exhibition venues. By utilising processes of reproduction and simulation, Connor’s sculptural language challenges how we interpret often overlooked peripheral forms and spatial details within these sites of exchange and communication. Presented in this exhibition are examples of work from recent projects that are brought together for the first time, directing the viewer’s attention between various sites, materials, and states of being, while also engaging with the specific location of the gallery. Included are recreated bulletin boards that were found along State Route 27 or Topanga Canyon Blvd that include meticulously replicated faded flyers and ephemera that have been re-made using UV-printing and screen-printing onto aluminium sheets.
Maureen Paley Gallery in London presents its first exhibition by Aotearoa-born, Los Angeles-based artist Fiona Connor.
Connor’s work draws attention to specific objects and architectural spaces and seeks to investigate and interact with social arenas such as public parks, night clubs or exhibition venues. By utilising processes of reproduction and simulation, Connor’s sculptural language challenges how we interpret often overlooked peripheral forms and spatial details within these sites of exchange and communication. Presented in this exhibition are examples of work from recent projects that are brought together for the first time, directing the viewer’s attention between various sites, materials, and states of being, while also engaging with the specific location of the gallery. Included are recreated bulletin boards that were found along State Route 27 or Topanga Canyon Blvd that include meticulously replicated faded flyers and ephemera that have been re-made using UV-printing and screen-printing onto aluminium sheets.
Yuki Kihara at Taking Care Conference
Museum Volkenkunde, Leiden, the Netherlands
02 November —
04 November 2022
As part of the international collaborative research project Taking Care - Ethnographic and World Cultures Museums as Spaces of Care, the Research Center for Material Culture is hosting a conference titled Taking Care: Re|Creating Kinship in the Ethnographic Museum in Europe.
Yuki Kihara is included in Session III: Going Native – Dutch Constructions of the Pacific alongside Michiel Teijgeler, Mirte Hazes, and Harry Lodder. The discussion is moderated by Wonu Veys and takes place on Wednesday 02 November at 4:30pm.
As part of the international collaborative research project Taking Care - Ethnographic and World Cultures Museums as Spaces of Care, the Research Center for Material Culture is hosting a conference titled Taking Care: Re|Creating Kinship in the Ethnographic Museum in Europe.
Yuki Kihara is included in Session III: Going Native – Dutch Constructions of the Pacific alongside Michiel Teijgeler, Mirte Hazes, and Harry Lodder. The discussion is moderated by Wonu Veys and takes place on Wednesday 02 November at 4:30pm.
Ella Sutherland, Berlin Visual Arts Residency and Argot exhibition
Künstlerhaus Bethanien, Berlin, Germany
01 November 2022 —
15 October 2023
After being postponed from 2020, Ella Sutherland’s residency at Künstlerhaus Bethanien in Berlin commences in November 2022 and runs until October 2023.
Sutherland's residency culminates in an exhibition, titled Argot, presented at the Künstlerhaus from 07 - 30 July 2023; a new body of work that considers the possibilities and the vulnerabilities of communication. Informing this work is an appreciation of social histories and the formal, material and technological conditions of language. Sutherland has also experimented with conventions of mechanical reproduction – such as DIN Standards, German type design and Letterpress printing – to explore alternate modes of utilizing systems that have often excluded or controlled that which is not immediately legible. The objects and texts referenced by Sutherland are multiple; they reach back through time, connecting the archaic and modern with the present. Sutherland’s work is often informed by research in specialist archives, and in the case of Argot, by early lesbian-feminist serial publications held by Berlin’s Schwules Museum.
After being postponed from 2020, Ella Sutherland’s residency at Künstlerhaus Bethanien in Berlin commences in November 2022 and runs until October 2023.
Sutherland's residency culminates in an exhibition, titled Argot, presented at the Künstlerhaus from 07 - 30 July 2023; a new body of work that considers the possibilities and the vulnerabilities of communication. Informing this work is an appreciation of social histories and the formal, material and technological conditions of language. Sutherland has also experimented with conventions of mechanical reproduction – such as DIN Standards, German type design and Letterpress printing – to explore alternate modes of utilizing systems that have often excluded or controlled that which is not immediately legible. The objects and texts referenced by Sutherland are multiple; they reach back through time, connecting the archaic and modern with the present. Sutherland’s work is often informed by research in specialist archives, and in the case of Argot, by early lesbian-feminist serial publications held by Berlin’s Schwules Museum.
Yuki Kihara, Going Native
Museum Volkenkunde, Leiden, the Netherlands
01 November 2022 —
08 January 2023
Going Native (2017/2022) is a new work by Yuki Kihara commissioned by the National Museum of World Cultures in the Netherlands, as a culmination of enquiry undertaken since 2017 by Kihara into the museum's rich and varied ethnographic collections.
The installation places the research into a contemporary setting, generating provocation around issues of cross-cultural exchange and representation by focusing on several Dutch groups who have been entrusted with the care and perpetuation of certain Indigenous cultural practices from around the world.
Going Native (2017/2022) is a new work by Yuki Kihara commissioned by the National Museum of World Cultures in the Netherlands, as a culmination of enquiry undertaken since 2017 by Kihara into the museum's rich and varied ethnographic collections.
The installation places the research into a contemporary setting, generating provocation around issues of cross-cultural exchange and representation by focusing on several Dutch groups who have been entrusted with the care and perpetuation of certain Indigenous cultural practices from around the world.
Sarah Rose, Plastic: Remaking our World
V&A Dundee, Dundee, Scotland
29 October 2022 —
05 February 2023
Plastic has shaped our daily lives like no other material: from packaging to footwear, from household goods to furniture, from cars to architecture. A symbol of carefree consumerism and revolutionary innovation, plastic has spurred the imagination of designers for decades. Today, the dramatic consequences of the plastic boom have become obvious, and plastic has lost its utopian appeal. Never has it been more important to understand the 150-year history of this contested material, known to be essential yet superfluous, life-saving and life-threatening, seductive yet dangerous.
Plastic: Remaking Our World features prototypes, new technologies, and cutting-edge materials as designers grapple with a material that has changed our world. It includes a new work by Aotearoa artist Sarah Rose, made from re-melting and joining HDPE plastic drink bottle lids, resembling the armour of a crocodile, suspended in the entrance of the V&A.
Plastic has shaped our daily lives like no other material: from packaging to footwear, from household goods to furniture, from cars to architecture. A symbol of carefree consumerism and revolutionary innovation, plastic has spurred the imagination of designers for decades. Today, the dramatic consequences of the plastic boom have become obvious, and plastic has lost its utopian appeal. Never has it been more important to understand the 150-year history of this contested material, known to be essential yet superfluous, life-saving and life-threatening, seductive yet dangerous.
Plastic: Remaking Our World features prototypes, new technologies, and cutting-edge materials as designers grapple with a material that has changed our world. It includes a new work by Aotearoa artist Sarah Rose, made from re-melting and joining HDPE plastic drink bottle lids, resembling the armour of a crocodile, suspended in the entrance of the V&A.
Raewyn Turner and Brian Harris, MuVi6
Convent of Capuchinos, Alcalá la Real and University of Granada, Spain
26 October —
29 October 2022
MuVi6 International exhibition of videos on synesthesia and visual music is part of the VII International Congress Synaesthesia: Science & Art, a 3-day event organised by the University of Granada, the International Foundation Artecittá and the Politecnico di Milano University exploring the latest advancements made in the field of synaesthesia. Aotearoa artists Raewyn Turner and Brian Harris, together with Swiss scientist Toni Fröhlich, present Sensing Nanos, a series of art experiments exploring synaesthesia, pareidolia and feeling emotions in ambiguous things, namely potatoes and shaving cream.
“As the [shaving] foam bloomed and then collapsed over time I saw faces expressing emotions. The expressions corresponded with musical notes which I then scripted for the resulting time-lapse video, and overlaid with text excerpts from Plato’s writings on Socrates dialogues on friendship and the influence of friends in shaping each other’s evaluative outlook”. - Raewyn Turner.
MuVi6 International exhibition of videos on synesthesia and visual music is part of the VII International Congress Synaesthesia: Science & Art, a 3-day event organised by the University of Granada, the International Foundation Artecittá and the Politecnico di Milano University exploring the latest advancements made in the field of synaesthesia. Aotearoa artists Raewyn Turner and Brian Harris, together with Swiss scientist Toni Fröhlich, present Sensing Nanos, a series of art experiments exploring synaesthesia, pareidolia and feeling emotions in ambiguous things, namely potatoes and shaving cream.
“As the [shaving] foam bloomed and then collapsed over time I saw faces expressing emotions. The expressions corresponded with musical notes which I then scripted for the resulting time-lapse video, and overlaid with text excerpts from Plato’s writings on Socrates dialogues on friendship and the influence of friends in shaping each other’s evaluative outlook”. - Raewyn Turner.
Fiona Connor, Rooms I Have Keys For
The Finley, Los Angeles, USA
23 October 2022 —
06 February 2023
When Fiona Connor stays at a friend's house, she's navigating material economic conditions and prioritising relationships and community as she travels from place to place. Written in graphite on the walls of the gallery (in an apartment building) are three notes for the artist staying at someone's home while they are away and three sets of keys given for her use with a photo of the keys inside the space they open. She is attuned to hand-offs. She preserves signs of generosity, kindness, and nomadism. She collects and archives handmade or specific objects. By sharing and representing highly personal ephemera, she tells us about the pace, flexibility, and tonality of her life, the lightness of her being and the value of warmth.
When Fiona Connor stays at a friend's house, she's navigating material economic conditions and prioritising relationships and community as she travels from place to place. Written in graphite on the walls of the gallery (in an apartment building) are three notes for the artist staying at someone's home while they are away and three sets of keys given for her use with a photo of the keys inside the space they open. She is attuned to hand-offs. She preserves signs of generosity, kindness, and nomadism. She collects and archives handmade or specific objects. By sharing and representing highly personal ephemera, she tells us about the pace, flexibility, and tonality of her life, the lightness of her being and the value of warmth.