Curated by New Zealander Reuben Friend alongside Yulin Lee (Taiwan) and Zara Stanhope (Australia, currently Director of Govett Brewster, New Plymouth), PAN: The Pan-Austro-Nesian Arts Festival at the Kaohsiung Museum of Fine Arts, Taiwan features Sāmoan-Japanese artist Yuki Kihara’s sculptural landscape paintings,サ-モアのうた (Sāmoa no uta) A Song About Sāmoa, which take the form of five kimono made of siapo cloth; John Pule’s paintings that reconsider customary Niuean hiapo (barkcloth) painting and printmaking through a lens of modernity—ancestral star charts and seafaring imagery give way to cloud-like island formations creating new perspectives of Oceania; and Ngahina Hohaia’s stunning audio-visual and woven fibre installation, Paopao ki tua o rangi (2009), featuring new technologies and digital media converging with customary practice.
New Zealand artist Anna Korver is among 20 artists selected for the Tuwaiq International Sculpture Symposium. This 22-day event is a platform for international and Saudi artists to create public sculptures in a live setting. The work will be on view for 5 days at the end of the Symposium (2nd – 6th December 2021) before moving to various outdoor locations across the city.
The theme for Tuwaiq International Sculpture Symposium 2021 is The Poetics of Space. Exploring the connections between matter and emptiness, light and shadow, TISS invites participating artists to create mesmerizing sculptures that imply poetry and create their own space while being in harmony with the surrounding public realm of JAX District, Al Diriyah.
Soft Water Hard Stone, the fifth New Museum Triennial, brings together works across mediums by forty artists and collectives from around the world, including Aotearoa artist Christina Pataialii.
In this moment of profound change, where structures that were once thought to be stable are revealed to be precarious, broken, or on the verge of collapse, the 2021 Triennial recognizes artists reimagining traditional models, materials, and techniques beyond established institutional paradigms. Their works exalt states of transformation, calling attention to the malleability of structures, porous and unstable surfaces, and the fluid and adaptable potential of both technological and organic media. The works included in the exhibition look back toward overlooked artistic traditions and technological building blocks, while at the same time look forward toward the immaterial, the transitory, and the creative potential that might give dysfunctional or discarded remains new life.
Curated by Southern Stars founder and director Gabriela Salgado, the group show, featuring Aotearoa artist Salome Tanuvasa, includes drawing, painting, performance & textile art and focuses on women empowerment and their bond to nature as an act of resilience and spiritual balance.
Aotearoa artists Greg Semu, Kalisolaite ‘Uhila and Edith Amituanai are featured in the Biennale Jogja XVI, Equator #6.
The biennale considers the intersection of Indonesia and Oceania, conceptualising the Pacific Ocean not as a dividing border, but a connecting bridge instead. This perspective will also open up the possibility of a progressive expansion of the Oceania identity that it might cover much wider regions and more communities than what had been covered by the term ‘Pacific’.
The Art Gallery of NSW presents a gallery-wide festival of Matisse, offering visitors the chance to further explore the life, art and influence of one of the world’s most celebrated artists.
At the heart of Matisse Alive are four new artist projects that present contemporary perspectives on this ‘modern master’ and focus especially on his imagining of the Pacific and his representation of the female figure. Ranging from dynamic textile environments to heroically scaled paintings and an immersive video work, these projects are by Nina Chanel Abney (US), Sally Smart (Australia), Angela Tiatia (Samoa/NZ/Australia) and Robin White (NZ).
The presence of the Pacific in Matisse’s imagination is further explored with a stunning display of tifaifai and tivaevae – the Polynesian art of quilting. The electrifying display of colour, design, community and culture reveals the textile tradition that profoundly influenced Matisse’s late great works, the ‘cut-outs’.
Paul Handley brings his ongoing international series Redesigning Sovereignty to Le K.A.B. in the Square des Batignolles, Paris.
Virginia Leonard is featured in Odd & Even, an exhibition of sculptural objects and artworks by internationally renowned artists who create work that is expressive, ambitious and material-led. Employing the intrinsic characteristics of materials such as clay and textiles, they realise their concepts in the most extraordinary ways. This exhibition, by a select group of both new and established artists, will include a number of works that are especially created for this exciting exhibition.
The French philosopher Henri Bergson, in a collection of essays published at the beginning of the last century, identifies the essential requirements of comedy: it is inextricably linked to the human being; it needs a momentary distancing from the source of hilarity; and it is a phenomenon that cannot ignore sociality.
Curated by Francesco Tenagila, Eureka! takes its cue from these reflections, and looks at comedy tactics—false clues, double entendre, hyperbole, circularity, puns, refrains—building a path that articulates different artistic practices in a narrative whose ultimate goal is not laughter. Questions of place, travel, and translation have long been central to the work of New Zealand-artist, Zac Langdon-Pole. His work frequently collapses the spaces between colonial, scientific, and geographic distances. In 2019, Langdon-Pole’s BMW Art Journey saw him travel through Europe and across Te Moana-nui-a-Kiwa, following the pathways of migratory birds and celestial navigators.
For the month of September, Melanie Tangaere Baldwin will exhibit on a billboard in Dalston, East London. The project is supported by In*ter*is*land Collective, following an open call to artists residing anywhere in the world that have links to Moananui a Kiwa/Kiva/Moanakea to create a billboard work. The concept is "a love letter to us" - a celebration and a visual expression of joy and aroha/alofa for our people, islands, moana.
Melanie Tangaere Baldwin (Ngati Porou) is a multidisciplinary artist and creative director at Hoea Gallery in Turanganui-a-Kiwa, Aotearoa. Her work centres around the effects of settler colonialism on indigenous peoples with particular focus on mana wahine, perceptions of beauty, power and control - recent work has been an attempt to create the anti dusky maiden.
Naadohbii: To Draw Water, an exhibition reflecting on international Indigenous connections to water, marks the first Winnipeg Indigenous Triennial. The tri-national curatorial team is from Canada (Jaimie Isaac, WAG), Australia (Kimberley Moulton, Melbourne Museum) and New Zealand (Reuben Friend & Ioana Gordon-Smith, Pātaka). Aotearoa’s contribution features: Israel Birch’s video installation Rerenga Wairua considers the role of the ocean in moving between realms; Nikau Hindin’s aute (bark cloth) is adorned with a visual language that doubles as star maps, used by ancestors in navigation; Jeremy Leatinu’u’s video work Taonga tuku iho is a collection of related stories about water; Nova Paul’s two moving image works, Ko te ripo and Ko ahau te wai consider the waterway Waiapao springs, the subject of a landmark Waitangi Tribunal claim; and Rachael Rakena’s moving image installation Ahakoa he iti, references the Foreshore and Seabed Act.
Leitī is a series of short films by Sione Tuívailala Monū where they present a personal encounter with everyday dilemmas and social realities to explore identity, family and Pasifika queer experience in the diaspora. Featuring themself and their surroundings and often cast with their friends and family, Monu’s films slide between performative and documentary modes to recall a variety of genres, from home movies and video diaries to satires and soaps.
Monu’s short films are an extension of their video-based Instagram practice. Filmed and edited on an iPhone, their temporal distortions and montages of impressions, memories and fantasies reflect the influence and impact of social media on everyday life.
Sione Tuívailala Monū is an artist of the Tongan diaspora. Living between Canberra and Auckland, Aotearoa New Zealand, Monu works across photography, moving-image, fashion and adornment, performance and drawing.
Choose Happiness is a group exhibition of work by emerging, mid-career and established artists from Australia and Aotearoa New Zealand that acknowledges happiness as a transient state, one only truly understood through experiencing its opposite.
For some, joy comes through the very act of making - in the painterly scribbles of Salome Tanuvasa, enacted amidst the flurry of everyday family life. For others, happiness is tied to place. Choose Happiness shifts between these exaltations of joy and more darkly humorous perspectives - Yvonne Todd photographs prim young models with forced smiles. It encourages us to be kind to ourselves too, by including works that convey strength in vulnerability. Natasha Matila-Smith reveals interior states; particularly the desire to love and be loved; Deme Te Atawhai Scott acknowledges the passage of time and the complex love of family.
The exhibition Disproof Does Not Equal Disbelief by Berlin-based artist Michael Stevenson (born in 1964, NZ) presents an unconventional invocation of his practice over the past 35 years. Since the 1980s Stevenson has developed an artistic language that operates at the juncture of economy, technology, education, and faith, exploring the infrastructural systems that condition these disciplines and their entanglement. The exhibition marks Stevenson’s first institutional solo presentation in Berlin and presents a focused revision of his work, in which early paintings are brought into dialogue with more recent expansive installation.
Fragmentation becomes the default mode to display older bodies of work akin to the boneyards of industry. Navigation in these galleries is through analogy—that of a great fish or a whale’s digestive tract. In this way, architecture becomes anatomy and, by extension, the contents therein, on the floor, on the wall, studies in its entrails. With this exhibition, Stevenson provides insights from the belly of our constructed world to raise awareness that disproving rational theories does not automatically and irrevocably equal disbelief.
Within the walls of Mellemrummet Godsbanen, Paul Handley brings his ongoing international series Redesigning Sovereignty to Aarhus before his project travels to Paris in September 2021.
Encrypted networks, digital currencies, artificial intelligence, data harvesting, algorithmic biases, sentient machines—all are products of twenty-first-century data-based capitalism. As a result, the proliferation of information, and data’s nebulous modes of circulating and being processed, fundamentally shape our existence now. INFORMATION (Today) is a group show featuring contemporary artists seeking to unravel this phenomenon.
INFORMATION (Today) features a selection of international artists loosely culled from the two generations since 1970, for whom the processing and formalizing of data is among the central tenets of their work. The current exhibition presents a range of artistic positions, including recent work and new commissions in diverse media (from sculpture and painting, to video and performance, and from the undeniably material to the wholly immaterial), thus providing an overview of some of the most promising and challenging practices grappling with data, technology, and information today. The exhibition features two sculptures from Aotearoa artist Simon Denny, Remainder 1 and Remainder 2 (2020).
The exhibition STUDIO BERLIN in Berghain, organized by the Boros Foundation, presents works of contemporary artists who live and work in Berlin. The show features national and international perspectives in the fields of photography, sculpture, painting, video, sound and installation. After being closed for eight months, the exhibition, which was only accessible for a few weeks last year, will reopen on June 18, with the closing date covid-dependent.
The exhibition space was altered during the period of closure. The adjoining Halle am Berghain is no longer part of the show; instead, spaces that are still unknown to the public have been integrated. In addition to the works that were already on view in the initial version of the exhibition, works by Monira Al Qadiri & Raed Yassin, Andrea Büttner, Haris Epaminonda, Bastian Gehbauer, Hannah Hallermann, Constantin Hartenstein, Camille Henrot, Amalie Jakobsen, Tony Just, Simon Mullan, Kirsten Pieroth, Mary-Audrey Ramirez, Aaron Scheer, Nadine Schemmann, Marianna Simnett, Sung Tieu and Kandis Williams will be on display. New works will be integrated throughout the exhibition continuously.
Researched and created throughout 2020 (during lockdown) and installed in early 2021, the Egham Visions: Land in the Bend of the River exhibition brings together the artistic practice of Estella Castle and the collection of the Egham Museum. The centrepieces of the exhibition are Castle’s two life-size sculpture works, a horse and haystack, set to the backdrop of watercolour paintings by 19th Century draftsman John Hassell.
Movement Making Movement is an exhibition that examines classic works of animation from the early 20th century and the methods used to create them, focusing on the historical context of what is now established as an important genre of visual arts. The term “animation” refers to a technique and genre in which numerous images are photographed and manipulated in sequence to give the appearance that the objects or figures on screen are moving. Animation is nearly as old as film itself, and over more than a century of its history, various techniques have been developed and attempted to achieve more vivid and natural movements. This exhibition spotlights some of the representative works of five pioneering animators from the 1920s along with the methods that they used to produce them.
Even amid the turbulence of World War II, these five artists—Germans Lotte Reiniger (1899–1981) and Oskar Fischinger (1900–67), New Zealander Len Lye (1901–80), Czech Karel Zeman (1910–89), and Scottish-Canadian Norman McLaren (1914–87)—worked tirelessly to create new, innovative work and achieve more realistic movement. Depicting fantasy worlds using limited tools, materials, and manual methods at a time before computer graphics, their films have become classics that ushered a wave of transformation into animation history and have served as sources of inspiration for later generations of creators.
Recent years have witnessed growing moves worldwide to right inequalities around aspects of identity such as gender, race, ethnicity, and beliefs, and attach greater value to diversity. Also in contemporary art for the past decade or so, attention has turned increasingly to female artists who began their contemporary art careers between the 1950s and 1970s and continue to stay active as artists today.
Another Energy focuses on 16 of these female artists in their 70s or older, from across the globe, who continue to embark on new challenges. Ranging in ages 71-105 with their careers spanning over 50 years, they are originally from 14 different countries, and equally diverse in their current locations. Nonetheless, what these women share regardless of recognition or evaluation by art museums and the art market is a determination to pursue their own distinctive creative paths in turbulent environment and times.
ÜberNatur – Natural Takeover, the 10th biannual KölnSkulptur exhibition of contemporary outdoor sculpture, addresses notions of "nature" and the complex ways it is represented and examined, domesticated and despoiled. Inspired by the location of the public park, wedged between the Rhine, the Cologne Zoo, the Flora and the adjacent Botanical Garden, this latest iteration of KölnSkulptur includes eight new artworks in the Skulpturenpark Köln, a unique exhibition venue featuring loaned works from past KölnSkulptur exhibitions, interspersed amongst the permanent collection amassed by Michael and Eleonore Stoffel. These eight new works disrupt and destabilise ideas of "nature" through interventions and core concerns that decenter the primacy of the human and open up vistas of communal ecology and care. Curated by Tobias Berger. Dane Mitchell’s work, the largest of the group, features two artificial trees designed to camouflage mobile data antennae and surveillance equipment, originally mass-produced in China and presented in the New Zealand exhibition Post hoc at the Venice Biennale in 2019.
Anh Trần is the first artist from New Zealand to participate in the Rijksakademie, which offers residencies to around fifty artists for each two-year period with the goal of providing space for research, experiment and production. Apart from facilities such as a studio, work budget and stipend, there is a research and production infrastructure. There is no standard program, predominant style or ideology. The Rijksakademie provides time, people and possibilities. Roughly half of the resident artists come from outside the Netherlands. In 2020 from Cambodia, Chile, Egypt, Finland, Germany, Greece, Great Britain, Haiti, Iceland, Indonesia, Iraq, Ireland, Japan, Marocco, Mexico, New Zealand, Nigeria, Palestine, Peru, Poland, Russian Federation, South Africa, South Korea, Spain, Surinam, Taiwan, Turkey, United States, Vietnam. The average age when applying is 29.