Shannon Te Ao, Ia rā, ia rā (rere runga, rere raro) - Everyday (I fly high, I fly low), 2021. Three-channel video with sound. Courtesy of Gwangju Biennale Foundation. Photo: STUDIO POSSIBLE ZONE.

Writing

And I dance into the future with the past, as a bird

By Haruko Kumakura

27.12.2024

Writing on Aotearoa New Zealand’s presentation at the 15th Gwangju Biennale, Shannon Te Ao’s Ia rā, ia rā (rere runga, rere raro) - Everyday (I fly high, I fly low) (2021), Haruko Kumakura argues that the work brings into focus what the thematic exhibition of the Biennale misses: a weaving together of the voices of the past, present and future appropriate both to the political context of its exhibition and the social and ecological urgencies of our time.

Shannon Te Ao, 'Ia rā, ia rā (rere runga, rere raro) - Everyday (I fly high, I fly low)' (detail from stills sequence), 2022. Courtesy of the artist.

Calendar

Shannon Te Ao, 15th Gwangju Biennale Pavilion

07 September —
01 December 2024

Suha Gallery, Gwangju, South Korea

Workday with Hawai‘i Contemporary, HT25 artists and curators, and Kauluakalana at Kawainui in Kailua, Ko‘olaupoko, O‘ahu, Hawai‘i. Courtesy of Hawai'i Contemporary. Photo: Orlando Thompson

Calendar

Art Summit 2024

13 June —
15 June 2024

various locations in Honolulu, Hawaiʻi

Kaaterina Kerekere, 'Takuahiroa' (video still), 2019. Image courtesy of the artist.

Calendar

Takiwā Hou: Imagining New Spaces film screening

7.30PM — 9.00PM
03 April 2024

Spazju Kreattiv, Valletta, Malta

Sriwhana Spong, 'Instrument H (Monster Chicken)', 2021, bronze (live performance). Photo: Zan Wimberley.

Writing

The Polyphonic Sea

By Emma O'Neill

10.10.2023

Presented at Bundanon Art Museum, deep in the territory of the Dharawal and Dhurga language groups, The Polyphonic Sea features new commissions and recontextualised work by Antonia Barnett McIntosh, Andrew Beck, Ruth Buchanan, The Estate of L. Budd, Sione Faletau, Samuel Holloway and et al., Sarah Hudson, Sonya Lacey, Nova Paul, Sriwhana Spong and Shannon Te Ao.

Ming Ranginui, 'Till the clock strikes five', 2022. Courtesy of the artist. Photo: Amy May Stuart.

Writing

On Measuring Distance: THE FIELD

By Helen Hughes

12.07.2023

Art historian Helen Hughes examines how THE FIELD—featuring work by Ming Ranginui, Shannon Te Ao and Shiraz Sadikeen, and curated by Tamsen Hopkinson at Gertrude Contemporary in Naarm Melbourne—inhabits the spaces between categories and haunts institutional memories through a unique curatorial approach.

Shannon Te Ao, 'what was or could be today (again)', 2019. Still from single channel video with sound. Courtesy of Artist and Mossman Gallery, Wellington.

Calendar

Shannon Te Ao, Mare Amoris | Sea of Love

25 July 2023 —
20 January 2024

University of Queensland Art Museum, Brisbane, Australia

Antonia Barnett Mcintosh, 'Water Walk', 2012, North Norway Festival (detail). Courtesy Bundanon Art Gallery.

Calendar

12 Aotearoa artists, The Polyphonic Sea

08 July —
08 October 2023

Bundanon Art Gallery, Shoalhaven, Australia

Shannon Te Ao, Hara, 2022. Courtesy of the artist and Coastal Signs, Tāmaki Makaurau Auckland.

Calendar

Tamsen Hopkinson, Ming Ranginui, Shiraz Sadikeen, Shannon Te Ao, Octopus 23: THE FIELD

15 April —
11 June 2023

Gertrude Contemporary, Melbourne, Australia

Brian Fuata, Errantucation (mist opportunities), 2021. Photo: Chloë Callistemon, QAGOMA.

Writing

Reimagined Futures

By Johanna Bear

23.03.2022

Featuring work from Aotearoa artists Edith Amituanai, Brian Fuata, Christina Pataialii, Shannon Novak and Shannon Te Ao as well as collaborators from Aotearoa in the project Kā Paroro o Haumumu: Coastal Flows / Coastal Incursions, this piece from writer and curator Johanna Bear considers the 10th Asia Pacific Triennial’s celebration of Indigenous futures, collaborative and community-based practices, and new ways of understanding the world around us.

Writing

Time and Water

By Maya Wilson-Sanchez

03.09.2020

Presented earlier this year at Oakville Galleries in Canada, Shannon Te Ao's two-channel video and sound installation Ka mua, ka muri recently opened at Remai Modern, Saskatoon. In this part essay, part dialogue, writer Maya Wilson-Sanchez examines Te Ao's new project, and meditates on the relationships between indigenous populations in colonised nations.

Image courtesy of the artist and Robert Heald Gallery

Writing

With the sun aglow, I have my pensive moods

By Andrew Clifford

04.12.2017

Andrew Clifford writes on Shannon Te Ao’s installation, With the sun aglow I have my pensive moods, one of four key new commissions for the 2017 Edinburgh Art Festival.