Features

Writing

A protest and a mourning ritual

By Michelangelo Corsaro

11.05.2021

In their work for the 13th Gwangju Biennale, the Bad Fiji Gyals call attention to the legacy of Girmitiya women, indentured labourers from the Indian subcontinent recruited by British colonial authorities to work on Fiji’s sugarcane plantations. Associate Curator Michelangelo Corsaro writes about the collaborative work of Aotearoa-based artist Quishile Charan and US-based artist Esha Pillay.

Writing

Looking for Home

By Jungah Lee

13.01.2021

A look at Yona Lee's site-specific work En Route Home at the 2020 Busan Biennale, its references to migration, the concept of 'home', and our new and developing relationships towards stability and roots in the era of globalisation.

Writing

Listening Like Breathing

By Ron Hanson

09.12.2020

Although an influential figure in the development of sound art, New York-based Annea Lockwood hasn't experienced the same level of exposure in New Zealand as she has experienced internationally. In this piece, White Fungus' editor Ron Hanson outlines his journey discovering Lockwood's work and speaks to the artist about her impressive career and pivotal developments in her field.

Writing

Social Imagination

By Lance Pearce

20.11.2020

Xin Cheng's Seeing Like a Forest, made during her study at HFBK - University Of Fine Arts Hamburg from 2017-2019, focuses on issues such as sustainability, communities, and resourcefulness. Artist and writer Lance Pearce discusses these themes and their relevance to a world in the midst of a pandemic.

Writing

Raw Matériel

By Emil McAvoy

10.06.2019

Within the greater context of the recent massacre in Christchurch, San Fransisco-based New Zealand photographer Jono Rotman discusses his new work Matériel which depicts a series of privately owned guns in the US, and his recent publication Mongrelism, which features the New Zealand-based gang, the Mighty Mongrel Mob.

Writing

An abundance of loss

By Zara Stanhope

12.05.2019

As part of HUM’s coverage of La Biennale di Venezia, we’ve invited Zara Stanhope, Lead Curator of the New Zealand Pavilion, to analyse Dane Mitchell’s work Post hoc and its lists of bygone things, as well as the artist's other major works exhibited at Mori Art Museum, Tokyo, Auckland Art Gallery and Raebervonstenglin, Zurich.

Writing

“Nothing consoles you like despair”

By Boaz Levin

22.03.2019

The work of Berlin-based artist Richard Frater addresses the devastating impact of climate change on our environment, and the despair and human complicity felt in this global phenomenon. In this essay, artist, writer, and curator Boaz Levin unpacks Frater's recent exhibitions in Germany and New Zealand.

Writing

Spin Slowly, Fighting Gravity

By Samuel Walsh

04.02.2019

Arts facilitator and producer Samuel Walsh reflects on his residency at Zaratan - Arte Contemporânea in Lisbon, Portugal, where he was able to develop ideas for his own artist-run space, Strange Haven, in Tāmaki Makaurau. Although thousands of miles apart, Walsh and the facilitators of Zaratan discovered their shared joys and struggles of running an art space, and the importance of community in their practice.

Writing

Test Run

By Jennifer Thatcher

13.12.2018

We hear from three artists who, over the last three years, have completed, or are completing, a three-month residency at London art centre Gasworks. Sriwhana Spong in 2016, Katrina Beekhuis in 2017, and Hikalu Clarke, who is half-way through his, all share their experiences and thoughts on this important opportunity.

Writing

Oceania at the Met

By Maia Nuku

28.11.2018

Maia Nuku, Associate Curator for Oceanic Art at The Metropolitan Museum of Art, New York, talks about the ways in which new curatorial practices are bringing life to the Oceanic collection at the Met. Nuku's collaborative research projects sees new connections between Pacific artists, scholars, cultural practitioners, curators and conservators, as well as Digital and Education teams from within the museum, allowing an activation of objects, and a "complication of institutional narratives."

Writing

Push and Pull

By Jessica Douglas

25.10.2018

In the wake of recent discussions of London-based Francis Upritchard's work, Jessica Douglas views the exhibition Wetwang Slack, on now at the Barbican Centre in London, through the aesthetic quality and craftsmanship of Upritchard's work, alongside the wider consequences of her practice.

Writing

Hotel Jaguar

By David Lillington

11.10.2018

HUM commissioned David Lillington to review Amanda Newall's recent project at Exposed Arts Projects in London, which occupies an old Jaguar car dealership. Newall's site-specific response, called Hotel Jaguar, encompasses an eclectic range of works and collaborations with other artists, on topics ranging from Jaguar and Brexit; Trump and witches; social dreaming and murders. 

Writing

Dane Mitchell: An Aesthetic Contagion

By Marie de Brugerolle

06.09.2018

Dane Mitchell's exhibition OTIUM #3 at the Institut d'art contemporain - Villeurbanne in France, was an invitation to produce and exhibit works related to the dimensions of time and space, as part of an ongoing prospective series of exhibitions linked to 'métaphysiques cosmomorphes', a term taken from Pierre Montebello's philosophical research. French art historian and curator Marie de Brugerolle explores Mitchell's work within this context and his wider practice.

Writing

Kate Newby: I can’t nail the days down

By Chloe Geoghegan

14.08.2018

I can't nail the days down is Brooklyn-based Kate Newby's first Austrian solo exhibition, presented at Kunsthalle Wien in Vienna in 2018. Based both inside and outside of the Kunsthalle, the work invited visitors to take a closer look at Newby's engagements with the context of exhibition.

Writing

Responses to the International Literature Festival Dublin

By Ashleigh Young, Claire Mabey, Kirsty Gunn

26.07.2018

This year, the International Literature Festival Dublin had a special focus on New Zealand writers, inviting Ashleigh Young and Kirsty Gunn to participate, along with other New Zealand literary figures such as Hera Lindsay Bird and Selina Tusitala Marsh. With an introduction by Claire Mabey, Director of LitCrawl Wellington, the writers explore their links to Dublin, the concept of 'female essayists' and their overall impressions of the festival.

Writing

Maddie Leach: The Grief Prophesy

By Hjalmar Falk

08.06.2018

Maddie Leach's project The Grief Prophesy, created for the Gothenburg International Biennale for Contemporary Art (GIBCA) 2017, addresses the disturbing and intriguing circumstances surrounding an alleged Satanic murder, committed by members of a well-known Swedish black metal band. Swedish historian Hjalmar Falk discusses the work.

Writing

The Symbolic and Actual Order of Things

By Carter Imrie-Milne

25.05.2018

Auckland-born Zac Langdon-Pole's recent accolades include the Charlotte Prinz Scholarship in Darmstadt, Germany, being shortlisted for the BMW Art Journey Prize, and being one of the prestigious ARS VIVA prize recipients. Carter Imrie-Milne explores the artist's most recent series of objects and experiences featured in his presentation of the ARS VIVA at S.M.A.K. in Ghent, Belgium.

Writing

Valuing the Handmade

By Kim Paton

09.05.2018

Munich Jewellery Week is one of the oldest and most prestigious contemporary jewellery exhibitions in the world; this year, Renee Pearson became the first New Zealander to win the Talente Prize at the fair. Objectspace's Director Kim Paton walks us through the exhibition and explores Pearson's win within the landscape of funding cuts and dwindling education opportunities for makers in New Zealand. 

Writing

The Transcendent and Domestic in Joanna Margaret Paul's Films

By Eleanor Woodhouse

19.04.2018

Artist, poet and filmmaker, Joanna Margaret Paul passed away suddenly in 2003 leaving behind a vast archive of never-before-seen work. London-based writer Eleanor Woodhouse explores Paul’s practice, and considers the significance of her work being shown abroad, most recently the programme of her filmic work touring the UK: Through a Different Lens.

Writing

Ka Mua, Ka Muri

By Louise Garrett

28.02.2018

Nathan Pohio’s Raise the anchor, unfurl the sails, set course to the centre of an ever setting sun! was one of three projects by artists from Aotearoa New Zealand presented at documenta 14. Louise Garrett explores Pohio’s presentation in Kassel and invites the artist himself to reflect on his participation and to discuss the work he presented in Athens, documenta’s parallel location in 2017.

Writing

Judy Millar: The Sinew of Space

By Jodie Dalgleish

12.02.2018

Jodie Dalgleish considers Judy Millar's exhibition Swallowed in Space at Galerie Mark Müller in Zurich (2017), reflecting on the way Millar's affective paintings can activate space to create a 'bodily-felt' experience and extensively draws on a dialogue between the writer and the artist evaluating 'what painting does to us'.

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.

Writing

Seeing documenta 14 from the other south

By Jon Bywater

20.10.2017

New Zealand critic Jon Bywater discusses documenta 14 and the work of participating artists from Aotearoa New Zealand, Ralph Hotere, Mata Aho Collective and Nathan Pohio, marking the first time New Zealand artists have been included in documenta.

Writing

Luke Willis Thompson: A Sister Image

By Frances Loeffler

15.07.2017

Frances Loeffler writes on London-based New Zealand artist Luke Willis Thompson's residency at the Chisenhale Gallery in London, culminating in autoportrait (2017), a video portrait of Diamond Reynolds reflecting Thompson's ongoing enquiry into questions of race, class and social inequality.

Writing

An interview with Jennifer Flay, Director of FIAC

By Pauline Autet

18.03.2017

In this two-part interview, HUM's Editor Pauline Autet speaks with Jennifer Flay, Director of FIAC in Paris. In Part 2 we look back at Flay's departure from New Zealand 36 years ago and her initial years in France, before she became involved with FIAC. We ask how she was introduced to the gallery world, and about operating her own gallery in Paris, from 1991 to 2003.