Art Fairs

Writing

Aotearoa Reviews its Official Participation in the Venice Biennale

By Anna Brown, Bruce Barber, Heather Galbraith, Hutch Wilco, James Goggin, Jennifer Flay, Jhana Millers, Julia Holderness, Laura Preston, Michael Stevenson, Ron Hanson, Sophie Thorn, Tessa Giblin, Tessa Laird

26.09.2022

In light of the current review of Aotearoa New Zealand’s ‘official’ presence at the Venice Biennale, HUM invited responses from New Zealanders on- and off-shore who have visited or been involved in ‘New Zealand at Venice’ projects, as artists, pavilion attendants, exhibition installers or designers, to enable insights into how involvement in (or experience of) our previous national pavilions have influenced people’s own careers, and the profile of contemporary art from Aotearoa.

Writing

Meandering Gestures, Infiltrating Language

By Imaad Majeed

08.09.2022

Artist, curator and writer Imaad Majeed talks with Aotearoa artist Areez Katki about his participation in Language is Migrant, the latest edition of the international arts festival Colomboscope, in Sri Lanka, and about using embroidery and textiles to explore ideas of displacement, trajectories of violence, and the colonial legacy of his own Parsi heritage.

Calendar

Fiona Connor, Felix Los Angeles 2021

29 July —
01 August 2021

Cheateau Shatto, Los Angeles, USA

Calendar

Vivian Lynn at Frieze London

13 October —
17 October 2021

Frieze Art Week, London, United Kingdom

Writing

Directions in Art Publishing during Covid-19

By Freya Copeland

10.09.2021

Reflecting on the disruptions of the Covid-19 pandemic in the world of independent book publishing, artist, curator and co-founder of Berlin-based Replika Publishing, Freya Copeland writes on the history of artists’ books and the role of independent publishing. She considers the lessons the industry can learn after a year and a half without art book fairs—usually an essential opportunity for publishers to meet collaborators, distributors and other publishers, and how the world of art book publishing might evolve going forward. 

Writing

Taiwan-New Zealand Dialogue

By Catherine George, Catherine Lee, Isis Mingli Lee, Ron Hanson, Wan-Jung Wei

22.12.2020

A panel discussion exploring new ways of making art and connecting with audiences amid Covid-19 in New Zealand and Taiwan. Held on October 24 2020 and organised by the Taiwan Cultural Policy Research Association, as part of the Tua-Tiu-Tiann International Festival of Arts (TTTIFA).

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

An interview with Martin Basher

By André Hemer

16.03.2018

A conversation between two offshore New Zealand artists: Vienna-based André Hemer and New York-based Martin Basher. Their chat touches on producing art in Trump-era US, display-based practice, Basher’s doctorate, and living in NYC as a New Zealander.

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.

Writing

An interview with Jennifer Flay, Director of FIAC

By Pauline Autet

30.01.2017

In this two-part interview, HUM's Editor Pauline Autet speaks to New Zealand-born Jennifer Flay, Director of FIAC in Paris. Part 1 looks at the role Flay played in the revival of FIAC since taking the helm 13 years ago and her early ambitions for the fair, through to the prestigious place it occupies in the French capital today.