Dane Mitchell in We Are Electric, curated by Anna Briers
14 February —
24 June 2023
University of Queensland Art Museum, Brisbane, Australia
Alicia Frankovich, Mein Körper, ein Korallenriff? / My Body, a Coral Reef?
28 January —
23 April 2023
Wilhelm-Hack-Museum, Ludwigshafen, Germany
Talia Smith, FLIGHT
21 January —
11 June 2023
Casula Powerhouse Arts Centre, Casula, Australia
Stories of Becoming
By Harvey Bruce Milligan
Sitting at a bar assembled from upcycled materials in Taipei, Harvey Bruce Milligan reports from Aotearoa-based artist Xin Cheng’s contribution to IsLand Bar, an annual event in which artists are invited to construct a bar as a platform for performance. Addressing Cheng's use of re-purposed materials as a basis for creativity and connection, he explores the artist's consideration of a broad material ecology and her pursuit of connecting people to the lives of things in a wider project of "regenerative re-making".
Amrita Hepi and Angela Tiatia, Oceanic Thinking
19 July —
17 December 2022
The University of Queensland Art Museum, Brisbane, Australia
Kate Newby, So close,come on
25 November 2022 —
21 January 2023
The Sunday Painter, London, UK
Xin Cheng, DOING EARTH
18 November —
27 November 2022
MOM art space, Hamburg, Germany
Sarah Rose, Plastic: Remaking our World
29 October 2022 —
05 February 2023
V&A Dundee, Dundee, Scotland
A Time of Uncertainties – Remodelling Reality
By Zsófia Danka
Considering our altered experience of time in a moment marked by crisis, curator and art critic Zsófia Danka looks to Extended Present – Transitional Realities, a group exhibition at Budapest's Ludwig Museum of Contemporary Art featuring Aotearoa New Zealand artist Dane Mitchell that explores notions of transience, the failure of modernity, and the possibility of change.
Simon Denny, Merge
05 November 2022 —
08 January 2023
Heidelberger Kunstverein, Heidelberg, Germany
Denise Batchelor, Miranda Parkes and Janine Randerson, Experiment 120
21 October —
23 October 2022
OORtreders Festival 2022, Pelt, Belgium
Taipei Popcorn, L’œil du cyclone (Eye of the Cyclone)
07 October 2022 —
08 January 2023
Le Lieu Unique, Nantes, France
Jen Valender, Broken Chord
02 September —
30 October 2022
The Museum of Art and Culture Lake Macquarie, Booragul, Australia
Karma Barnes and Sarah Hudson, Wild Pigment Project
17 September —
03 December 2022
form and concept, Santa Fe, USA
On Wet Ontologies, Fluid Hierarchies and Hope-Soaked Propositions at the 23rd Biennale of Sydney
By Emma O'Neill
This year’s Biennale of Sydney, titled rīvus, included the work of Aotearoa-based artists Sopolemalama Filipe Tohi and Mata Aho Collective. Emma O’Neill, a writer working on Gadigal Land, responds to the exhibition and some of the work presented by the 89 participants invited to interact with different forms and bodies of water.
Chance and Impermanence
By Daria de Beauvais, Kate Newby
Texas-based Aotearoa artist Kate Newby talks to Palais de Tokyo curator Daria de Beauvais about Reclaim the Earth, traversing the ecological questions at the heart of the exhibition, Newby's collaborative process of art making, and her new works commissioned for the exhibition.
Naahdohbii: To Draw Water & What It Means To Come Together
By Franchesca Hebert-Spence
Featuring Aotearoa artists Israel Birch, Nikau Hindin, Jeremy Leatinu’u, Nova Paul, Rachel Rakena and Keri Whaitiri, the inaugural Indigenous Triennial at the Winnipeg Art Gallery/Qaumajuq (WAG/Q) in Winnipeg, Naadohbii: To Draw Water, presents a collaborative curatorial approach to Indigenous artists’ work—Franchesca Hebert-Spence visits the exhibition and talks to the curators about the curatorial process, the opportunities offered through cross-cultural exchange, and the adherence to the specificities of place and history fostered through the exhibition.
By Alice Bonnot
Porto-based New Zealand artist Yota Ayaan investigates the possibilities of human-plant communication in Plant Data, an exhibition at the Galeria da Biodiversidade, Centro Ciência Viva, in Porto’s Botanical garden. After visiting the show, writer and curator Alice Bonnot discusses here the urgent lessons that can be gleaned from it in the current climate crisis.
Some Kind of Travelogue
By Esther Lu
Aotearoa-based artist Sorawit Songsataya’s practice explores the many tangents that connect and redefine our understandings of subjectivity and ecology. Songsataya was invited to participate in the group show, The Turn of the Fifth Age, at Selasar Sunaryo Art Space in Bandung, Indonesia, earlier this year, where they exhibited their work Jupiter. Here, co-curator Esther Lu responds to that work.
Listening Like Breathing
By Ron Hanson
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.
Plants, love, and multispecies engagements
By Essi Kausalainen, Robyn Maree Pickens
After first meeting at the Saari Residence in the southwest of Finland at the start of 2020, Aotearoa writer and poet Robyn Maree Pickens and Finnish performance artist Essi Kausalainen discuss how their diverse practices can mirror each other, about plants and the more-than-human world, along with the ramifications of Covid on their wellbeing and practice.
Making Art in the time of COVID-19
By Chloe Lane
Two US-based New Zealand artists - Amy Howden-Chapman in New York and Emma McIntyre in Los Angeles - share their experience of the Covid-19 lockdown, how it has impacted their practice and everyday life, and discuss the possible ecological outcomes of the lockdown, including the shifting of art practices to the online world.
By Kathryn Weir, Zhang Hanlu
Held at Centre Pompidou in Paris, France, the most recent iteration of the ongoing project Cosmopolis included Aotearoa artists Lisa Reihana and Nandita Kumar amongst 40 international artists, all exploring technology and alternative ontologies. Chief curator, Kathryn Weir, and associated curator Zhang Hanlu share their reflections on Cosmopolis #2: rethinking the human.
An interview with Dane Mitchell
By Contemporary HUM
HUM's editorial team sat down with artist Dane Mitchell to discuss his work for the New Zealand Pavilion at the 58th Venice Biennale, Post hoc. The work, both ambitious in scale and subject, has sparked discussions on global climate change and meditations on what has truly disappeared from the world.
“Nothing consoles you like despair”
By Boaz Levin
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.
Preparing the Ground
By Chloe Barker
Arts Programme Coordinator at Tyneside Cinema Chloe Barker reflects on New Zealand artist Cat Auburn's new moving image work Preparing the Ground (2017) and first solo exhibition in the UK, at Tyneside Cinema, Newcastle upon Tyne.
Singing with the Bees
By Pauline Autet
HUM's Editor Pauline Autet reviews Anne Noble's exhibition Abeille, presented at the Abbaye de Noirlac in France from June to November 2016.
Yuki Kihara at the 59th Venice Biennale
Small island ecologies, climate change, queer rights, Gauguin’s gaze, intersectionality and decolonization; these are just some of the topics explored by interdisciplinary artist Yuki Kihara in her project Paradise Camp, representing New Zealand at the 59th Venice Biennale in Italy. HUM is proud to be a media partner of this exciting project, open to the public from 23 April - 27 November 2022.