26 August —
22 October 2023
Art Gallery of Ballarat and other venues, Ballarat, Australia
07 September —
01 October 2023
Théâtre de la Ville—Les Abbesses in Paris and National Ballet of Marseille, France
19 August —
24 September 2023
NITJA Senter for Samtidskunst, Lillestrøm, Norway
19 August —
03 September 2023
Kazakhstan, Kyrgyzstan, Uzbekistan
06 August —
20 August 2023
Gallery Crossing, Gifu, Japan
19 August —
23 September 2023
Anna Schwartz Gallery, Melbourne, Australia
By Helen Hughes
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.
03 December 2022 —
27 August 2023
Art Gallery of New South Wales, Sydney, Australia
By Ioana Gordon-Smith, Michel Mulipola, Skawennati, Solomon Enos
Our third episode in this new talanoa series, produced in collaboration with In*ter*is*land Collective, sees Michel Mulipola, Skawennati and Solomon Enos discuss the importance of shapeshifting, imagination and innovation in Indigenous storytelling, as well as in their respective practices. Written response by Aotearoa writer and curator Ioana Gordon-Smith.
02 June —
21 August 2023
The Nomadic Art Gallery, Ghent, Belgium
By Amit Noy
Writer and choreographer Amit Noy reviews Atamira Dance Company’s performance of Te Wheke in the Lenape territory of New York City, and finds a work enlivened by indelible performances and critical Indigenous inquiry.
08 June —
05 August 2023
Plimsoll Gallery, Hobart Tasmania, Australia
By Anne-Marie Te Whiu
In a wide-ranging conversation ahead of the release of poet and performer Daley Rangi’s poetry collection Burnt Tongue, Associate Editor for HUM Anne-Marie Te Whiu talks with Rangi about the role of stories, language and community, on the Gadigal lands of Sydney, Australia.
15 June 2023
Powerhouse Ultimo, Sydney, Australia
18 May —
21 June 2023
Kunstenfestivaldesarts, Brussels, Belgium & Schäxpir, Linz, Austria
19 May 2023 —
28 January 2024
State Library Victoria, Melbourne, Australia
By Megan Tamati-Quennell
Having attended the opening week of Sharjah Biennial 15, Megan Tamati-Quennell writes about the work of Aotearoa artists Robyn Kahukiwa and Kahurangiariki Smith, included in this large-scale exhibition in the United Arab Emirates, and how Hoor Al Qasimi has carried the curatorial mantle from Okwui Enwezor to create an exhibition that both celebrates the late curator’s legacy and the diversity, solidarity and strength of non-Western art.
04 May —
15 May 2023
Little Tokyo, Gardena Cinemas, and Regal L.A. Live, Los Angeles, USA
01 June —
26 August 2023
Haus der Kulturen der Welt, Berlin, Germany
09 May —
30 May 2023
Bergman Gallery, Rarotonga, Cook Islands
03 April —
01 October 2023
ADM Gallery Singapore; Stelo, Portland, USA; LUX, London; Oberhausen Short Film Festival, Germany; Storage Art Space, Bangkok
By Anne-Marie Te Whiu, Grace Iwashita-Taylor, Ioana Gordon-Smith, Lana Lopesi
Our second episode in this four-part talanoa series, produced in collaboration with In*ter*is*land Collective, sees Anne-Marie Te Whiu, Grace Iwashita-Taylor and Lana Lopesi discuss their recent writing initiatives, each focused on fostering the conditions that allow Indigenous writing to flourish. Written response by Aotearoa writer and curator Ioana Gordon-Smith.
By Ioana Gordon-Smith, Rosanna Raymond, Tanu Gago
Our first episode in this four-part talanoa series, produced in collaboration with In*ter*is*land Collective, has Rosanna Raymond and Tanu Gago reflecting on recent international projects and the difficulties of being Moana artists working in countries with cultural amnesia over their colonial pasts. Written response by Aotearoa writer and curator Ioana Gordon-Smith.
By Will Fredo
Berlin-based artist and writer Will Fredo discusses the decolonial gestures at play in Aotearoa-based art collective FAFSWAG’s contributions to documenta fifteen, encompassing works that champion unapologetic self-expression, queer joy and the power of futurity in rejecting colonial inheritances.
Following on from our 2021 talanoa series, this is a new round of edited online talanoa (conversations) between several tagata Moana (Māori and Pasifika people) across the globe, once again produced in collaboration with In*ter*is*land Collective.
Each talanoa in this series focuses on different topics central to life in the diaspora and is individually responded to in writing by Ioana Gordon-Smith, a Sāmoan/Pākehā arts writer and curator living in Aotearoa.
By Imaad Majeed
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.
By Contemporary HUM
In the opening week of the 2022 Biennale di Venezia, HUM sat down with the artist representing Aotearoa, Yuki Kihara, to discuss her exhibition Paradise Camp, and what it means to bring a Pasifika, Fa'afafine voice to the international audience of this major event.
By Contemporary HUM, Ioana Gordon-Smith, Natalie King
In the opening week of the 2022 Biennale di Venezia, HUM sat down with the Aotearoa New Zealand pavilion’s Curator, Natalie King, and Assistant Pasifika Curator Ioana-Gordon Smith, to talk about bringing Yuki Kihara’s Paradise Camp to Venice.
By Contemporary HUM
From 20 - 24 April 2022, HUM brings you live coverage, exclusive images and videos from the opening week of The Milk of Dreams, The 59th International Art Exhibition – La Biennale di Venezia, including Yuki Kihara's Paradise Camp for the New Zealand Pavilion. Stay tuned!
By Clare Gemima
Aotearoa artist Christina Pataialii features in the fifth New Museum Triennial, one of the world’s leading exhibitions for emerging artists. New York-based writer Clare Gemima visits the exhibition and reflects on Pataialii’s rule-breaking approach to painting technique, and the artist’s search for a language for her family history, identity and the cultural “in-between”.