Sculpture

Calendar

James Robinson, Face-Down on the Earth

18 November 2022 —
24 February 2023

Nomadic Art Gallery, Ghent, Belgium

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Kate Newby, We are such stuff

07 September —
22 October 2022

Laurel Gitlen Gallery, New York, USA

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Dan Arps, Parallel Universe

07 October —
05 November 2022

Neon Parc, Melbourne, Australia

Writing

On Wet Ontologies, Fluid Hierarchies and Hope-Soaked Propositions at the 23rd Biennale of Sydney

By Emma O'Neill

26.08.2022

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.

Writing

Chance and Impermanence

By Daria de Beauvais, Kate Newby

27.07.2022

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. 

Calendar

David Rickard, Landfall

30 June —
06 August 2022

Copperfield Gallery, London, UK

Calendar

Fiona Connor, Behind the door

13 August —
01 October 2022

Fine Arts, Sydney, Australia

Writing

The Way Through Doors

By Andrew Berardini

22.06.2022

Andrew Berardini visits Fiona Connor’s solo exhibition at Château Shatto in LA, where the artist’s carefully rendered replicas of the doors of closed down clubs conjure up memories of forgotten youth. 

Writing

Purple Rain

By Clémentine Deliss

07.06.2022

Writer and curator Clémentine Deliss reviews Aotearoa artist Ruth Buchanan’s solo exhibition at the Kunstmuseum Basel in Switzerland, an artwork as exhibition that reconfigures collecting history, curatorial practices and institutional norms.

Writing

The Mind’s Eye

By Susanne Prinz

11.05.2022

On the occasion of Gill Gatfield’s first solo exhibition in Berlin, Susanne Prinz, Director of Kunstverein am Rosa-Luxembourg-Platz in Berlin, Germany, reflects on the practice of the Aotearoa artist—from her use of ancient, salvaged materials to her work creating an audience-activated virtual reality experience, and the complex resonances of memory, reality and consciousness in her work. 

Writing

Betty Collings and 'To Begin, Again: A Prehistory of the Wex, 1968–89'

By Dan Munn

07.04.2022

Aotearoa artist and curator Betty Collings acted as Director of the Ohio State University’s Gallery of Fine Art from 1974 to 1980, amassing during that time a significant collection of then-contemporary artworks. With many of these works showcased at the recent exhibition To Begin, Again: A Prehistory of the Wex, 1968-89, Dan Munn looks back to Collings’ influence as a Director and her own, long-running artistic career. 

Writing

“Don’t Learn Anything More!”

By Connie Brown

26.10.2021

Writer Connie Brown pays a visit to Virginia Leonard’s studio, encountering the artist’s “fugly” ceramics and talking with her about recent and upcoming international exhibitions, her process into ceramic-making and the resistance her work offers to traditional notions of wellness, pain and the body. 

Writing

Some Kind of Travelogue

By Esther Lu

18.06.2021

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.

Writing

Ann Shelton’s Strange Flowers Set the Stage

By Katie White

14.04.2021

Inspired by ikebana, the Japanese art of flower arrangement, Ann Shelton's photographs subtly recall both ancient and contemporary female archetypes and the subversive histories of natural medicine - a sharp reminder of our forgotten affinities with nature in the current moment of climate crisis and the ongoing politicisation of female bodies.

Writing

Stirring Motion

By Stefanie Bräuer

20.02.2020

Art Historian Stefanie Bräuer takes us through Museum Tinguely’s recent comprehensive exhibition of New Zealand artist Len Lye, exploring Lye’s international life, his move from film to kinetic sculptures and the relationship between the museum's namesake, fellow kinetic sculptor Jean Tinguely.

Writing

Always in Transit

By Aaron Lister

18.09.2019

A conversation with Yona Lee about her new site-specific installation, In Transit (Highway) (2019), presented at the 15th Lyon Biennale, her training as a cellist, and the development of this ongoing project. With an introduction from Daria de Beauvais, Senior Curator at the Palais de Tokyo in Paris and Co-Curator of this year's Biennale.

Writing

An interview with Dane Mitchell

By Contemporary HUM

24.06.2019

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. 

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

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.

Calendar

Francis Upritchard and Ronnie van Hout, The Sculptural Body

31 July —
21 August 2021

Monash University Museum of Art, Melbourne, Australia

Calendar

Yuki Kihara, John Pule and Ngahina Hohaia at PAN: The Pan-Austro-Nesian Arts Festival

17 July —
31 October 2021

Kaohsiung Museum of Fine Arts, Taiwan

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Anna Korver at the Tuwaiq International Sculpture Symposium

10 November —
02 December 2021

Riyadh Art, Riyadh, Saudi Arabia

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Virginia Leonard, Odd & Even

05 September —
28 November 2021

Maison Louis Carré, Bazoches-sur-Guyonne, France

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Fiona Connor at Henry Art Gallery

23 November 2019 —
26 April 2020

Henry Art Gallery, Washington, U.S.A.

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Simon Denny: Security Through Obscurity

14 January —
22 February 2020

Altman Siegel Gallery, San Francisco, U.S.A.

Calendar

Simon Denny: Mine

05 September 2020 —
17 January 2021

K21, Dusseldorf, Germany

Calendar

Yona Lee at 15th Biennale de Lyon

18 September 2019 —
05 January 2020

Fagor Factory, Lyon, France

Writing

Treatise as Exhibition

By Amira Gad

10.08.2020

In Part Two of this two-part conversation, curator Amira Gad and artist Simon Denny discuss Mine, an exhibition at MONA in Australia for which Denny created a 3D model of a proposed worker’s cage for Amazon; Proof of Work, Denny's 2018 curatorial project at Schinkel Pavillon in Berlin; as well as his participation in Vaudeville, a theatrical journalism experience organised by the Financial Times.

Writing

Treatise as Exhibition

By Amira Gad

20.07.2020

In the first piece of this two-part conversation, Aotearoa artist Simon Denny speaks about his recent projects, including his 2020 solo show at Altman Siegel in San Francisco which included former British Prime Minister Margaret Thatcher's scarves and 'Tech-Bro' Patagonia vests, and about corresponding with Peter Thiel after he came to see Denny's show at Michael Lett Gallery in Auckland in 2017.

Writing

Permanent Migration

By Signe Rose

06.02.2020

In a letter to her husband sculptor Martyn Reynolds, artist Signe Rose reflects on their life in Vienna as parents and artists, having moved to Austria from New Zealand in 2010. She also shares about feeling like a constant tourist, and about the ways in which her art is viewed by both European and New Zealand audiences.