18 November 2022 —
24 February 2023
Nomadic Art Gallery, Ghent, Belgium
07 September —
22 October 2022
Laurel Gitlen Gallery, New York, USA
07 October —
05 November 2022
Neon Parc, Melbourne, Australia
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.
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.
30 June —
06 August 2022
Copperfield Gallery, London, UK
13 August —
01 October 2022
Fine Arts, Sydney, Australia
By Andrew Berardini
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.
By Clémentine Deliss
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.
By Susanne Prinz
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.
By Dan Munn
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.
By Connie Brown
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.
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.
By Katie White
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.
By Stefanie Bräuer
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.
By Aaron Lister
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.
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.
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.
By Jessica Douglas
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.
31 July —
21 August 2021
Monash University Museum of Art, Melbourne, Australia
17 July —
31 October 2021
Kaohsiung Museum of Fine Arts, Taiwan
10 November —
02 December 2021
Riyadh Art, Riyadh, Saudi Arabia
05 September —
28 November 2021
Maison Louis Carré, Bazoches-sur-Guyonne, France
23 November 2019 —
26 April 2020
Henry Art Gallery, Washington, U.S.A.
14 January —
22 February 2020
Altman Siegel Gallery, San Francisco, U.S.A.
05 September 2020 —
17 January 2021
K21, Dusseldorf, Germany
18 September 2019 —
05 January 2020
Fagor Factory, Lyon, France
By Amira Gad
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.
By Amira Gad
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.
By Signe Rose
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.