Rocks on Wheels and Flying Shoes
By Rosemary Forde
Curator Rosemary Forde explores the art-historical and civic context in which artist Mike Hewson’s recent public playground in Naarm Melbourne, Rocks on Wheels, has landed.
Sara Cowdell, Micky Duncan-Tubb, Samara Lucich and Jazmine Rose Phillips, LIKE A BURNING STICK SNATCHED FROM THE FLAMES, YET YE HAS NOT RETURNED TO ME
24 March —
31 March 2023
Nextdoor Artist Run Initiative, Brisbane, Australia
Maddie Leach, The fountain: An art-technological-social drama
01 January 2021 —
01 January 2025
Lund Technical University, Lund, Sweden
James Robinson, Face-Down on the Earth
18 November 2022 —
24 February 2023
Nomadic Art Gallery, Ghent, Belgium
Kate Newby, We are such stuff
07 September —
22 October 2022
Laurel Gitlen Gallery, New York, USA
Dan Arps, Parallel Universe
07 October —
05 November 2022
Neon Parc, Melbourne, Australia
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.
David Rickard, Landfall
30 June —
06 August 2022
Copperfield Gallery, London, UK
Fiona Connor, Behind the door
13 August —
01 October 2022
Fine Arts, Sydney, Australia
The Way Through Doors
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.
The Mind’s Eye
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.
Betty Collings and 'To Begin, Again: A Prehistory of the Wex, 1968–89'
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.
“Don’t Learn Anything More!”
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.
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.
Ann Shelton’s Strange Flowers Set the Stage
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.
Always in Transit
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.
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.
Push and Pull
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.