12 June —
18 December 2021
Egham Museum, Egham, UK
17 July —
31 October 2021
Kaohsiung Museum of Fine Arts, Taiwan
10 November —
02 December 2021
Riyadh Art, Riyadh, Saudi Arabia
04 September —
28 November 2021
Maison Louis Carré, Bazoches-sur-Guyonne, France
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.
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 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.
22 April —
26 September 2021
Mori Art Museum, Tokyo, Japan
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 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 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.
By Millie Riddell
The 16th Istanbul Biennial, titled The Seventh Continent, had a thematic focus on the large garbage patch currently occupying 3.4 million square kilometres of ocean, near Hawaii and Japan. Despite focusing on this area, Pacific artists were not present at the Biennial. Writer Millie Riddell explores the omission of Pacific artists, and what it means to not address or include the people most affected by environmental pollution and climate change.
By Kari Schmidt
A look at artist Matthew Galloway's residency at Cripta 747 in Turin, Italy, and the resulting exhibition The Factory and its Memories, which concentrates on the now defunct Nebiolo factory building, whose history is engrained in Italian graphic design and typography, reflecting Galloway’s own background as a graphic designer.
By Rosa Gubay
Oliver Perkins and Patrick Lundberg’s recent show On Emptiness at FOLD Gallery in London presented a conversation between the two artists' work, focusing on their object-centric painting practice. Writer Rosa Gubay analyses their use of negative space and the varying forms it can take.
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 Laura Preston
A look at a series of exhibitions by women artists held at Secession in Vienna, including by New Zealand artist Fiona Connor, who has been based in Los Angeles since 2011. Connor's show, #8, Closed for Installation, Sequence of Events, presented cast bronze pieces alongside architectural interruptions, and was shown in conjunction with German artist Nora Schultz and Palestinian-English artist Rosalind Nashashibi.
By Leah Reynolds
London-based artist Sriwhana Spong has been exhibiting widely throughout the UK in 2019. In this essay, writer Leah Reynolds reviews Spong’s recent exhibition Ida-Ida at Spike Island in Bristol, considering the key, interrelating ideas of her work, and Spong’s use of a variety of mediums.
By Amber Baldock, Chris Sharp, Hope Wilson, Jude Chambers, Zara Stanhope
What does it take to represent New Zealand at the Venice Biennale? How are five-metre tall, 500kg sculptures installed and secured? How do you vie for an audience’s attention on an island full of exhibitions and artworks? HUM interviews the team behind Post hoc, at the New Zealand Pavilion for the 2019 Venice 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 Eleanor Woodhouse
A closer look at Biljana Popovic's 12-month Visual Arts Residency at Künstlerhaus Bethanien in Berlin, and how her previous work as a commercial designer informs her current visual arts practice by integrating elements of interior design and architecture.
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 Jennifer Thatcher
We hear from three artists who, over the last three years, have completed, or are completing, a three-month residency at London art centre Gasworks. Sriwhana Spong in 2016, Katrina Beekhuis in 2017, and Hikalu Clarke, who is half-way through his, all share their experiences and thoughts on this important opportunity.
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.
By Marie de Brugerolle
Dane Mitchell's exhibition OTIUM #3 at the Institut d'art contemporain - Villeurbanne in France, was an invitation to produce and exhibit works related to the dimensions of time and space, as part of an ongoing prospective series of exhibitions linked to 'métaphysiques cosmomorphes', a term taken from Pierre Montebello's philosophical research. French art historian and curator Marie de Brugerolle explores Mitchell's work within this context and his wider practice.
By Chloe Geoghegan
I can't nail the days down is Brooklyn-based Kate Newby's first Austrian solo exhibition, presented at Kunsthalle Wien in Vienna in 2018. Based both inside and outside of the Kunsthalle, the work invited visitors to take a closer look at Newby's engagements with the context of exhibition.
By André Hemer
A conversation between two offshore New Zealand artists: Vienna-based André Hemer and New York-based Martin Basher. Their chat touches on producing art in Trump-era US, display-based practice, Basher’s doctorate, and living in NYC as a New Zealander.