By Julia Craig
Presented at Phillida Reid, Claudia Kogachi’s Labour of Love and Nova Paul’s Hawaiki offer frames through which to view the role of collaborative practice in building worlds of love, care, and self-determination.
By Dávvet Bruun-Solbaak
Offering a glimpse at the wide range of emotions and encounters that Aotearoa-based artist Maungarongo Te Kawa and Northern Sámi activist Dávvet Bruun-Solbaak share in their multifaceted experiences at different edges of the globe, this conversation takes Te Kawa’s recent residency and touring exhibition in Norway and Sámi territories as a departure point.
By José B. Segebre
After a conversation with Frankfurt-based, Waipukurau-born artist Juliet Carpenter, José B. Segebre shaped the ideas discussed into this experimental glossary. The entries highlight the ways in which Carpenter’s practice is informed by film and theatre history, and is deeply engaged in the friction of contemporary politics and technologies.
By Emily Jan
Upon visiting Treaty 8 territory for the exhibition Collective, by collaborative duo Miranda Bellamy and Amanda Fauteux, Alberta, Canada-based artist and writer Emily Jan considers how these photographic works function as a body which, like the trees they depict, carries stories; of human desires, needs, and actions of destruction or care.
By Clémentine Dubost
After two years of development with his immediate family and numerous international residencies, Amit Noy premiered A Big Big Room Full of Everybody’s Hope in Paris this September, onstage alongside his mother, father, sister and grandmother. Clémentine Dubost spoke with Noy to explore the complexities of this work and his wider practice.
By Emma O'Neill
Presented at Bundanon Art Museum, deep in the territory of the Dharawal and Dhurga language groups, The Polyphonic Sea features new commissions and recontextualised work by Antonia Barnett McIntosh, Andrew Beck, Ruth Buchanan, The Estate of L. Budd, Sione Faletau, Samuel Holloway and et al., Sarah Hudson, Sonya Lacey, Nova Paul, Sriwhana Spong and Shannon Te Ao.
By Jennifer Pastore
This summer Grace Mirams spent six weeks visiting studios and sharing her exhibition I’m at the river, I’ll meet you by the sea at Gallery Crossing in Minokamo, Gifu Prefecture, Japan. After speaking with Mirams in Tokyo and visiting the exhibition, writer Jennifer Pastore considers how Mirams’ practice and interests resonate with a region of Japan steeped in craft and exchange.
By daniel ward
In a letter to Aotearoa New Zealand artist Ella Sutherland, Berlin-based poet daniel ward reflects on the sensual role of printing technologies and the passage of queer narratives in Sutherland’s practice during her twelve-month residency at Künstlerhaus Bethanien, Berlin.
By Ash Kilmartin
Zooming-in to personal memory and bodily encounter, Rotterdam-based artist Ash Kilmartin writes on the work of Alexis Hunter (1948–2014) in An Emergency Exit Sealed Shut at Kunstverein, Amsterdam.
By Melody Nixon
US- and Aotearoa-based writer Melody Nixon responds to digital artworks in Te Moana Nui a Kiwa; a weather station in the World Weather Network project featuring works by over twenty artists from Aotearoa and Oceania. One of twenty-eight stations in the project, the station featured online artworks by Kalisolaite ‘Uhila, Denise Batchelor and Maureen Lander, The Breath of Weather Collective, and a collaboration between Janine Randerson, Ron Bull, Rachel Shearer, Stefan Marks and glaciologist Heather Purdie. Nixon discusses how a selection of these works may reorient our approaches to the climate crisis.
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.
By María Inés Plaza Lazo
In May, publisher María Inés Plaza Lazo visited Ruth Buchanan’s A garden with bridges (spine, stomach, throat, ear), a walk-in sculpture and the result of a multi-part collaboration with the New Patrons that brings the synapses between all elements of Mönchengladbach, Germany, to new impulses.
By Amy Weng
Reporting from a visit to South Korea, curator Amy Weng writes about how works by Yuki Kihara and Mataaho Collective connect the ambitious themes and ideas of the 14th Gwangju Biennale to specific histories from their homes in Aotearoa New Zealand and Moana-nui-a-Kiwa.
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.
By Henry Babbage
Off Season by Richard Frater at the Kunstverein München sparked reflections, for writer Henry Babbage, on our asymmetrical relations with the avian life that shares our cities.
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.
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.
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.
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.
By Jasmine Gallagher
Artist Campbell Patterson discusses his recent residencies, delayed by over two years due to the pandemic, at Headlands, Sausalito, and Gasworks, London, with friend and poet Jasmine Gallagher. They share their reflections on institutions of art and medicine, and on carving out their own spaces for the process of creation.
By Hamish Petersen
HUM’s Senior Editor considers the unique capacities of artist books by exploring three Aotearoa artists’ international projects from recent years. They learn how the intimate encounter between page and reader relies on finely tuned elements to realise some kind of sovereignty over the artist’s story or recognition in their reader.
By Francisco González Castro
Texas-based artist and writer Francisco González Castro was first introduced to the many-armed project Beberemos El Vino Nuevo, Juntos! / Let Us Drink the New Wine, Together!, co-created by artist and educator alys longley and featuring no less than 19 Aotearoa contributors, just as the pandemic was escalating internationally. Here, he considers the lessons it presented to audiences in Santiago in the summer of 2022, just as the distance that defined the collaborators’ interactions was once again traversable.
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 Chloe Lane
Chloe Lane speaks to Aotearoa artist Imogen Taylor on finishing their six-month residency at The International Studio and Curatorial Program (ISCP) in New York City, discussing Taylor's newest body of work, what it's like to be a contemporary artist from Aotearoa in New York City, and what living with a ball python can teach you about fear.
By Harvey Bruce Milligan
Sitting at a bar assembled from upcycled materials in Taipei, Harvey Bruce Milligan reports from Aotearoa-based artist Xin Cheng’s contribution to IsLand Bar, an annual event in which artists are invited to construct a bar as a platform for performance. Addressing Cheng's use of re-purposed materials as a basis for creativity and connection, he explores the artist's consideration of a broad material ecology and her pursuit of connecting people to the lives of things in a wider project of "regenerative re-making".
By Zsófia Danka
Considering our altered experience of time in a moment marked by crisis, curator and art critic Zsófia Danka looks to Extended Present – Transitional Realities, a group exhibition at Budapest's Ludwig Museum of Contemporary Art featuring Aotearoa New Zealand artist Dane Mitchell that explores notions of transience, the failure of modernity, and the possibility of change.
By Stuart Munro
For this year's Aichi Triennale, writer Stuart Munro takes a trip to some of its more isolated venues to see works by Aotearoa artists Nikau Hindin and Yuki Kihara. Visiting buildings of historical significance where the various parts of the exhibition are installed, Munro unravels the far-reaching connections of Hindin and Kihara's contributions to family, survival and place.
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 Anna Brown, Bruce Barber, Heather Galbraith, Hutch Wilco, James Goggin, Jennifer Flay, Jhana Millers, Julia Holderness, Laura Preston, Michael Stevenson, Ron Hanson, Sophie Thorn, Tessa Giblin, Tessa Laird
In light of the current review of Aotearoa New Zealand’s ‘official’ presence at the Venice Biennale, HUM invited responses from New Zealanders on- and off-shore who have visited or been involved in ‘New Zealand at Venice’ projects, as artists, pavilion attendants, exhibition installers or designers, to enable insights into how involvement in (or experience of) our previous national pavilions have influenced people’s own careers, and the profile of contemporary art from Aotearoa.
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.