Venue
Autoconstrucción, 2009 (still)

Autoconstrucción, 2009 (still)

Autoconstrucción, 2009 (still)

Autoconstrucción, 2009 (still)

Born 1968, Mexico City, Mexico
Lives and works in Mexico City, Mexico

Abraham Cruzvillegas’ practice is informed by growing up in Ajusco, a district of Mexico City. Cruzvillegas transforms everyday objects including pieces of scrap metal, plastic rubbish, and animal waste into art. Stark and somewhat precarious in construction, these dynamic assemblage sculptures retain a deep mystical quality. His recent work addresses solidarity, collaboration and optimism, and his construction of art using readily available materials operates as a metaphor for the articulation of individual identity and place.

Selected exhibitions (solo):

Abraham Cruzvillegas: The Autoconstrucción Suites, Walker Art Centre, Minneapolis, 2013; Abraham Cruzvillegas, Kurimanzutto, Mexico City, 2012; Abraham Cruzvillegas: Autoconstrucción: The Optimistic Failure of a Simultaneous Promise, Modern Art Oxford, 2011; The Magnificent Seven: Abraham Cruzvillegas Capp Street Project, CCA Wattis Institute Event, San Francisco, 2009; Autoconstrucción: The Soundtrack, The Centre for Contemporary Arts, Glasgow, 2008. Selected exhibitions (group): Garden of Reason, Ham House, London, 2012; 30th São Paulo Biennial, 2012; dOCUMENTA (13), Kassel, 2012; 12th Istanbul Biennial, 2011; Unmonumental, New Museum, New York, USA, 2007; 50th Venice Biennale, 2003.

Autoconstrucción

2009
Auckland Art Gallery

HD video, single-channel, colour, sound
63:00min
courtesy of the artist and kurimanzutto, Mexico City


Venue
Libellule bleue (Blue Dragonfly), 2009/2011

Libellule bleue (Blue Dragonfly), 2009/2011

Le salon (The Living Room), 2008/2011

Le salon (The Living Room), 2008/2011

Born 1971, Paris, France
Lives and works in Tangier, Morocco

Yto Barrada’s art reflects her experiences of living in Tangier, and the realities and struggles of life in a city undergoing rapid development and modernisation. Her photography captures the quiet dramas that play out when the diversity of local people and wildlife give way to the mono-cultural visions of planners and developers. Barrada’s work reveals a ramshackle kind of modernity and the existential issues of a society dominated by a desire to leave.

http://www.ytobarrada.com/

Selected exhibitions (solo):

Riffs, Deutsche Guggenheim, Berlin, 2012; The Strait Project, Witte de With, Rotterdam, 2004; Selected exhibitions (group): I Decided Not to Save the World, Tate Modern, London, 2012; Palais de Tokyo, Paris, 2012; 54th Venice Biennale, 2011; Hand Me Downs, film screening at MoMA, San Francisco, New York, 2011.

‘Barrada likens her multifaceted practice to a stack of Russian dolls, where one piece fits into another and another still.’

Kaelen Wilson-Goldie, independent writer and critic, Beirut.

Casa Barata

2001
Artspace

c-type print
1000 x 1000 mm

Rue de la Liberté, Tanger

2000
Artspace

c-type print 1250 x 1250 mm

Tunnel – Ancien chantier d'étude de la liaison fixe Maroc-Espagne

2013
Artspace

(Tunnel – Disused Survey Site for a Morocco-Spain Tunnel), Tanger 2002
c-type print
800 x 800 mm

Briques (Bricks)

2003
Artspace

c-type print
1500 × 1500 mm

Le salon

2008
Artspace

(The Living Room)
c-type print
1500 x 1500 mm

Nuancier de roses

2008
Artspace

(Pink Color Chart) 
c-type print
1250 x 1250 mm

Libellule bleue

2009
Artspace

(Blue Dragonfly) 
c-type print
1250 x 1250 mm

Sidi Hssein, Beni Said, Rif

2009
Artspace

c-type print
1500 × 1500 mm

 

Restaurant, Villa Harris, fig. 2

2010
Artspace

c-type print
1250 x 1250 mm
courtesy of the artist and Sfeir-Semler Gallery, Hamburg


Venue
Model Home,2013

Model Home,2013

Andrew Barrie, Okoshi-ezu (Yatsushiro Monument KILALI, Kumiko Inui), 2008. Photo: Patrick Loo

Andrew Barrie, Okoshi-ezu (Yatsushiro Monument KILALI, Kumiko Inui), 2008. Photo: Patrick Loo

Born in Levin, New Zealand in 1968, Dr Andrew Barrie, is an Auckland-based designer and Professor at the School of Architecture and Planning, The University of Auckland. After completing doctoral studies at Tokyo University, he spent several years as a project architect at Toyo Ito & Associates in Tokyo, before returning to Auckland to work at Cheshire Architects. His design work has won numerous awards in New Zealand and Japan. He is the author of several books on Japanese architecture, and is a regular contributor to architecture and design journals.

Barrie's academic research and exhibition practice includes okoshi-ezu, an ancient Japanese architectural drawing technique often associated with teahouse design, which takes the form of annotated folding paper models. He has been adapting this method for use in modeling contemporary buildings, and in Model Home 2013 extends it further to create a one-to-one paper model of Atelier Bow-Wow's workers' house.

Selected exhibitions (solo): Densities, New Work Studio, Wellington, 1996; Code, Artspace, Auckland, 1999; Unfolding the New Japanese Architecture, State Library of Queensland, Brisbane & Objectspace, Auckland, 2010. Selected exhibitions (group): Architecture to a Fault, 5th International Architecture Exhibition, Venice Biennale, 1991; New Zealand Installation, Milan Triennial, 1996; SD Review, Tokyo & Osaka, 1999; Minna no ie, Museum of Contemporary Art, Tokyo, 2012; Familial Clouds, 13th International Architecture Exhibition, Venice Biennale, 2012; Kiwi Prefab: Cottage to Cutting Edge, Puke Ariki, New Plymouth, 2012.

Watch video

Model Home

2013
Auckland Art Gallery

For the 5th Auckland Triennial Michael Lin and Atelier Bow Wow collaborated with Professor Andrew Barrie from the University of Auckland to create a life-size paper document of worker housing element of the Model Home project, the sound and video artists were Nanli Lou and Ren Cheng. Andrew Barrie is a specialist in the Japanese technique of paper model building known as okoshi-ezu (folding drawing), and has adapted aspects of this technique for Model Home 2013.


Venue
Just in time for too late, (2013)

Just in time for too late, (2013)

Just in time for too late, (2013)

Just in time for too late, (2013)

Born 1943, Grand Rapids, United States of America
Lives and works in San Francisco, United States of America

Emory Douglas created the visual identity for the Black Panther Party and his iconic images came to symbolise the struggles of the movement. As Minister of Culture for the "Black Panther Party" from 1967 until the 1980s, Douglas’ work, described as ‘Militant Chic’, featured in most issues of the newspaper The Black Panther. His work is characterised by strong graphic images of young African American men, women and children. He used the newspaper’s popularity to spur people to action, portraying the poor with empathy and as being unapologetic and ready for a fight.

http://www.emorydouglasart.com/

Selected exhibitions (solo):

Black Panther: The Revolutionary Art of Emory Douglas, Urbis, Manchester, 2008–9; Black Panther: The Revolutionary Art of Emory Douglas, MOCA Pacific Design Center, Los Angeles, 2007–8. Selected exhibitions (group): 16th Biennale of Sydney, 2008; The Black Panther Rank and File, Yerba Buena Center for the Arts, San Francisco, 2006.

‘The values of equality, racial economic justice and fairness are just as relevant today as they ever were.’

Nigel Borell, Kaiwhakahaere, Toi o Manukau, Auckland Council

Watch video

Untitled

2013
Fresh Gallery Otara

Emory Douglas, Rigo 23, Wayne Youle
painted mural
2940 x 11300
Courtesy of the artists


Venue
Barricade # 2 (Mitroviça dans la partie serbe de la ville), Kosovo, 7 avril 2012

Barricade # 2 (Mitroviça dans la partie serbe de la ville), Kosovo, 7 avril 2012

Au nord de Mitroviça sur la route menant à la Serbie, Kosovo, 8 avril 2012

Au nord de Mitroviça sur la route menant à la Serbie, Kosovo, 8 avril 2012

Born 1968, Châtellerault, France
Lives and works in Paris, France

Bruno Serralongue’s images show the lesser events on the margins of major events and provide alternatives to the linear narrative of news reports of photo essays. Employing a photojournalistic technique Bruno Serralongue has captured important long-lasting geo-political conflicts in countries including Kosova, Sudan and Tibet as well as concerts, summits, forums, and demonstrations. His recent bodies of work reveal the effects of globalisation on those in developing countries.

http://www.brunoserralongue.com/

Selected exhibitions (solo):

South Sudan Series, Francesca Pia gallery, Zurich, 2013; Histoire des avant-dernières luttes, Air de Paris Gallery, Paris, 2012; Feu de camp, Jeu de Paume, Paris, 2010, Bruno Serralongue, Wiels, Brussels, 2009; Backdraft, Centre of Photography, Geneva, 2007. Selected exhibitions (group): Newtopia, The State of Human Right, Mechelen, Belgium, 2012; Oceans and Campfires: Allan Sekula and Bruno Serralongue, San Francisco Art Institute, 2011; Project Europa – Imagining the (Im)possible, Harn Museum of Art, Florida, 2010; Uneven Geographies, Nottingham Contemporary, 2010; Street & Studio: An Urban History of Photographic Portraiture, Tate Modern, London, 2008; 6th Gwangju Biennale, 2006.

’[Serralongue] affirms that the only objectivity we have today is an artistic objectivity.’

Pascal Beausse

1998-1999, musée du Kosovo, Pristina, septembre

2009
Artspace

Ilfochrome print mounted on aluminium, frame with glass
1270 x 1590 mm
courtesy of the artist and Air de Paris, Paris

«Travaillons ensemble», Pristina, Kosovo, 8 novembre

2010
Artspace

Ilfochrome print mounted on aluminium, frame with glass
1270 x 1590 mm
courtesy of the artist and Air de Paris, Paris

L’interprète, Grand Hôtel, Pristina, Kosovo, 27 avril

2011
Artspace

Ilfochrome print mounted on aluminium, frame with glass
1270 x 1590 mm
courtesy of the artist and Kadist Art Foundation, Paris

Barricade # 2 (Mitroviça dans la partie serbe de la ville), Kosovo, 7 avril

2012
Artspace

Ilfochrome print mounted on aluminium, frame with glass
1270 x 1590 mm
courtesy of the artist and Kadist Art Foundation, Paris

«Kosovo is serbian Alamo», barricade # 2, Mitroviça, Kosovo, 7 avril

2012
Artspace

Ilfochrome print mounted on aluminium, frame with glass
520 x 630 mm
courtesy of the artist and Air de Paris, Paris

Au nord de Mitroviça sur la route menant à la Serbie, Kosovo, 8 avril

2012
Artspace

Ilfochrome print mounted on aluminium, frame with glass
520 x 630 mm
courtesy of the artist and Air de Paris, Paris

Journaliers (Bosch), Pristina, Kosovo, 11 avril

2012
Artspace

diptych, Ilfochrome print mounted on aluminium, frame with glass
520 x 630 mm
courtesy of the artist and Air de Paris, Paris

Journalier (Bosch), Pristina, Kosovo, 11 avril

2012
Artspace

Ilfochrome print mounted on aluminium, frame with glass
520 x 630 mm
courtesy of the artist and Air de Paris, Paris

Journaliers (bûcherons), Mitroviça, Kosovo, 9 avril

2012
Artspace

Ilfochrome print mounted on aluminium, frame with glass
520 x 630 mm
courtesy of the artist and Air de Paris, Paris


Venue
Parallax, 2013 (detail)

Parallax, 2013 (detail)

Parallax, 2013 (still)

Parallax, 2013 (still)

Born 1969, Lahore, Pakistan
Lives and works in New York City, United States of America

Pakistani-born American artist, Shahzia Sikander is best known for her experimentation with the formal constructs of Indo-Persian miniature painting in a variety of formats and mediums, including video, animation, mural and collaboration with other artists. Over the years, she has pioneered an interpretive and critically charged approach to the genre of miniature painting. Sikander’s interest in paradox, societies in flux, and formal and visual disruption as a means to cultivate new associations also underpins her work.

Selected exhibitions (solo):

Authority as Approximation,Para/Site, Hong Kong, 2009; Shahzia Sikander Selects, Cooper-Hewitt National Design Museum, New York, 2009; Intimate Ambivalence, IKON Gallery,Birmingham, 2008; Shahzia Sikander, Museum of Contemporary Art, Sydney, 2007; Shahzia Sikander, Irish Museum of Modern Art, Dublin, 2007.

‘Sikander’s work brings together the elegant sensibility and attitude of the miniature tradition with contemporary materials and scale...’

Charlotte Huddleston, Director, St Paul St Gallery, AUT University Auckland

Parallax

2013
ST PAUL st

three-channel HD video animation, surround sound
music by Du Yun
15:30min
courtesy of the artist and Pilar Corrias Gallery


Venues
Winter, 2013 (video still)

Winter, 2013 (video still)

Winter, 2013 (video still)

Winter, 2013 (video still)

Born 1974, Chicago, United States of America
Lives and works in New York and Cambridge, MA, United States of America

Working across film, photography, sound and video, Amie Siegel’s work uses the cinematic image to investigate social issues. Making use of stylistic devices drawn from film genres such as action, science fiction and the western, Siegel’s installations and single-screen moving image works address critical theory and popular culture. 

http://amiesiegel.net/

Interested in the history and act of filmmaking, fakes and the tradition of the remake, much of Siegel’s work is based on critiquing existing films. In Berlin Remake, she re-created shots from East German films to investigate differences and how these fictional films ‘become documents of a city’. In the recent work Black Moon, Siegel reworked a film of the same name by French director Louis Malle, setting it in abandoned suburban homes in areas of the US which have the highest mortgage foreclosure rates.

Selected exhibitions and screenings (solo):

Black Moon, Arthouse – Austin Museum of Art, 2012; American Originals Now: Amie Siegel, National Gallery of Art, Washington DC, 2012; Amie Siegel, Part 1: Black Moon, Kunstmuseum Stuttgart, 2011; Modern Mondays, MoMA, New York, 2010. Selected exhibitions and screenings (group): 2011 Cannes International Film Festival; The Talent Show, Walker Art Center, Minneapolis, 2010; Auto-Kino!, Temporaäre Kunsthalle, Berlin, 2010; The Russian Linesman, Hayward Gallery, London, 2009; 2008 Whitney Biennial, Whitney Museum of American Art, New York; Forum Expanded, KW Institute for Contemporary Art, Berlin, 2006.

‘Siegel eschews ‘documentary’ as either an aesthetic language or a pretence to truth...’

Elizabeth Thomas, curator and writer, Los Angeles

Watch video

Black Moon

2010
Auckland Art Gallery

super 16mm film transferred to HD video, colour, sound
20:00min
 courtesy of the artist

Winter

2013
Auckland War Memorial Museum

super 16mm transferred to HD video, colour, sound, performance
The Auckland Triennial Collection, Auckland Art Gallery Toi o Tamaki, purchased 2013


Venue
The Most Difficult Problem, 2013 (still)

The Most Difficult Problem, 2013 (still)

Text from J Bronte Gatenby, 'The New Zealand Glow-Worm' (Tuatara, vol 8, no. 2, 1960)

Text from J Bronte Gatenby, 'The New Zealand Glow-Worm' (Tuatara, vol 8, no. 2, 1960)

Born 1970, Auckland, New Zealand
Lives and works in Wellington, New Zealand

Maddie Leach’s practice is project-based, conceptually driven and frequently involves research into the specifics of the site in which she is working. With her interest in the development of new thinking in relation to social, place-based and process-driven artwork,Leach’s early work held a central position in New Zealand’s relational aesthetics practice. While no longer overtly participatory, her work continues to explore ideas of spectatorship, expectation and strategies of cooperation in the production of art works. Leach’s recent projects often operate beyond the walls of the gallery and focus on constructing complex arrangements between space, time, place and audience.

Campaign to re-open tunnels under Auckland's Albert Park - 3 News

Selected exhibitions (group):

Between Memory and Trace, Te Tuhi Centre for the Arts, Auckland, 2012; Peripheral Relations: Marcel Duchamp and New Zealand Art, Adam Art Gallery, Wellington, 2012; The Obstinate Object, City Gallery Wellington, 2012; Iteration: Again, CAST, Tasmania, 2011; Collecting Contemporary, Museum of New Zealand Te Papa Tongarewa, Wellington, 2011; Reason and Rhyme, Gertrude Contemporary, Melbourne, 2011; Close Encounters, Hyde Park Art Center, Chicago, 2010; One Day Sculpture, Wellington, 2008; Trans Versa, The South Project, Santiago, 2006.

Leach’s practice weaves narrative threads to connect propositions, actions, and materials. Her sculptural diffusions of matter and imagination challenge the idea of the ‘sculptural object’.

Jem Noble, artist, Bristol and Vancouver

The Most Difficult Problem

2013
Auckland Art Gallery

single-channel colour HD video projection, sound, text on newsprint
piano: Paul Lincke’s Glüwürmchenidyll performed and uploaded to YouTube by Markus Andreas Mayer
print design by Warren Olds
courtesy of artist


Venue
Kauri-oake, 2013

Kauri-oake, 2013

Kauri-oake,2013

Kauri-oake,2013

Kauri-oake,2013

Kauri-oake,2013

(formed 2007) Live and work in Sydney, Australia
Tessa Zettel Born 1980, Sydney, Australia
Karl Khoe Born 1980, Sydney, Australia

Artists and co-directors of Makeshift, Tessa Zettel and Karl Khoe collaborate on interdisciplinary projects that encompass live art, sculpture and installation, drawing, printmaking, writing, curating and design. As redirective practitioners, their work imagines or enacts other ways of living that are generative of sustainment, dialogue and new economies. Site-responsive and participatory, these works are shaped by provisional communities and appear as durational interventions. Such projects involve opening up spaces of dialogue or exchange (often facilitated by the presence of food), marking time to slow down and be attentive, and a revaluing of obscured cultural knowledge, stories and practices.

http://www.makeshift.com.au/

http://kaurioke.com/

Selected exhibitions (solo):

Making Time, Performance Space, Sydney, 2013; A Leaf from the Book of Cities, National Institute for Experimental Arts/City of Sydney, 2012; Make-do Garden City, 4A Centre for Contemporary Asian Art, Sydney, 2010; Colony Collapse, Firstdraft, Sydney, 2010. Selected exhibitions (group): IASKA Spaced: Art Out of Place, Fremantle Arts Centre, 2012; Primavera 2011, Museum of Contemporary Art, Sydney, 2011; Sister Cities Biennial: Urbanition, San Francisco Arts Commission Gallery/Carriageworks, San Francisco/Sydney, 2011; In the Balance: Art for a Changing World, Museum of Contemporary Art, Sydney, 2010.

‘... prefaces pleasure and community spirit over economic benefit.’

David Cross, Associate Professor in Fine Art, Massey University, Wellington

Kauri-oke!

2013
Fresh Gallery Otara

New Zealand kauri, karaoke machine and mixed media, folk songs
dimensions variable
courtesy of the artists


Venue
A Perfect Home: The Bridge Project, 2010 (video still)

A Perfect Home: The Bridge Project, 2010 (video still)

A Perfect Home: The Bridge Project, 2010 (video still)

A Perfect Home: The Bridge Project, 2010 (video still)

(born 1962) Seoul, South Korea 
Lives and works in New York, London and Seoul.

Do-Ho Suh’s sculptures and installations explore spatial dynamics and issues of cultural difference. His site-specific installations act like microcosms of the postmodern, globalised world, questioning the boundaries of identity in relation to public and private space. Suh’s work, which draws from his Korean background and life in the West, addresses the place of individual and collective identities in a global society. Through the use of architectural elements and references to the body, Suh evokes a trans-cultural life where the dynamics of space, culture and connection create unanticipated form.

Selected exhibitions (solo):

Hiroshima MOCA, Hiroshima, Japan, 2012; Leeum Samsung Museum, Seoul, South Korea, 2012; Tate Modern, London, UK, 2011; Storefront for Art and Architecture, New York, USA, 2010; 2001 Venice Biennale, Italy. Selected exhibitions (group):Luminous: The Art of Asia, Seattle Art Museum, 2011; 2010 Liverpool Biennial, Liverpool, UK; 2010 Venice Architecture Biennale, Italy; Your Bright Future: 12 Contemporary Artists from Korea, Los Angeles County Museum of Art, USA, 2009; Psycho Buildings, Hayward Gallery London, UK, 2008.

‘... there is no freedom in architecture. In fact freedom is a ruse Suh points to...’

Yasmeen M Siddiqui, curator and essayist, Louisville, Kentucky.

A Perfect Home: The Bridge Project

2010
Auckland Art Gallery

synchronised four-monitor animated digital slide presentation, two single-channel videos, sound
11:00min
© Do Ho Suh
courtesy of the artist


Venue
Right of Way, 2013 (still)

Right of Way, 2013 (still)

Right of Way, 2013 (still)

Right of Way, 2013 (still)

Born 1982, Ngāpuhi, Samoan, Niuean
Lives and works in Auckland, New Zealand

 

 

Janet Lilo is an interdisciplinary artist interested in the politics of space and the exploration of popular culture within a localised framework. Her work includes appropriated amateur photography and video from online platforms, music videos, vlogs (video logs) and experimental documentary. With a keen eye for online trends Lilo has recorded people’s behaviours and interactions and displayed them on monitors and objects in gallery spaces, the sides of buildings, in museums, the internet, bus stops and billboards. Recently she created internet art projects specifically for YouTube, establishing a bridge between global online communities and the local communities of Auckland.

Listen to Janet Lilo in conversation with Nina Tonga at Artspace as part of the 5th Auckland Triennial.

Selected exhibitions (solo):

Identi-tee video, Auckland War Memorial Museum, 2012; Top16, Beachcomber Contemporary Art Gallery, Rarotonga, 2010; Man in the mirror, ICC building, Higashi Sapporo, 2009; MYFACE, Fresh Gallery Otara, 2009; Top16 x 2, Fresh Gallery Otara, 2008; Selected exhibitions (group): Contact, Frankfurter Kunstverein, 2012; Home AKL, Auckland Art Gallery, 2012; Rituels, Tjibaou Cultural Center, Noumea, 2011; Niu Pasifik: Urban Art from the Pacific Rim, CN Gorman Museum, University of California, 2010; Nonsense, CAI02 Gallery, Sapporo, 2009.

‘...Lilo captures real moments of local life: street scenes, candid performances, community dialogue and urban landscapes.’

Nina Tonga, art historian and Professional Teaching Fellow, Centre for Pacific Studies, The Universi

Watch video

Right of Way

2013
Artspace

installation with photos, park benches, HD video, sound
courtesy of the artist