Venue
The Forgotten Space 2010 (still)

The Forgotten Space 2010 (still)

Born 1951, Erie, United States of America
Died 10 August 2013, Los Angeles, United States of America

Allan Sekula (1951–2013) was a photographer, filmmaker and writer engaged with issues of social reality and globalisation. The Forgotten Space, 2010 is a filmic sequel to his book Fish Story, 1995 which explores the historic use and representation of the maritime space and the radical modern-day shifts and transformations. In recent work Sekula explored the uneasy relationship in maritime space between anti-authoritarianism or imaginative freedom and instruments of economic, military and political power. As an intellectual and practitioner, he was mainly engaged with socio-political critique of what he described as ‘the imaginary and material geographies of the advanced capitalist world’.

http://www.theforgottenspace.net/

Selected exhibitions:

Polonia and Other Fables, Ludwig Museum, Budapest, 2010; Polonia and Other Fables, Zachęta National Gallery of Art, Warsaw, 2009; dOCUMENTA (12), Kassel, 2007; Shipwreck and Workers, STUK Kunstcentrum, Leuven, 2005; Titanic’s Wake, Harn Museum of Art, Florida, 2004; Prayer for the Americans, Galerie Michel Rein, Paris, 2004; Sekula, Performance under Working Conditions, Generali Foundation, Vienna, 2003; dOCUMENTA (11), Kassel, 2002.

‘Sekula and Burch’s film asks us to consider those critical spaces between the local and the global...’

Alex Davidson, Curatorial Assistant, Artspace, Auckland

The Forgotten Space

2010
The Film Archive

The Film Archive
Screening times for The Forgotten Space at The Film Archive:

Weekdays - 11am, 1pm and 3pm

Saturday - 11am, 1pm

film essay / feature documentary, English subtitles
110:00min
producers: Frank van Reemst, Joost Verheij
co-producers: Vincent Lucassen, Ebba Sinzinger
courtesy of DOC.EYE Film


Venue
Tropical Thunder,2013

Tropical Thunder,2013

Tropical Thunder,2013

Tropical Thunder,2013

Tropical Thunder,2013

Tropical Thunder,2013

Born 1978, Perth, Australia Lives and works Sydney, Australia

Keg de Souza is an inter-disciplinary artist who works across mediums including video, artist’s books, printmaking, inflatable architecture, installation and drawing. The investigation of spatial politics is central to de Souza’s work, as she focuses not only on the built environment but also social space. De Souza is involved in collaborative artistic projects and groups, such as the SquatSpace artist collective, the collaborative duo You Are Here, the Network of Un-Collectable Artists and the Rizzeria printmaking collective. Under the name All Thumbs Press she publishes hand-bound books and zines featuring her illustrations and writing.

http://www.allthumbspress.net/

Selected exhibitions (solo):

Gonflables et amuse-bouches, Darling Foundry, Montréal, 2012 Living Under the Stars, Urban Art Projects, Brisbane, 2012; Rosen-tales; Women’s Studio Workshop, New York, 2012; Ramble Through The Rocks, Offsite: MCA, Sydney, 2011; Whatever Floats Your Boat, Cockatoo Island Studios to Balmain, Sydney, 2010. Selected exhibitions (group): Social Networking, Gallery of Modern Art, Brisbane, 2012; Primavera 2011: Young Australian Artists, Museum of Contemporary Art, Sydney, 2011; Trama, Museu de Arte Contemporânea de Serralves, Porto, 2011; Designated Drivers, The Block Museum of Contemporary Art, Evanston, Illinois, 2011; The Right to The City (SquatSpace), Tin Sheds Gallery, Sydney, 2011.

'Tropical Thunder ... investigates the commercialisation of traditional practices...’

Anna Davis, Curator, Museum of Contemporary Art, Sydney

Tropical Thunder

2013
Fresh Gallery Otara

plastic tablecloths, fans, bottled soft drink, risograph printed maps
dimensions variable
courtesy of the artist


Venues
Citizens Band, 2012 (still)

Citizens Band, 2012 (still)

Prepared Piano for Movers (Haussmann), 2012 (still)

Prepared Piano for Movers (Haussmann), 2012 (still)

Born 1976, Sydney, Australia
Lives and works Sydney, Australia and Paris, France

 

Angelica Mesiti creates performance-based videos that analyse culture in a state of transformation due to social or economic shifts. Past projects have focused on traditional music, movement languages, and storytelling. At the core of her work is an ongoing interest in the potential of performed cultural practices as expressions of the particularities and history of a given place and community.

http://www.angelicamesiti.com/

Listen to Angelica Mesiti talking at Artspace as part of the 5th Auckland Triennial.

Selected exhibitions (solo):

The Line of Lode & Death of Charlie Day, 24HR Art, Centre for Contemporary Art, Darwin, 2012; Rapture (silent anthem), Institute of Modern Art, Brisbane, 2012; The Begin-Again, C3West Project, Museum of Contemporary Art, Sydney and Hurstville Council, 2011; Rapture (silent anthem), CCP, Melbourne, 2010. Selected exhibitions (group): Sharjah Biennial 11, United Arab Emirates, 2013; NEW12, ACCA, Melbourne, 2012; Kochi-Muziris Biennale, Kerala, 2012; Rencontres Internationales, Pompidou Centre, Paris, 2010; No Soul For Sale, Tate Modern, London, 2010; Les Rencontres International, Paris, Ecole Des Beaux Arts, Paris, 2008.

‘Few contemporary works evoke such beauty ...’

Jacqueline Millner, Associate Dean, Learning and Teaching, Sydney College of the Arts

Citizens Band

2012
Artspace

four-channel colour HD video installation, surround sound 21:25min, courtesy of the artist and Anna Schwartz Gallery

Prepared Piano for Movers (Haussmann)

2012
Auckland Art Gallery

single-channel colour HD video, stereo sound 6:00min, courtesy of the artist and Anna Schwartz Gallery


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

Untitled

2013
Fresh Gallery Otara

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


Venues
Foreigners Everywhere (Chinese and French), 2013

Foreigners Everywhere (Chinese and French), 2013

Foreigners Everywhere (Chinese), 2008

Foreigners Everywhere (Chinese), 2008

Foreigners Everywhere (Tibetan), 2010

Foreigners Everywhere (Tibetan), 2010

(formed 2004)
Lives and works in Paris, France

Claire Fontaine is a Paris-based collective, founded in 2004. After lifting her name from a popular brand of school notebooks, Claire Fontaine declared herself a ‘readymade artist’ and began to elaborate a version of neo-conceptual art that often looks like other people’s work. Working in neon, video, sculpture, painting and text, her practice can be described as an ongoing interrogation of the political impotence and the crisis of singularity which seem to define contemporary society today.

http://www.clairefontaine.ws/

Selected exhibitions (solo):

1493, Espace 1414, San Juan, 2013; Redemptions, CCA Wattis, San Fransisco, 2013; Carelessness causes fire, Audian Gallery, Vancouver, 2012; Breakfast starts at midnight, Index, The Swedish Contemporary Art Foundation, Stockholm, 2012; M-A-C-C-H-I-N-A-Z-I-O-N-I, Museion, Bolzano, 2012; P.IG.S., MUSAC, León, 2011; Economies, Museum of Contemporary Art, Miami, 2010; After Marx April, After Mao June, Aspen Art Museum, 2009. Selected exhibitions (group): When Attitudes Became Form Become Attitudes, CCA Wattis, San Fransisco, 2013; The Deep of the Modern, Manifesta 9, Genk, Limburg 2012 Unrest: Revolt Against Reason, apexart, New York, 2012; 9th Shanghai Biennale, 2012; Re-writing Worlds (Art and Agency), 4th Moscow Biennale, 2011; 12th Istanbul Biennial, 2011.

‘Not only are there foreigners everywhere, but we are foreigners everywhere.’

Linda Tyler, Director, Gus Fisher Gallery

Foreigners Everywhere (Chinese)

2008
Auckland Art Gallery

neon, framework, transformer, cables
215 x 1300 x 50 mm

Foreigners Everywhere (French)

2011
Auckland Art Gallery

neon, framework, transformer, cables
110 x 1720 x 50 mm

Foreigners Everywhere (Korean)

2013
Auckland Art Gallery

neon, framework, transformer, cables
148 x 1535 x 50 mm

Foreigners Everywhere (Hindi)

2013
Auckland Art Gallery

neon, framework, transformer, cables
185 x 2120 x 50 mm

Foreigners Everywhere (Samoan)

2013
Auckland Art Gallery

neon, framework, transformer, cables
110 x 1240 x 50 mm

Foreigners Everywhere (Māori)

2013
Auckland Art Gallery

neon, framework, transformer, cables
130 x 2292 x 50 mm
courtesy of the artist

Foreigners Everywhere (Māori)

2013
Gus Fisher Gallery

neon, framework, transformer, cables
130 x 2292 x 50 mm
courtesy of the artist


Venues
Water Collection from Waiariki

Water Collection from Waiariki

Water Action 500m Law - Waitemata - July 28 2013 - 1200 - 1600 (+1200)

Water Action 500m Law - Waitemata - July 28 2013 - 1200 - 1600 (+1200)

Water Action 500m Law - Waitemata - July 28 2013 - 1200 - 1600 (+1200)

Water Action 500m Law - Waitemata - July 28 2013 - 1200 - 1600 (+1200)

Local Time (formed 2007)
Danny Butt Born 1971, Newcastle, Australia
Lives and works in Melbourne, Australia and Auckland, New Zealand

Jon Bywater Born 1970, Ipswich, England
Lives and works in Auckland New Zealand

Alex Monteith Born 1977, Belfast, Northern Ireland
Lives and works in Auckland, New Zealand

Natalie Robertson Born 1962, Kawerau, New Zealand
Lives and works in Auckland, New Zealand

Local Time is an Auckland-based collective of artists, writers and teachers who have been working together since 2006. Their practice is varied, creating site-specific projects with an emphasis on local and indigenous knowledge and the investigation of naming and framing across multiple histories. Local Time’s multi-strand projects and events aim to integrate their academic and artistic backgrounds. Their research and interventions have often been staged in remote areas, addressing the complexities of living in a colonial nation.

Selected exhibitions:

Local Time: Sarai Reader 09, Devi Art Foundation, Delhi, 2013; Local Time – Horotiu, St Paul St, Auckland, 2012; Local Time: Waitangi Day, Parihaka/Taranaki, 2009.

‘... Local Time is committed in their efforts to articulate Māori people’s right to land and resources in the modern city.’

Hou Hanru, Curator, 5th Auckland Triennial

Waiariki

2013
Auckland Art Gallery

Thursday 9th May to Sunday 11th August

actions at multiple locations:

Artspace, George Fraser Gallery, Gus Fisher Gallery, St Paul St Gallery.


Saffronn Te Ratana, Ngataiharuru Taepa and Hemi Macgregor

Venue
Ka Kata Te Po, 2011

Ka Kata Te Po, 2011

Ka Kata Te Po, 2011

Ka Kata Te Po, 2011

Hemi Macgregor
Born 1975, Ngāti Rakaipaaka, Ngati Kahungunu, Ngāi Tūhoe
Lives and works Paekakariki and Wellington, New Zealand

Saffronn Te Ratana
Born 1975, Ngāi Tūhoe
Lives and works in Palmerston North, New Zealand

Ngataiharuru Taepa
Born 1976, Te Arawa, Te Ati Awa

Hemi Macgregor, Saffronn Te Ratana and Ngataiharuru Taepa are leading contemporary Māori artists who collaborate to combine their individual practices. Collaboration is an essential element of tikanga Māori (customary values). Drawing from shared indigenous experiences the group created Ka kata te po, 2011 first shown at Te Manawa Art Gallery. This is a large installation that explores the expressions of tribal mana motuhake (authority) and the state’s suppressions of tribal voices. Earlier collaborative projects include Tu te manu ora i te Rangi, 2008 a mixed-media installation which explores the relationship between the atua (deity) Tāne and Rehua, a subject the artists have explored in their own individual practices and collectively.

Selected exhibitions (collaborative):

Ka Kata Te Po, Te Manawa Art Gallery, Palmerston North, 2011; Tu te manu ora i te Rangi, Thermostat Gallery, Palmerston North, 2008. Selected exhibitions (group): Double Vision: When Artists Collaborate, Pataka Museum of Arts, Porirua, 2010.

’... strength in mana tupuna (authority of ancestors), mana atua (spiritual and ancestral realms) and mana whenua (the power of land).’

Huhana Smith, artist and independent Māori art/visual culture specialist,

Ka kata te po

2011
Auckland Art Gallery

installation with painted cardboard and fibreglass figure
dimensions variable
courtesy of the artists


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

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

Right of Way

2013
Artspace

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


Claire Healy and Sean Cordeiro

Venue
dwell,2013

dwell,2013

dwell,2013

dwell,2013

Sean Cordeiro
Born 1974, Sydney, Australia
Claire Healy
Born 1971, Melbourne, Australia

 

Claire Healy and Sean Cordeiro met at the New South Wales College of Fine Arts in the 1990s. Avid travellers, their peripatetic lives inform much of their practice as they explore ideas of home and transience, and engage with issues such as real estate, permutations of space and modes of living. They are best known for transforming everyday objects into large-scale and provocative sculptures and installations. Through the presentation of the deconstructed and the reassembled Healy and Cordeiro literally unpack notions of domicide, and make us question our own materialistic tendencies and the impermanence of occupation.

http://www.claireandsean.com/

Selected exhibitions (solo):

Claire Healy & Sean Cordeiro, Museum of Contemporary Art Australia, Sydney, 2012; Are We There Yet? Corcoran Gallery of Art, Washington DC, 2011; Par Avion, Frey Norris Contemporary & Modern, San Francisco, 2011; Future Furnishings, Nature Morte Gallery, Berlin, 2012; The Ultimate Field Trip, Akiyoshidai International Artist Village, Yamaguchi, 2010; Prems, La BF15, Lyon, 2009. Selected exhibitions (group): Setouchi Art Festival, Setouchi, 2010; 53rd Venice Biennale, 2009; Optimism, Gallery of Modern Art | Queensland Art Gallery, Brisbane, 2008.

‘Enigmatic clues hint at a narrative – somewhat playful, somewhat uncomfortable...’

Beatrice Gralton, Curator Visual Arts, Carriageworks, Sydney

dwell

2013
Auckland Art Gallery

mixed media installation
dimensions variable
courtesy of the artists, Roslyn Oxley9 Gallery, Sydney and Gallery Wendi Norris, San Francisco.

 

 


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
Automóvel (Automobile) 2012 (still)

Automóvel (Automobile) 2012 (still)

Automóvel (Automobile) 2012 (still)

Automóvel (Automobile) 2012 (still)

Born 1974, Belo Horizonte, Brazil
Lives and works in Belo Horizonte, Brazil

Cinthia Marcelle’s video and photography deals with interventions in urban spaces or landscapes and frequently incorporates carefully choreographed, repetitive actions and elements of chaos. These works contain a sense of irony, where the absurd is presented with the appearance of certainty. Paradox is one of the concepts most linked to the performance method used by the artist, along with photography and video.

Marcelle’s videos are often shot from one camera angle and depict actions that appear to be happenstances but which become aesthetic occurrences. Her actions create situations that challenge our notions of conventional behaviour by introducing humorous coincidences and connections.

Selected exhibitions (solo):

Zona Temporária, Centro Cultural Banco do Brasil, Rio de Janeiro, 2013; See for been seen, Pinchuk Art Center, Kiev, 2011; This Same World Over, Foyer Gallery, Camberwell College of Arts, London, 2009; Bolsa Pampulha: Cinthia Marcelle, Museu de Arte da Pampulha, Belo Horizonte, 2004. Selected exhibitions (group): Sharjah Biennial 11, Arabic Emirates, 2013; 2nd New Museum Triennial, New York, 2012; Tate Level 2 Gallery, London, 2012; Dundee Contemporary Art, 2012; 29th São Paulo Biennial, 2010; 9th Lyon Biennale, 2007; 9th Havana Biennial, 2006.

‘Marcelle seems to be making a call to a different kind of mobility... that not only looks forward, but also sideways and back.’

Luisa Duarte, writer and curator, Belo Horizonte

Automóvel (Automobile)

2012
Artspace

video projection
7:16min
courtesy of the artist, Galeria Vermelho, São Paulo and Sprovieri Gallery, London