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


Venue
Nanshi Tou (South Stone), 2011

Nanshi Tou (South Stone), 2011

Nanshi Tou (South Stone), 2011

Nanshi Tou (South Stone), 2011

Born 1976, Changsha, China
Lives and works in Guangzhou, China

Zhou Tao’s work reflects on the activities and elements of everyday life. His subtle and humorous videos record interactions between people, things, and situations – touching on questions about the multiple trajectories of reality. In the performance piece Time, 2010 in New York Zhou attached a ball of string to his body as means of recording his movements throughout the day. For Zhou, the decision to use video was not a deliberate choice of artistic language or medium; instead, the operation of the camera is a way of being that blends itself with everyday life.

http://listart.mit.edu/node/509

Selected exhibitions (solo):

Zhou Tao: The Training, Kadist Art Foundation, Paris, 2013; Open Studio: Seek for Geothermal Heat, Times Museum, Guangzhou, 2012; The Man Who Plants Scenarios, Queens Nails Projects, San Francisco, 2011; Zhou Tao, Location One, New York, 2010; 1234–, MIT List Visual Arts Center, Cambridge, MA, 2009. Selected exhibitions and screenings (group): 6th Curitiba Biennial, 2011; Non-Aligned, Marina Abramovic Institute West, San Francisco, 2010; 7th Shanghai Biennale, 2008; China Power Station Part II, Astrup Fearnley Museum of Modern Art, Oslo, 2007; Accumulation-Canton Express Next Stop, Tang

‘... Zhou Tao’s practice alchemises ordinary surroundings into a theatre...’

Xiaoyu Weng, curator and writer, San Francisco

Nanshi Tou (South Stone)

2011
Auckland Art Gallery

single-channel HD video, 36 inkjet prints
25:22min, 279.4 mm x 215.9 mm (each)
courtesy of artist and Kadist Art Foundation


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.


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
Just in time for too late, (2013)

Just in time for too late, (2013)

Born 1974, Ngāpuhi, Ngāti Whakaeke, Pākehā
Lives and works in North Canterbury, New Zealand

Wayne Youle’s playful and subversive art practice ranges from painting and sculpture to photography, ceramics and bronze casting. Informed by his heritage, Youle makes work which addresses Māori/Pākehā relations and bicultural concepts as well as broader social issues. One of his most recent projects was a large-scale mural painted on a concrete wall in Sydenham, Christchurch. I seem to have temporarily misplaced my sense of humour, 2012 was a giant painting of a shadow board with tools that represented what had gone from people’s everyday lives and all those who lent their equipment and hands to help clean up Christchurch following the earthquake in February 2011.

Selected exhibitions (solo):

So they say...,Tauranga Art Gallery, 2013; Fingers Crossed, City Gallery Wellington, 2012; 10 Down, Pataka Museum of Arts & Cultures, Porirua, 2010; The Icon 500, The Physics Room, Christchurch, 2005. Selected exhibitions (group): Close Encounters, Hyde Park Art Center, Chicago, 2009; Plastic Maori, The Dowse, Lower Hutt, 2009; Winners are Grinners, PICA, Perth, 2007; Pasifika Styles, University of Cambridge, 2006; Hei Tiki, Auckland Art Gallery, 2005; Manawa Taki, City Gallery Wellington, 2005.


‘... the play of words and symbols which are often utilised to intersect national bicultural debates in provocative ways.’

Nigel Borell, Kaiwhakahaere, Toi o Manukau, Auckland Council

Watch video

Just in time for too late

2013
Fresh Gallery Otara

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


Venue
Tlatelolco Clash, 2011 (still)

Tlatelolco Clash, 2011 (still)

3-2-1, 2011

3-2-1, 2011

(born 1974) Albania.
Lives and works in Berlin.

Working primarily in film and video, Anri Sala creates works that bring together documentary, history, language and cultural memory. Early films referenced his personal experience and reflected on Albania’s social and political changes, while recent works have explored the tension between repetition and improvisation, often involving or offering the possibility of live performance.

http://www.mariangoodman.com/artists/anri-sala/

Sala’s films and installations disrupt and reconfigure the viewer’s relationship to the image and the space, echoing his approach to making work, which the artist describes as being ‘shaped, inspired and constrained by rupture, and transitory or intermediate stations’.

Selected exhibitions (solo):

Museum De Pont, Tilburg, The Netherlands, 2013; Centre Georges Pompidou, Paris, France, 2012; Serpentine Gallery, London, UK, 2011; About Change Studio, Berlin, Germany, 2010; CAC Contemporary Arts Center, Cincinnati OH, 2009; Museum of Contemporary Art North Miami, USA, 2008; Extra City, Antwerp, Belgium, 2007. Selected exhibitions (group): 2012 Documenta, Kassel, Germany; 9th Gwangju Biennale, China, 2012; Architektonika, Hamburger Bahnhof, Berlin, Germany, 2012; Tribute to Anri Sala, Locarno Film Festival, Italy, 2011; 29th São Paolo Biennale, Brazil, 2010; Haunted: Contemporary Photography/Video/Performance, Guggenheim Museum, New York, 2010; Gender Check, Museum Moderner Kunst Stiftung Ludwig Wien, Vienna, Austria, 2009; The Implications of Image, Museo Universitario de Ciencias y Arte, Mexico City, Mexico, 2008; Moskau Biennale, Moscow, Russia, 2007.

‘Music, emotive and often abstract, is a powerful form of non-verbal communication, and even a catalyst for change.’

Andrew Clifford, Curator, Centre for Art Research, The University of Auckland

Long Sorrow

2005
Gus Fisher Gallery

HD video transferred from super 16mm film, stereo sound
12:57min
courtesy of Johnen Galerie Berlin; Galerie Rüdiger Schöttle, Munich; Marian Goodman Gallery, New York; Hauser & Wirth, Zurich / London; Galerie Chantal Crousel, Paris

Tlatelolco Clash

2011
Gus Fisher Gallery

HD video projection, five-channel surround sound
11:49min
courtesy of kurimanzutto, Mexico City; Marian Goodman Gallery, New York; Hauser & Wirth, Zurich / London; Galerie Chantal Crousel, Paris

3-2-1

2011
Gus Fisher Gallery

live performance featuring artist André Vida responding to the film Long Sorrow
courtesy of the artist


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

Born 1964, Tokyo, Japan 
Lives and works in Shanghai, China and Brussels, Belgium and Taipei, Taiwan.

Michael Lin is best known for his large-scale colourful floral paintings which cover the facades of building, interiors, windows and furniture. Using patterns from traditional Taiwanese textiles and decorative arts Lin’s work blurs the lines between art and craft, and raises issues around the continuity of traditional and domestic art forms. These playful insertions question the role of art in public space as Lin transgresses the line between the undervalued domestic realm and the dominant public one. Lin has collaborated with architects and local trades people to create environments and structures which encourage new ways of encountering art.

Selected exhibitions (solo):

Model Home, Rockbund Art Museum, Shanghai, 2012; Michael Lin, Free Port No. 005, Peabody Essex Museum, Salem, 2012; Hotel MARCO, Museum of Contemporary Art, Vigo, 2011; A Modest Veil, Vancouver Art Gallery, 2010; Michael Lin, OK Offenes Kulturhaus, Linz, 2007; Michael Lin, Kunsthalle Wien, Vienna, 2005. Selected exhibitions (group): 3rd SingaporeBiennale, 2011; Memories of the Future, Leeum, Samsung Museum of Art, Seoul, 2010; 4th Fukuoka Asian Art Triennale, 2009; Space For Your Future, Museum of Contemporary Art, Tokyo, 2007; Notre Histoire, Palais de Tokyo, Paris, 2006; 2nd Guangzhou Triennial, 2005.

 

‘... Lin goes out looking for ... anonymous patterns loaded with collective memories.’

Yuko Hasegawa, Chief Curator, Museum of Contemporary Art, Tokyo

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
Aereile Jackson, Tent City, Los Angeles

Aereile Jackson, Tent City, Los Angeles

Apple harvest Betuwe

Apple harvest Betuwe

Donlim factory worker, Shenzhen

Donlim factory worker, Shenzhen

Born 1932, San Francisco, United States of America

Lives and works in United States of America and Paris, France

Noël Burch has been publishing books since the 1960s and these include Theory of Film Practice (1973) and To the Distant Observer: Form and Meaning in Japanese Cinema (1979), which remains the seminal history of Japanese cinema. While he is primarily known as a writer, Burch is also a filmmaker and has directed over 20 films, most of which are documentaries. Burch is the co-founder and director of the Institut de Formation Cinèmatographique, an alternative film school connecting theory and practice.

‘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

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
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

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


Claire Healy and Sean Cordeiro

Has video
Venue
dwell,2013

dwell,2013

dwell,2013

dwell,2013

(formed 2001)
Live and work in Sydney, Australia

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

Watch video