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.


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


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


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

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 1966, Madeira, Portugal
Lives and works in San Francisco, United States of America

Rigo 23 is an artist interested in the different forms of community-based practice. In the 1990s he painted a number of large-scale Pop Art-inspired murals which highlight world politics and the plight of political prisoners including the "Black Panther Party" and the "Angola Three". Some of Rigo 23’s most memorable murals appear on the sides of buildings, including the large black and white mural One Tree, 1995. In this mural Rigo 23 painted the words ‘one tree’ in a giant traffic arrow which points to a lone tree in a crowded industrial setting – a reminder to the people who pass it of what is lost in urbanisation.

http://www.artistsrespond.org/artists/rigo23/

Selected exhibitions (solo):

Autonomous InterGalactic Space Program, REDCAT Gallery, Los Angeles, 2012; Tate Wikikuwa Museum: North America 2024, Warehouse Gallery, Syracuse University, 2010; The Deeper They Bury Me, the Louder My Voice Becomes, New Museum, New York City, 2009; Cracks in the Highway, MAC – Museu de Arte Conemporânea, Niterói, 2007. Selected exhibitions (group): Autonomous Regions, Times Museum, Guangzhou, 2013; Kochi-Muziris Biennale, Kerala, 2012; Fifty Years of Bay Area Art – the SECA Awards, San Francisco Museum of Modern Art, 2011; The Jerusalem Show IV, East Jerusalem/Ramallah, Palestine, 2010; 10th Lyon Biennale, 2009.

‘A social activist and commentator in his own right, Rigo 23 has an aesthetic that is unpretentious and direct.’

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
If You Were To Work Here: the Mood in the Museum, 2013

If You Were To Work Here: the Mood in the Museum, 2013

Born 1966, Ashburton
Lives and works in Auckland, New Zealand

Peter Robinson’s recent work investigates both the materiality and metaphoric potential of his chosen medium. Whether it is the massive weightless volume of polystyrene forms or the densely contracted materiality of felt, Robinson’s sculptural propositions play out various oppositions such as density and lightness, and dispersion and compression. His felt sticks reference the formalist legacies of minimalist, post-minimalist and conceptual art, conflating these iconic art-historical conventions with both traditional Māori abstraction and taonga (treasure) forms, and genetic or binary codes, to activate a contemporary recoding and recontextualisation.

Selected exhibitions (solo): Defunct Mnemonics, Peter McLeavey Gallery Wellington, 2012; Structure and Subjectivity, Sue Crockford Gallery, Auckland, 2012; Essential Security, Sutton Gallery, Melbourne 2011; Modern Standards, Sue Crockford Gallery, Auckland, 2010, Wellington, 2010; The Influence of Anxiety, The Centre for Drawing Project Space, London, 2010; Polymer Monoliths, Artspace, Sydney and Institute of Modern Art, Brisbane, 2009; Snow Ball Blind Time, Govett-Brewster Art Gallery, New Plymouth, 2008; Soft Rock Baroque, Peter McLeavey Gallery, Wellington2008; Concatenation and Dispersion, Sutton Gallery, Melbourne, 2007; ACK!, Artspace, Auckland, NZ, 2006;The Humours, Dunedin Public Art Gallery,2005

Selected exhibitions (group): All our relations, 18th Biennale of Sydney, 2012; De-Building, Christchurch Art Gallery, 2011; The Walters Prize, Auckland Art Gallery, 2008; Three Colours: Gordon Bennett and Peter Robinson, Heide Museum of Modern Art, Melbourne, 2004; Centre of Attraction, 8th Baltic Triennale of International Art, Vilnius 2002; bi-polar, 49th Venice Biennale, 2001.

‘Peter Robinson, at Auckland Museum, reminds us that Conceptual art can jolt viewers into revisiting the perceived and the accepted.’

Marcus Boroughs, Head of Public Programmes, Auckland War Memorial Museum Tamaki Paenga Hira

Watch video

If You Were To Work Here: the Mood in the Museum

2013
Auckland War Memorial Museum

240 felt-covered aluminium rods
2500 x 32 mm (each), overall dimensions variable
courtesy of the artist and Hopkinson Cundy, Auckland


Venues
test pattern [live set], 2008, photograph by Liz Hingley

test pattern [live set], 2008, photograph by Liz Hingley

Born 1966, Gifu, Japan
Lives and works in Paris, France

Ryoji Ikeda is one of Japan’s leading electronic composers and visual artists who successfully works across both visual and sonic media. His work involves elaborate orchestrations of sound, visuals and mathematical notions which explore the characteristics of sound and result in immersive live performances and installations. 

http://www.ryojiikeda.com/

Alongside his musical pieces, Ikeda continues to work on long-term projects including test pattern, 2008–ongoing in which he developed a system that converts any type of data – text, sounds, photographs and movies – into barcode patterns and binary notation consisting of 0s and 1s.

Selected exhibitions:

Beam In Thine Own Eye, Museum of Old and New Art, Hobart, 2013, test pattern [no5], Carriageworks, Sydney, 2013; test pattern [ 100m version],Ruhr Trienniale, Duisburg, 2013; Ryoji Ikeda, DHC-ART, Montréal, 2012; The Transfinite, Park Avenue Armory, New York, 2011; datamatics, Museo de Arte, Bogota, Colombia. His performances datamatics [v.2], test pattern [live set] and superposition have been presented all over the world including Pompidou Centre, Paris, Tate Modern, London and Palazzo Grassi, Venice.

 

‘[Ikeda’s] projects ... are sensational, beautiful and challenging.’

Hou Hanru, Curator, 5th Auckland Triennial

A [for 6 silos]

2013
Silo 6

site-specific six-channel sound installation
continuous loop
courtesy of the artist

test pattern [live set]

2013
Galatos Auckland

audiovisual concert
concept, composition: Ryoji Ikeda
computer graphics, programming: Tomonaga Tokuyama


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
Bishan Commune,2013

Bishan Commune,2013

Outdoor film screening, Bishan Harvestival, 2011

Outdoor film screening, Bishan Harvestival, 2011

Ou Ning: Bishan Commune: How to Start Your Own Utopia

Ou Ning: Bishan Commune: How to Start Your Own Utopia

Born 1969, Zhangjian, Guangdong, China
Lives and works in Beijing, China

 

Ou Ning is a graphic designer, editor, curator, filmmaker, writer and lecturer and founder of U-thèque, an independent film and video organisation. He is the founder of the Bishan Commune which brings together artists and intellectuals to get involved in the rural reconstruction movement in China. In 2011 the Commune held its first Harvest Festival in the rural settlement of Bishan. This incorporates music, dance, a small documentary festival and academic panels on rural reconstruction with local and international intellectual speakers.

http://www.alternativearchive.com/ouning/

Selected exhibitions and events:

Museu de Arte Contemporânea da Universidade de São Paulo, 2011; Videotage, Hong Kong, 2011; Tirana Biennial, 2009; Berkeley Art Museum and Pacific Film Archive, 2008; Smithsonian Institution, Washington, 2008; Victoria & Albert Museum, London, 2008; Contemporary Art Centre, Vilnius, 2007; Yokohama International Media Art Festival, 2009; 22nd Milan, Asian, African and Latin American Film Festival, 2012.

 

‘... Ou Ning and his ‘communards’ are looking to create an alternative social entity...’

Hou Hanru, Curator, 5th Auckland Triennial

Watch video

Bishan Project

2013
Auckland Art Gallery

sketchbooks, drawings, magazines, archival material, photographs, video, mixed media objects
dimensions variable
courtesy of the artist


Studio Mumbai (Bijoy Jain)

Copper House II, Chondi, Maharashtra, India, 2010

Copper House II, Chondi, Maharashtra, India, 2010

Palmyra House, Nangaon, Maharashtra, India, 2007

Palmyra House, Nangaon, Maharashtra, India, 2007

Palmyra House, Nangaon, Maharashtra, India, 2007

Palmyra House, Nangaon, Maharashtra, India, 2007

Born 1965, Mumbai, India
Lives and works in Mumbai, India

 

Bijoy Jain is an architect and founder of Studio Mumbai, a contemporary and award-winning architectural practice drawing on the traditional skills and expertise of India’s craftspeople. Creating a studio where skilled stonemasons, wood workers and other traditional trades do not simply execute his projects but are regarded as advisors and collaborators, Jain has enabled a rediscovery of traditional knowledge and the sustainable use of local resources. 

Drawing upon the Indian landscape and regarding it as a resource, Studio Mumbai have created buildings as diverse as private residences, public spaces, research centres and rural retreats formed by local climatic conditions, materials and technologies.

‘An architectural practice almost unique in the world, Studio Mumbai redefines the construction process...’

Andrew Barrie


Venue
Under Discussion, 2005 (video still)

Under Discussion, 2005 (video still)

Returning a Sound, 2004 (video still)

Returning a Sound, 2004 (video still)

(formed 1995) Live and work Puerto Rico

Jennifer Allora
Born 1974, Philadelphia, United States of America
James Calzadilla
Born 1971, Havana, Cuba

Collaborating since 1995, Jennifer Allora and Guillermo Calzadilla have produced an experimental and interdisciplinary body of work, combining performance, sculpture, video and sound. Their Land Mark, 2001–ongoing, project focuses on what the artists describe as the ‘transitional geography’ of Vieques, an inhabited island municipality of Puerto Rico used by the U.S Navy as a weapons-testing range from 1941 to 2003. 

http://www.lissongallery.com/#/artists/allora-and-calzadilla/

Interested in questions of social justice the artists set into motion a series of structural couples – inscription and erasure, presence and absence, appearance and disappearance – which link processes of mark-making with counter-memorial claims for rights and justice vis-à-vis specific sites.

Selected exhibitions (solo):

Stop, Repair, Prepare, MoMA, New York, 2010, and Haus der Kunst, Munich, 2008; Allora & Calzadilla, National Museum of Art, Oslo, 2009; Compass & How to Appear Invisible, Temporare Kunsthalle, Berlin, 2009; Never Mind That Noise you Heard, Stedekijk Museum, Amsterdam; Allora & Calzadilla, Kunsthalle Zürich, 2007; Clamor, Serpentine Gallery, London, 2007; Wake Up, The Renaissance Society, Chicago, 2007. Selected exhibition (group): 54th Venice Biennale, 2011.

Half Mast\Full Mast

2010
Auckland Art Gallery

dual-channel HD colour video projection
21:11min
courtesy of the artists and Lisson Gallery