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


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
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


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
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
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
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


Venue
The Garden of Pine – As Fierce as a Tiger II, 2010

The Garden of Pine – As Fierce as a Tiger II, 2010

One Cannot Break the Law Without Upholding the Law. All Laws Must Be Broken, 2013

One Cannot Break the Law Without Upholding the Law. All Laws Must Be Broken, 2013

One Cannot Break the Law Without Upholding the Law. All Laws Must Be Broken, 2013

One Cannot Break the Law Without Upholding the Law. All Laws Must Be Broken, 2013

(formed 2002) Live and work in Yangjiang, Guangdong Province, China
Zheng Guogu Born 1970, Yangjiang, Guangdong Province, China
Chen Zaiyan Born 1971, Yangchun, Guangdong Province, China
Sun Qinglin Born 1974, Yangjiang, Guangdong Province, China

Yangjiang Group was founded in 2002 by Zheng Guogu, Chen Zaiyan and Sun Qinglin in Yangjiang, China. The direction of their work is driven by Chinese classical philosophy, the traditions of Chinese calligraphy, and notions of social transformation. In the 2009 Lyon Biennale Yangjiang Group created The Pine Garden – As Fierce As a Tiger, a work which brought art, football and chance together in a traditional Chinese garden setting.

Selected exhibitions (solo):

Yangjiang Group – After Dinner Shu Fa at Cricket Pavilion, Eastside Projects, Birmingham, 2012; Garden of Pine – Also Fierce Than Tiger II, Tang Contemporary Art Centre, Beijing, 2010. Selected exhibitions (group): 10th Lyon Biennale, 2009; Sprout from White Nights, Bonniers Konsthall, Stockholm, 2008; dOCUMENTA (12), Kassel, 2007; The Second Guangzhou Triennial-BEYOND: An Extraordinary Space of Experimentation for Modernization, Guangdong Museum of Art, 2005.

 

‘... a place where we learn about ourselves ... in this historical moment, this society, this city and this way of life.’

Echo Janman, Public Programmes Manager, Elam School of Fine Arts, The University of Auckland

Shu Tu Tong Gui

2013
George Fraser Gallery

(Calligraphy and Scratching Leading to the Same Thing)
participatory community event, tea residue, calligraphy
courtesy of the artists and Tang Contemporary Art, Beijing


Saffronn Te Ratana, Ngataiharuru Taepa and Hemi Macgregor

Has video
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,

Watch video

Ka kata te po

2011
Auckland Art Gallery

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


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
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