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
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


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.

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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
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.


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
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
Architectural plans with notes for the removal and acquisition of garage doors from Mahia Road, Manurewa

Architectural plans with notes for the removal and acquisition of garage doors from Mahia Road, Manurewa

Born 1988, Auckland
Lives and works in Auckland, New Zealand

Luke Willis Thompson’s art deals with sites and objects that embody a sense of historical, political or social trauma. In recent work the artist has used ready-made objects – such as a local funeral home’s art collection and a house in the Auckland suburb of Epsom – to trace the faultlines of race and class in his chosen context. Thompson sets up estranging encounters where the viewer is confronted with an object both ontologically and in the space of narrative and mythology.

 

Selected exhibitions (solo):

inthisholeonthisislandwhereiam, Hopkinson Cundy, Auckland, 2012; Yaw, RM, Auckland, 2011. Selected exhibitions (group): Between memory and trace, Te Tuhi Centre for the Arts, Pakuranga, 2012; In Spite of Ourselves: Approaching Documentary, St Paul St Gallery, Auckland and The Dowse Art Museum, Lower Hutt, 2012; Make\Shift: Tautai’s Third Tertiary Show, St Paul St Gallery, Auckland, 2010.

‘... objects that shatter any achievable fantasy of community...’

Danny Butt, writer and artist, Melbourne

Untitled

2012
Auckland Art Gallery

three garage doors, security lights
dimensions variable
courtesy of the artist and Hopkinson Cundy, Auckland


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
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
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

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