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


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
Architecture Now! Etat des Lieux #2, 2010 (still)

Architecture Now! Etat des Lieux #2, 2010 (still)

Architecture Now! Etat des Lieux #2, 2010 (still)

Architecture Now! Etat des Lieux #2, 2010 (still)

Born 1970,Tangier, Morocco
Lives and works between Tangier, Morocco and Paris, France

mounir fatmi makes art which directly addresses global current events by looking at the origins and symptoms of global issues, as well as speaking to those whose lives are affected by specific events. In his recent work, fatmi has criticised the formation of supranational political and economic structures in the late 1990s and offered an Arab perspective on megalopolises and urban architecture. fatmi defines a megalopolis as architectural development in cities that is carried out at speed and without taking time to consider or reflect upon the wellbeing of the people who live there.

http://www.mounirfatmi.com/

Selected exhibitions (solo):

Oriental Accident, Lombard Freid Projects, New York, 2012; The Angel’s Black Leg, Galerie Conrads, Düsseldorf, 2011; Seeing is Believing, Galerie Hussenot, Paris, France, 2010; minimalism is capitalist, Galerie Conrads, Düsseldorf, 2009; Obstacle Next Flag, Migros Museum, Zürich, 2003. Selected exhibitions (group): Ici, Ailleurs, Tour Panorama, Marseille, 2013; 6th Québec Biennale, 2012; 54th Venice Biennale, 2011; 12th Cairo Biennale, 2010; 10th Lyon Biennale, 2009; 10th Brussels Biennale, 2008.

‘... [mounir] looks at a world dominated by new technologies, from the vantage point of the Arab world, with an ironic gaze.’

Ali Akay, Professor of Sociology, University of Fine Arts Mimar Sinan; curator, Istanbul

Architecture Now! Etat des lieux #1

2010
Fresh Gallery Otara

colour HD video, with stereo sound
11:33min

Architecture Now! Etat des lieux #3, I lived on the 3rd Floor in Tower no. 2

2010
Fresh Gallery Otara

colour HD video, stereo sound
10:12min

Architecture Now! Etat des lieux #4, City of urgency

2010
Fresh Gallery Otara

colour HD video, stereo sound
9:13min

The VF Project

2010
Fresh Gallery Otara

colour HD video projection, stereo sound
28:00min
courtesy of the artist and Analix Forever, Geneva, Goodman Gallery, Johannesburg, Cape Town


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
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
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


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)

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
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
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