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


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


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
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
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


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
Paranoid Structures, 2013 (still)

Paranoid Structures, 2013 (still)

Paranoid Structures, 2013 (still)

Paranoid Structures, 2013 (still)

Born 1972, Auckland, New Zealand
Lives and works in Auckland, New Zealand

 

Auckland-based artist Tahi Moore works across a range of media including video, sculpture, painting and performance. Moore’s installations typically unfold and collapse around a central text offered to the viewer through subtitles in his video works. Moore’s narratives combine elements from a range of curiously linked sources (with myriad references from philosophy, literature, film, and popular culture more generally) in quietly absurd sequences. These stories typically evince the artist's long-standing fascination with narrative structure, in particular stories of failure, fakes, and moments where meaning is misunderstood, misconstrued or mistranslated.

Selected exhibitions (solo):

Abstract sequels, returns, Hopkinson Cundy, Auckland, 2012; Nonsuch Park, Hopkinson Cundy, Auckland, 2011; Failed Purchases, High Street Project, Christchurch, 2010; War against the self, Gambia Castle, Auckland, 2009; Various Failures, Gambia Castle, Auckland, 2008; German Sands, Our Faces, Gambia Castle, Auckland, 2007; Selected exhibitions (group): Metaphoria, St Paul St Gallery, Auckland 2012; Caraway Downs, Artspace, Auckland, 2011; No Soul For Sale: A Festival of Independents, Tate Modern, London, 2010; Pickups, Magic Mountain, Home, Okay, A pretty intense long drawn out game (with Fiona Connor), Y3K Gallery, Melbourne, 2009.

’... Moore... provides viewers with a selection of visual and sonic clues to decipher the turn of events.’

Caterina Riva

various, astral travels, politics, human, unavoidability of becoming someone else, progress

2013
Gus Fisher Gallery

various dimensions and materials

Conny Plank, Studios, Personal

2013
Gus Fisher Gallery

HD Video, colour, non-concurrent

Sound

6:00min

The only true problem is that nothing needs to be done, Dior runway shows

2013
Gus Fisher Gallery

HD video, colour

5:00min


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
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
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.