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, 200

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
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

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
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


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

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

A [for 6 silos]

A [for 6 silos]

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

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


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
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
Just in time for too late, (2013)

Just in time for too late, (2013)

Born 1974, Ngāpuhi, Ngāti Whakaeke, Pākehā
Lives and works in North Canterbury, New Zealand

Wayne Youle’s playful and subversive art practice ranges from painting and sculpture to photography, ceramics and bronze casting. Informed by his heritage, Youle makes work which addresses Māori/Pākehā relations and bicultural concepts as well as broader social issues. One of his most recent projects was a large-scale mural painted on a concrete wall in Sydenham, Christchurch. I seem to have temporarily misplaced my sense of humour, 2012 was a giant painting of a shadow board with tools that represented what had gone from people’s everyday lives and all those who lent their equipment and hands to help clean up Christchurch following the earthquake in February 2011.

Selected exhibitions (solo):

So they say...,Tauranga Art Gallery, 2013; Fingers Crossed, City Gallery Wellington, 2012; 10 Down, Pataka Museum of Arts & Cultures, Porirua, 2010; The Icon 500, The Physics Room, Christchurch, 2005. Selected exhibitions (group): Close Encounters, Hyde Park Art Center, Chicago, 2009; Plastic Maori, The Dowse, Lower Hutt, 2009; Winners are Grinners, PICA, Perth, 2007; Pasifika Styles, University of Cambridge, 2006; Hei Tiki, Auckland Art Gallery, 2005; Manawa Taki, City Gallery Wellington, 2005.

‘... the play of words and symbols which are often utilised to intersect national bicultural debates in provocative ways.’

Nigel Borell, Kaiwhakahaere, Toi o Manukau, Auckland Council

Just in time for too late

2013
Fresh Gallery Otara

Emory Douglas, Rigo 23, Wayne Youle
painted mural
2940 x 11300
Courtesy of the artists


Claire Healy and Sean Cordeiro

Venue
dwell,2013

dwell,2013

dwell,2013

dwell,2013

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

dwell

2013
Auckland Art Gallery

mixed media installation
dimensions variable
courtesy of the artists, Roslyn Oxley9 Gallery, Sydney and Gallery Wendi Norris, San Francisco.

 

 


Venues
Foreigners Everywhere (Chinese and French), 2013

Foreigners Everywhere (Chinese and French), 2013

Foreigners Everywhere (Chinese), 2008

Foreigners Everywhere (Chinese), 2008

Foreigners Everywhere (Tibetan), 2010

Foreigners Everywhere (Tibetan), 2010

(formed 2004)
Lives and works in Paris, France

Claire Fontaine is a Paris-based collective, founded in 2004. After lifting her name from a popular brand of school notebooks, Claire Fontaine declared herself a ‘readymade artist’ and began to elaborate a version of neo-conceptual art that often looks like other people’s work. Working in neon, video, sculpture, painting and text, her practice can be described as an ongoing interrogation of the political impotence and the crisis of singularity which seem to define contemporary society today.

http://www.clairefontaine.ws/

Selected exhibitions (solo):

1493, Espace 1414, San Juan, 2013; Redemptions, CCA Wattis, San Fransisco, 2013; Carelessness causes fire, Audian Gallery, Vancouver, 2012; Breakfast starts at midnight, Index, The Swedish Contemporary Art Foundation, Stockholm, 2012; M-A-C-C-H-I-N-A-Z-I-O-N-I, Museion, Bolzano, 2012; P.IG.S., MUSAC, León, 2011; Economies, Museum of Contemporary Art, Miami, 2010; After Marx April, After Mao June, Aspen Art Museum, 2009. Selected exhibitions (group): When Attitudes Became Form Become Attitudes, CCA Wattis, San Fransisco, 2013; The Deep of the Modern, Manifesta 9, Genk, Limburg 2012 Unrest: Revolt Against Reason, apexart, New York, 2012; 9th Shanghai Biennale, 2012; Re-writing Worlds (Art and Agency), 4th Moscow Biennale, 2011; 12th Istanbul Biennial, 2011.

‘Not only are there foreigners everywhere, but we are foreigners everywhere.’

Linda Tyler, Director, Gus Fisher Gallery

Foreigners Everywhere (Chinese)

2008
Auckland Art Gallery

neon, framework, transformer, cables
215 x 1300 x 50 mm

Foreigners Everywhere (French)

2011
Auckland Art Gallery

neon, framework, transformer, cables
110 x 1720 x 50 mm

Foreigners Everywhere (Korean)

2013
Auckland Art Gallery

neon, framework, transformer, cables
148 x 1535 x 50 mm

Foreigners Everywhere (Hindi)

2013
Auckland Art Gallery

neon, framework, transformer, cables
185 x 2120 x 50 mm

Foreigners Everywhere (Samoan)

2013
Auckland Art Gallery

neon, framework, transformer, cables
110 x 1240 x 50 mm

Foreigners Everywhere (Māori)

2013
Auckland Art Gallery

neon, framework, transformer, cables
130 x 2292 x 50 mm
courtesy of the artist

Foreigners Everywhere (Māori)

2013
Gus Fisher Gallery

neon, framework, transformer, cables
130 x 2292 x 50 mm
courtesy of the artist


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.

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.