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.


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


Saffronn Te Ratana, Ngataiharuru Taepa and Hemi Macgregor

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,

Ka kata te po

2011
Auckland Art Gallery

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


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 1966, Madeira, Portugal
Lives and works in San Francisco, United States of America

Rigo 23 is an artist interested in the different forms of community-based practice. In the 1990s he painted a number of large-scale Pop Art-inspired murals which highlight world politics and the plight of political prisoners including the "Black Panther Party" and the "Angola Three". Some of Rigo 23’s most memorable murals appear on the sides of buildings, including the large black and white mural One Tree, 1995. In this mural Rigo 23 painted the words ‘one tree’ in a giant traffic arrow which points to a lone tree in a crowded industrial setting – a reminder to the people who pass it of what is lost in urbanisation.

http://www.artistsrespond.org/artists/rigo23/

Selected exhibitions (solo):

Autonomous InterGalactic Space Program, REDCAT Gallery, Los Angeles, 2012; Tate Wikikuwa Museum: North America 2024, Warehouse Gallery, Syracuse University, 2010; The Deeper They Bury Me, the Louder My Voice Becomes, New Museum, New York City, 2009; Cracks in the Highway, MAC – Museu de Arte Conemporânea, Niterói, 2007. Selected exhibitions (group): Autonomous Regions, Times Museum, Guangzhou, 2013; Kochi-Muziris Biennale, Kerala, 2012; Fifty Years of Bay Area Art – the SECA Awards, San Francisco Museum of Modern Art, 2011; The Jerusalem Show IV, East Jerusalem/Ramallah, Palestine, 2010; 10th Lyon Biennale, 2009.

‘A social activist and commentator in his own right, Rigo 23 has an aesthetic that is unpretentious and direct.’

Nigel Borell, Kaiwhakahaere, Toi o Manukau, Auckland Council

Untitled

2013
Fresh Gallery Otara

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


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

Bishan Project

2013
Auckland Art Gallery

sketchbooks, drawings, magazines, archival material, photographs, video, mixed media objects
dimensions variable
courtesy of the artist


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
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

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
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


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