Anri Sala

Yto Barrada

Venue

Libellule bleue (Blue Dragonfly), 2009/2011

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

Yangjiang Group

Venue

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

(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

Cinthia Marcelle

Venue

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

Claire Fontaine

Venues

Foreigners Everywhere (Chinese and French), 2013

Foreigners Everywhere (Chinese), 2008

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

Abraham Cruzvillegas

Venue

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

Emory Douglas

Venue

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

Untitled

2013

Fresh Gallery Otara

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

Do Ho Suh

Venue

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

Tahi Moore

Venue

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

Paranoid Structures

2013

Gus Fisher Gallery

HD video, colour

7:00mins

Not self help

2013

Gus Fisher Gallery

HD video, colour

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

Science Fiction

2013

Gus Fisher Gallery

HD video, colour

7:00min

Luke Willis Thompson

Venue

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

Andrew Barrie

Venue

Model Home,2013

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.