Bruno Serralongue

Venue

Barricade # 2 (Mitroviça dans la partie serbe de la ville), Kosovo, 7 avril 2012

Au nord de Mitroviça sur la route menant à la Serbie, Kosovo, 8 avril 2012

Born 1968, Châtellerault, France
Lives and works in Paris, France

Bruno Serralongue’s images show the lesser events on the margins of major events and provide alternatives to the linear narrative of news reports of photo essays. Employing a photojournalistic technique Bruno Serralongue has captured important long-lasting geo-political conflicts in countries including Kosova, Sudan and Tibet as well as concerts, summits, forums, and demonstrations. His recent bodies of work reveal the effects of globalisation on those in developing countries.

http://www.brunoserralongue.com/

Selected exhibitions (solo):

South Sudan Series, Francesca Pia gallery, Zurich, 2013; Histoire des avant-dernières luttes, Air de Paris Gallery, Paris, 2012; Feu de camp, Jeu de Paume, Paris, 2010, Bruno Serralongue, Wiels, Brussels, 2009; Backdraft, Centre of Photography, Geneva, 2007. Selected exhibitions (group): Newtopia, The State of Human Right, Mechelen, Belgium, 2012; Oceans and Campﬁres: Allan Sekula and Bruno Serralongue, San Francisco Art Institute, 2011; Project Europa – Imagining the (Im)possible, Harn Museum of Art, Florida, 2010; Uneven Geographies, Nottingham Contemporary, 2010; Street & Studio: An Urban History of Photographic Portraiture, Tate Modern, London, 2008; 6th Gwangju Biennale, 2006

’[Serralongue] affirms that the only objectivity we have today is an artistic objectivity.’

Pascal Beausse

1998-1999, musée du Kosovo, Pristina, septembre

2009

Artspace

Ilfochrome print mounted on aluminium, frame with glass
1270 x 1590 mm
courtesy of the artist and Air de Paris, Paris

«Travaillons ensemble», Pristina, Kosovo, 8 novembre

2010

Artspace

Ilfochrome print mounted on aluminium, frame with glass
1270 x 1590 mm
courtesy of the artist and Air de Paris, Paris

Locations Artspace 1998-1999, musée du Kosovo, Pristina, septembre 2009 Artspace Ilfochrome print mo

2011

Artspace

Ilfochrome print mounted on aluminium, frame with glass
1270 x 1590 mm
courtesy of the artist and Kadist Art Foundation, Paris

Barricade # 2 (Mitroviça dans la partie serbe de la ville), Kosovo, 7 avril

2012

Artspace

Ilfochrome print mounted on aluminium, frame with glass
1270 x 1590 mm
courtesy of the artist and Kadist Art Foundation, Paris

«Kosovo is serbian Alamo», barricade # 2, Mitroviça, Kosovo, 7 avril

2012

Artspace

Ilfochrome print mounted on aluminium, frame with glass
520 x 630 mm
courtesy of the artist and Air de Paris, Paris

Au nord de Mitroviça sur la route menant à la Serbie, Kosovo, 8 avril

2012

Artspace

Ilfochrome print mounted on aluminium, frame with glass
520 x 630 mm
courtesy of the artist and Air de Paris, Paris

Journaliers (Bosch), Pristina, Kosovo, 11 avril

2012

Artspace

diptych, Ilfochrome print mounted on aluminium, frame with glass

520 x 630 mm
courtesy of the artist and Air de Paris, Paris

Journalier (Bosch), Pristina, Kosovo, 11 avril

2012

Artspace

llfochrome print mounted on aluminium, frame with glass
520 x 630 mm
courtesy of the artist and Air de Paris, Paris

Journaliers (bûcherons), Mitroviça, Kosovo, 9 avril

2012

Artspace

Ilfochrome print mounted on aluminium, frame with glass
520 x 630 mm
courtesy of the artist and Air de Paris, Paris

Maddie Leach

Venue

The Most Difficult Problem, 2013 (still)

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

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

Keg de Souza

Venue

Tropical Thunder,2013

Born 1978, Perth, Australia Lives and works Sydney, Australia

Keg de Souza is an inter-disciplinary artist who works across mediums including video, artist’s books, printmaking, inflatable architecture, installation and drawing. The investigation of spatial politics is central to de Souza’s work, as she focuses not only on the built environment but also social space. De Souza is involved in collaborative artistic projects and groups, such as the SquatSpace artist collective, the collaborative duo You Are Here, the Network of Un-Collectable Artists and the Rizzeria printmaking collective. Under the name All Thumbs Press she publishes hand-bound books and zines featuring her illustrations and writing.

http://www.allthumbspress.net/

Selected exhibitions (solo):

Gonflables et amuse-bouches, Darling Foundry, Montréal, 2012 Living Under the Stars, Urban Art Projects, Brisbane, 2012; Rosen-tales; Women’s Studio Workshop, New York, 2012; Ramble Through The Rocks, Offsite: MCA, Sydney, 2011; Whatever Floats Your Boat, Cockatoo Island Studios to Balmain, Sydney, 2010. Selected exhibitions (group): Social Networking, Gallery of Modern Art, Brisbane, 2012; Primavera 2011: Young Australian Artists, Museum of Contemporary Art, Sydney, 2011; Trama, Museu de Arte Contemporânea de Serralves, Porto, 2011; Designated Drivers, The Block Museum of Contemporary Art, Evanston, Illinois, 2011; The Right to The City (SquatSpace), Tin Sheds Gallery, Sydney, 2011.

'Tropical Thunder ... investigates the commercialisation of traditional practices...’

Anna Davis, Curator, Museum of Contemporary Art, Sydney

Tropical Thunder

2013

Fresh Gallery Otara

plastic tablecloths, fans, bottled soft drink, risograph printed maps dimensions variable
courtesy of the artist

Angelica Mesiti

Venues

Citizens Band, 2012 (still)

Prepared Piano for Movers (Haussmann), 2012 (still)

Born 1976, Sydney, Australia
Lives and works Sydney, Australia and Paris, France

Angelica Mesiti creates performance-based videos that analyse culture in a state of transformation due to social or economic shifts. Past projects have focused on traditional music, movement languages, and storytelling. At the core of her work is an ongoing interest in the potential of performed cultural practices as expressions of the particularities and history of a given place and community.

http://www.angelicamesiti.com/

Listen to Angelica Mesiti talking at Artspace as part of the 5th Auckland Triennial.

Selected exhibitions (solo):

The Line of Lode & Death of Charlie Day, 24HR Art, Centre for Contemporary Art, Darwin, 2012; Rapture (silent anthem), Institute of Modern Art, Brisbane, 2012; The Begin-Again, C3West Project, Museum of Contemporary Art, Sydney and Hurstville Council, 2011; Rapture (silent anthem), CCP, Melbourne, 2010. Selected exhibitions (group): Sharjah Biennial 11, United Arab Emirates, 2013; NEW12, ACCA, Melbourne, 2012; Kochi-Muziris Biennale, Kerala, 2012; Rencontres Internationales, Pompidou Centre, Paris, 2010; No Soul For Sale, Tate Modern, London, 2010; Les Rencontres International, Paris, Ecole Des Beaux Arts, Paris, 2008.

‘Few contemporary works evoke such beauty ...’

Jacqueline Millner, Associate Dean, Learning and Teaching, Sydney College of the Arts

Citizens Band

2012

Artspace

four-channel colour HD video installation, surround sound 21:25min, courtesy of the artist and Anna Schwartz Gallery

Prepared Piano for Movers (Haussmann)

2012

Auckland Art Gallery

single-channel colour HD video, stereo sound 6:00min, courtesy of the artist and Anna Schwartz Gallery

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

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

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

Rigo 23

Venue

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

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