Cinthia Marcelle

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

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

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

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

Allan Sekula

Venue

The Forgotten Space 2010 (still)

Born 1951, Erie, United States of America
Died 10 August 2013, Los Angeles, United States of America

Allan Sekula (1951–2013) was a photographer, filmmaker and writer engaged with issues of social reality and globalisation. The Forgotten Space, 2010 is a filmic sequel to his book Fish Story, 1995 which explores the historic use and representation of the maritime space and the radical modern-day shifts and transformations. In recent work Sekula explored the uneasy relationship in maritime space between anti-authoritarianism or imaginative freedom and instruments of economic, military and political power. As an intellectual and practitioner, he was mainly engaged with socio-political critique of what he described as ‘the imaginary and material geographies of the advanced capitalist world’.

http://www.theforgottenspace.net/

Selected exhibitions:

Polonia and Other Fables, Ludwig Museum, Budapest, 2010; Polonia and Other Fables, Zachęta National Gallery of Art, Warsaw, 2009; dOCUMENTA (12), Kassel, 2007; Shipwreck and Workers, STUK Kunstcentrum, Leuven, 2005; Titanic’s Wake, Harn Museum of Art, Florida, 2004; Prayer for the Americans, Galerie Michel Rein, Paris, 2004; Sekula, Performance under Working Conditions, Generali Foundation, Vienna, 2003; dOCUMENTA (11), Kassel, 2002.

‘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

The Film Archive
Screening times for The Forgotten Space at The Film Archive:

Weekdays - 11am, 1pm and 3pm

Saturday - 11am, 1pm

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

Anri Sala

Venue

Tlatelolco Clash, 2011 (still)

3-2-1, 2011

(born 1974) Albania.
Lives and works in Berlin.

Working primarily in film and video, Anri Sala creates works that bring together documentary, history, language and cultural memory. Early films referenced his personal experience and reflected on Albania’s social and political changes, while recent works have explored the tension between repetition and improvisation, often involving or offering the possibility of live performance.

http://www.mariangoodman.com/artists/anri-sala/

Sala’s films and installations disrupt and reconfigure the viewer’s relationship to the image and the space, echoing his approach to making work, which the artist describes as being ‘shaped, inspired and constrained by rupture, and transitory or intermediate stations’.

Selected exhibitions (solo):

Museum De Pont, Tilburg, The Netherlands, 2013; Centre Georges Pompidou, Paris, France, 2012; Serpentine Gallery, London, UK, 2011; About Change Studio, Berlin, Germany, 2010; CAC Contemporary Arts Center, Cincinnati OH, 2009; Museum of Contemporary Art North Miami, USA, 2008; Extra City, Antwerp, Belgium, 2007. Selected exhibitions (group): 2012 Documenta, Kassel, Germany; 9th Gwangju Biennale, China, 2012; Architektonika, Hamburger Bahnhof, Berlin, Germany, 2012; Tribute to Anri Sala, Locarno Film Festival, Italy, 2011; 29th São Paolo Biennale, Brazil, 2010; Haunted: Contemporary Photography/Video/Performance, Guggenheim Museum, New York, 2010; Gender Check, Museum Moderner Kunst Stiftung Ludwig Wien, Vienna, Austria, 2009; The Implications of Image, Museo Universitario de Ciencias y Arte, Mexico City, Mexico, 2008; Moskau Biennale, Moscow, Russia, 2007.

‘Music, emotive and often abstract, is a powerful form of non-verbal communication, and even a catalyst for change.’

Andrew Clifford, Curator, Centre for Art Research, The University of Auckland

Long Sorrow

2005

Gus Fisher Gallery

HD video transferred from super 16mm film, stereo sound
12:57min
courtesy of Johnen Galerie Berlin; Galerie Rüdiger Schöttle, Munich; Marian Goodman Gallery, New York; Hauser & Wirth, Zurich / London; Galerie Chantal Crousel, Paris

Tlatelolco Clash

2011

Gus Fisher Gallery

HD video projection, five-channel surround sound
11:49min
courtesy of kurimanzutto, Mexico City; Marian Goodman Gallery, New York; Hauser & Wirth, Zurich / London; Galerie Chantal Crousel, Paris

3-2-1

2011

Gus Fisher Gallery

live performance featuring artist André Vida responding to the film Long Sorrow
courtesy of the artist

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

Wayne Youle

Venue

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

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

Ho Tzu Nyen

Venues

Earth, 2009 (video still)

The Cloud of Unknowing, 2011 (video still)

born 1976 Singapore.
Lives and works in Singapore.

Ho Tzu Nyen is a multidisciplinary artist interested in the construction of history and the relationships between still, moving and painted images. Immersive and dreamlike, his films incorporate elements of painting and performance as he extends the boundaries of traditional filmmaking. Ho’s work is characterised by richly detailed and dramatic scenes in which he draws on cultural references from Eastern and Western historic and contemporary sources.

Ho has stated, ‘I wanted to make a film that’s packed dense with so many references that everyone can draw their own visions and hallucinations out of the same source.’ In the recent works including Earth and The Cloud of Unknowing Ho mixes elements from contemporary life with references from traditional Chinese landscape and classical Western painting.

Selected exhibitions (solo):

MAM Project 016: Ho Tzu Nyen, Mori Art Museum, Tokyo, 2011; Earth, Artspace, Sydney, 2011. Selected exhibitions and screenings (group): No Country, Guggenheim Museum, New York, 2013; 54th Venice Biennale, 2011; 6th Asia-Pacific Triennial, 2009; 2009 Cannes International Film Festival; 66th Venice International Film Festival, 2009;1st Singapore Biennale, 2006; 2006 Hong Kong International Film Festival; 3rd Fukuoka Asian Art Triennale, 2005; 26th São Paulo Biennial, 2004; 2004 Bangkok International Film Festival.

‘Ho’s work extends the composition and space of painting to heightened audio-visual-spatial environments ... The experience can be uneasy and agitating.’

Charlotte Huddleston, Director, St Paul St Gallery, AUT University, Auckland

Earth

2009

Auckland Art Gallery

single-channel HD video, sound
42:00min
courtesy of the artist

The Cloud of Unknowing

2013

ST Paul St

installation with single channel HD video projection, 13-channel sound, smoke machines, floodlights, show control system
28:00min
courtesy of the artist