Venue
Right of Way, 2013 (still)

Right of Way, 2013 (still)

Right of Way, 2013 (still)

Right of Way, 2013 (still)

Born 1982, Ngāpuhi, Samoan, Niuean
Lives and works in Auckland, New Zealand

Born 1982, Ngāpuhi, Samoan, Niuean
Lives and works in Auckland, New Zealand

Janet Lilo is an interdisciplinary artist interested in the politics of space and the exploration of popular culture within a localised framework. Her work includes appropriated amateur photography and video from online platforms, music videos, vlogs (video logs) and experimental documentary. With a keen eye for online trends Lilo has recorded people’s behaviours and interactions and displayed them on monitors and objects in gallery spaces, the sides of buildings, in museums, the internet, bus stops and billboards. Recently she created internet art projects specifically for YouTube, establishing a bridge between global online communities and the local communities of Auckland.

Listen to Janet Lilo in conversation with Nina Tonga at Artspace as part of the 5th Auckland Triennial.

Selected exhibitions (solo):

Identi-tee video, Auckland War Memorial Museum, 2012; Top16, Beachcomber Contemporary Art Gallery, Rarotonga, 2010; Man in the mirror, ICC building, Higashi Sapporo, 2009; MYFACE, Fresh Gallery Otara, 2009; Top16 x 2, Fresh Gallery Otara, 2008; Selected exhibitions (group): Contact, Frankfurter Kunstverein, 2012; Home AKL, Auckland Art Gallery, 2012; Rituels, Tjibaou Cultural Center, Noumea, 2011; Niu Pasifik: Urban Art from the Pacific Rim, CN Gorman Museum, University of California, 2010; Nonsense, CAI02 Gallery, Sapporo, 2009.

‘...Lilo captures real moments of local life: street scenes, candid performances, community dialogue and urban landscapes.’

Nina Tonga, art historian and Professional Teaching Fellow, Centre for Pacific Studies, The Universi

Right of Way

2013
Artspace

installation with photos, park benches, HD video, sound
courtesy of the artist


Venue
San Diego’s urban waste is recycled

San Diego’s urban waste is recycled

Lace presentation

Lace presentation

Public Space as socio-economic

Public Space as socio-economic

Born 1962, Guatemala City, Guatemala
Lives and works in San Diego, United States of America

Teddy Cruz is best known for his socially responsible and artistically motivated architecture on the border between San Diego, California and Tijuana, Mexico. As a research-based practice, Estudio Teddy Cruz has amplified urban conflict as a productive zone of controversy, leading to constructive dialogue and new modes of intervention into established politics and economics of development in marginal neighborhoods which become sites of artistic experimentation.

In 2008 Cruz represented the United States in the Venice Architecture Biennial and in 2010 was part of the exhibition Small Scale: Big Change New Architects of Social Engagement at the Museum of Modern Art.

‘... Cruz asks, ‘Who gets to live where .... with what kind of political representation and economic power?’

Kathy Waghorn, artist, designer and Lecturer

Whau River Mapping, Legal and Illegal Storm Water

2013
Auckland Art Gallery

Whau River Mapping, Legal and Illegal
Storm Water 2013
images courtesy of Kathy Waghorn


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


Venues
Citizens Band, 2012 (still)

Citizens Band, 2012 (still)

Prepared Piano for Movers (Haussmann), 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


Venue
A Perfect Home: The Bridge Project, 2010 (video still)

A Perfect Home: The Bridge Project, 2010 (video still)

A Perfect Home: The Bridge Project, 2010 (video still)

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


Venue
Tropical Thunder,2013

Tropical Thunder,2013

Tropical Thunder,2013

Tropical Thunder,2013

Tropical Thunder,2013

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


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


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
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
Under Discussion, 2005 (video still)

Under Discussion, 2005 (video still)

Returning a Sound, 2004 (video still)

Returning a Sound, 2004 (video still)

(formed 1995) Live and work Puerto Rico

Jennifer Allora
Born 1974, Philadelphia, United States of America
James Calzadilla
Born 1971, Havana, Cuba

Collaborating since 1995, Jennifer Allora and Guillermo Calzadilla have produced an experimental and interdisciplinary body of work, combining performance, sculpture, video and sound. Their Land Mark, 2001–ongoing, project focuses on what the artists describe as the ‘transitional geography’ of Vieques, an inhabited island municipality of Puerto Rico used by the U.S Navy as a weapons-testing range from 1941 to 2003.

http://www.lissongallery.com/#/artists/allora-and-calzadilla/

Interested in questions of social justice the artists set into motion a series of structural couples – inscription and erasure, presence and absence, appearance and disappearance – which link processes of mark-making with counter-memorial claims for rights and justice vis-à-vis specific sites.

Selected exhibitions (solo):

Stop, Repair, Prepare, MoMA, New York, 2010, and Haus der Kunst, Munich, 2008; Allora & Calzadilla, National Museum of Art, Oslo, 2009; Compass & How to Appear Invisible, Temporare Kunsthalle, Berlin, 2009; Never Mind That Noise you Heard, Stedekijk Museum, Amsterdam; Allora & Calzadilla, Kunsthalle Zürich, 2007; Clamor, Serpentine Gallery, London, 2007; Wake Up, The Renaissance Society, Chicago, 2007. Selected exhibition (group): 54th Venice Biennale, 2011.

Half Mast\Full Mast

2010
Auckland Art Gallery

dual-channel HD colour video projection
21:11min
courtesy of the artists and Lisson Gallery


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