The 5th Auckland Triennial

Artists and co-directors of Makeshift, Tessa Zettel and Karl Khoe collaborate on interdisciplinary projects that encompass live art, sculpture and installation, drawing, printmaking, writing, curating and design. As redirective practitioners, their work imagines or enacts other ways of living that are generative of sustainment, dialogue and new economies. Site-responsive and participatory, these works are shaped by provisional communities and appear as durational interventions. Such projects involve opening up spaces of dialogue or exchange (often facilitated by the presence of food), marking time to slow down and be attentive, and a revaluing of obscured cultural knowledge, stories and practices.

http://www.makeshift.com.au/

http://kaurioke.com/

mounir fatmi makes art which directly addresses global current events by looking at the origins and symptoms of global issues, as well as speaking to those whose lives are affected by specific events. In his recent work, fatmi has criticised the formation of supranational political and economic structures in the late 1990s and offered an Arab perspective on megalopolises and urban architecture. fatmi defines a megalopolis as architectural development in cities that is carried out at speed and without taking time to consider or reflect upon the wellbeing of the people who live there.

http://www.mounirfatmi.com/

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/

Michael Lin is best known for his large-scale colourful floral paintings which cover the facades of building, interiors, windows and furniture. Using patterns from traditional Taiwanese textiles and decorative arts Lin’s work blurs the lines between art and craft, and raises issues around the continuity of traditional and domestic art forms. These playful insertions question the role of art in public space as Lin transgresses the line between the undervalued domestic realm and the dominant public one. Lin has collaborated with architects and local trades people to create environments and structures which encourage new ways of encountering art.

Ryoji Ikeda is one of Japan’s leading electronic composers and visual artists who successfully works across both visual and sonic media. His work involves elaborate orchestrations of sound, visuals and mathematical notions which explore the characteristics of sound and result in immersive live performances and installations.

http://www.ryojiikeda.com/

Alongside his musical pieces, Ikeda continues to work on long-term projects including test pattern, 2008–ongoing in which he developed a system that converts any type of data – text, sounds, photographs and movies – into barcode patterns and binary notation consisting of 0s and 1s.

Claire Healy and Sean Cordeiro met at the New South Wales College of Fine Arts in the 1990s. Avid travellers, their peripatetic lives inform much of their practice as they explore ideas of home and transience, and engage with issues such as real estate, permutations of space and modes of living. They are best known for transforming everyday objects into large-scale and provocative sculptures and installations. Through the presentation of the deconstructed and the reassembled Healy and Cordeiro literally unpack notions of domicide, and make us question our own materialistic tendencies and the impermanence of occupation.

http://www.claireandsean.com/

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.

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.

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/

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.