mounir fatmi

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

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

Anri Sala

Venue

Tlatelolco Clash, 2011 (still)

(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

Peter Robinson

Venue

If You Were To Work Here: the Mood in the Museum, 2013

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

Janet Lilo

Venue

Right of Way, 2013 (still)

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

Zhou Tao

Venue

Nanshi Tou (South Stone), 2011

Born 1976, Changsha, China
Lives and works in Guangzhou, China

Zhou Tao’s work reflects on the activities and elements of everyday life. His subtle and humorous videos record interactions between people, things, and situations – touching on questions about the multiple trajectories of reality. In the performance piece Time, 2010 in New York Zhou attached a ball of string to his body as means of recording his movements throughout the day. For Zhou, the decision to use video was not a deliberate choice of artistic language or medium; instead, the operation of the camera is a way of being that blends itself with everyday life.

http://listart.mit.edu/node/509

Selected exhibitions (solo):

Zhou Tao: The Training, Kadist Art Foundation, Paris, 2013; Open Studio: Seek for Geothermal Heat, Times Museum, Guangzhou, 2012; The Man Who Plants Scenarios, Queens Nails Projects, San Francisco, 2011; Zhou Tao, Location One, New York, 2010; 1234–, MIT List Visual Arts Center, Cambridge, MA, 2009. Selected exhibitions and screenings (group): 6th Curitiba Biennial, 2011; Non-Aligned, Marina Abramovic Institute West, San Francisco, 2010; 7th Shanghai Biennale, 2008; China Power Station Part II, Astrup Fearnley Museum of Modern Art, Oslo, 2007; Accumulation-Canton Express Next Stop, Tang

‘... Zhou Tao’s practice alchemises ordinary surroundings into a theatre...’

Xiaoyu Weng, curator and writer, San Francisco

Nanshi Tou (South Stone)

2011

Auckland Art Gallery

single-channel HD video, 36 inkjet prints
25:22min, 279.4 mm x 215.9 mm (each)
courtesy of artist and Kadist Art Foundation

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