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
Bishan Commune,2013

Bishan Commune,2013

Outdoor film screening, Bishan Harvestival, 2011

Outdoor film screening, Bishan Harvestival, 2011

Ou Ning: Bishan Commune: How to Start Your Own Utopia

Ou Ning: Bishan Commune: How to Start Your Own Utopia

Born 1969, Zhangjian, Guangdong, China
Lives and works in Beijing, China

Ou Ning is a graphic designer, editor, curator, filmmaker, writer and lecturer and founder of U-thèque, an independent film and video organisation. He is the founder of the Bishan Commune which brings together artists and intellectuals to get involved in the rural reconstruction movement in China. In 2011 the Commune held its first Harvest Festival in the rural settlement of Bishan. This incorporates music, dance, a small documentary festival and academic panels on rural reconstruction with local and international intellectual speakers.

http://www.alternativearchive.com/ouning/

Selected exhibitions and events:

Museu de Arte Contemporânea da Universidade de São Paulo, 2011; Videotage, Hong Kong, 2011; Tirana Biennial, 2009; Berkeley Art Museum and Pacific Film Archive, 2008; Smithsonian Institution, Washington, 2008; Victoria & Albert Museum, London, 2008; Contemporary Art Centre, Vilnius, 2007; Yokohama International Media Art Festival, 2009; 22nd Milan, Asian, African and Latin American Film Festival, 2012.

‘... Ou Ning and his ‘communards’ are looking to create an alternative social entity...’

Hou Hanru, Curator, 5th Auckland Triennial

Bishan Project

2013
Auckland Art Gallery

sketchbooks, drawings, magazines, archival material, photographs, video, mixed media objects
dimensions variable
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
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
The Most Difficult Problem, 2013 (still)

The Most Difficult Problem, 2013 (still)

Text from J Bronte Gatenby, 'The New Zealand Glow-Worm' (Tuatara, vol 8, no. 2, 1960)

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


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 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


Venues
Winter, 2013 (video still)

Winter, 2013 (video still)

Winter, 2013 (video still)

Winter, 2013 (video still)

Born 1974, Chicago, United States of America
Lives and works in New York and Cambridge, MA, United States of America

Working across film, photography, sound and video, Amie Siegel’s work uses the cinematic image to investigate social issues. Making use of stylistic devices drawn from film genres such as action, science fiction and the western, Siegel’s installations and single-screen moving image works address critical theory and popular culture.

http://amiesiegel.net/

Interested in the history and act of filmmaking, fakes and the tradition of the remake, much of Siegel’s work is based on critiquing existing films. In Berlin Remake, she re-created shots from East German films to investigate differences and how these fictional films ‘become documents of a city’. In the recent work Black Moon, Siegel reworked a film of the same name by French director Louis Malle, setting it in abandoned suburban homes in areas of the US which have the highest mortgage foreclosure rates.

Selected exhibitions and screenings (solo):

Black Moon, Arthouse – Austin Museum of Art, 2012; American Originals Now: Amie Siegel, National Gallery of Art, Washington DC, 2012; Amie Siegel, Part 1: Black Moon, Kunstmuseum Stuttgart, 2011; Modern Mondays, MoMA, New York, 2010. Selected exhibitions and screenings (group): 2011 Cannes International Film Festival; The Talent Show, Walker Art Center, Minneapolis, 2010; Auto-Kino!, Temporaäre Kunsthalle, Berlin, 2010; The Russian Linesman, Hayward Gallery, London, 2009; 2008 Whitney Biennial, Whitney Museum of American Art, New York; Forum Expanded, KW Institute for Contemporary Art, Berlin, 2006.

‘Siegel eschews ‘documentary’ as either an aesthetic language or a pretence to truth...’

Elizabeth Thomas, curator and writer, Los Angeles

Black Moon

2010
Auckland Art Gallery

super 16mm film transferred to HD video, colour, sound
20:00min
 courtesy of the artist

Winter

2013
Auckland War Memorial Museum

super 16mm transferred to HD video, colour, sound, performance
The Auckland Triennial Collection, Auckland Art Gallery Toi o Tamaki, purchased 2013


Venue
Nanshi Tou (South Stone), 2011

Nanshi Tou (South Stone), 2011

Nanshi Tou (South Stone), 2011

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


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

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

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