Venue
Parallax, 2013 (detail)

Parallax, 2013 (detail)

Parallax, 2013 (still)

Parallax, 2013 (still)

Born 1969, Lahore, Pakistan
Lives and works in New York City, United States of America

Pakistani-born American artist, Shahzia Sikander is best known for her experimentation with the formal constructs of Indo-Persian miniature painting in a variety of formats and mediums, including video, animation, mural and collaboration with other artists. Over the years, she has pioneered an interpretive and critically charged approach to the genre of miniature painting. Sikander’s interest in paradox, societies in flux, and formal and visual disruption as a means to cultivate new associations also underpins her work.

Selected exhibitions (solo):

Authority as Approximation,Para/Site, Hong Kong, 2009; Shahzia Sikander Selects, Cooper-Hewitt National Design Museum, New York, 2009; Intimate Ambivalence, IKON Gallery,Birmingham, 2008; Shahzia Sikander, Museum of Contemporary Art, Sydney, 2007; Shahzia Sikander, Irish Museum of Modern Art, Dublin, 2007.

‘Sikander’s work brings together the elegant sensibility and attitude of the miniature tradition with contemporary materials and scale...’

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

Parallax

2013
ST Paul St

three-channel HD video animation, surround sound
music by Du Yun
15:30min
courtesy of the artist and Pilar Corrias Gallery


Venue
Automóvel (Automobile) 2012 (still)

Automóvel (Automobile) 2012 (still)

Automóvel (Automobile) 2012 (still)

Automóvel (Automobile) 2012 (still)

Born 1974, Belo Horizonte, Brazil
Lives and works in Belo Horizonte, Brazil

Cinthia Marcelle’s video and photography deals with interventions in urban spaces or landscapes and frequently incorporates carefully choreographed, repetitive actions and elements of chaos. These works contain a sense of irony, where the absurd is presented with the appearance of certainty. Paradox is one of the concepts most linked to the performance method used by the artist, along with photography and video.

Marcelle’s videos are often shot from one camera angle and depict actions that appear to be happenstances but which become aesthetic occurrences. Her actions create situations that challenge our notions of conventional behaviour by introducing humorous coincidences and connections.

Selected exhibitions (solo):

Zona Temporária, Centro Cultural Banco do Brasil, Rio de Janeiro, 2013; See for been seen, Pinchuk Art Center, Kiev, 2011; This Same World Over, Foyer Gallery, Camberwell College of Arts, London, 2009; Bolsa Pampulha: Cinthia Marcelle, Museu de Arte da Pampulha, Belo Horizonte, 2004. Selected exhibitions (group): Sharjah Biennial 11, Arabic Emirates, 2013; 2nd New Museum Triennial, New York, 2012; Tate Level 2 Gallery, London, 2012; Dundee Contemporary Art, 2012; 29th São Paulo Biennial, 2010; 9th Lyon Biennale, 2007; 9th Havana Biennial, 2006.

‘Marcelle seems to be making a call to a different kind of mobility... that not only looks forward, but also sideways and back.’

Luisa Duarte, writer and curator, Belo Horizonte

Automóvel (Automobile)

2012
Artspace

video projection
7:16min
courtesy of the artist, Galeria Vermelho, São Paulo and Sprovieri Gallery, London


Venue
Just in time for too late, (2013)

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


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
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


Venues
Water Collection from Waiariki

Water Collection from Waiariki

Water Action 500m Law - Waitemata - July 28 2013 - 1200 - 1600 (+1200)

Water Action 500m Law - Waitemata - July 28 2013 - 1200 - 1600 (+1200)

Water Action 500m Law - Waitemata - July 28 2013 - 1200 - 1600 (+1200)

Water Action 500m Law - Waitemata - July 28 2013 - 1200 - 1600 (+1200)

Local Time (formed 2007)
Danny Butt Born 1971, Newcastle, Australia
Lives and works in Melbourne, Australia and Auckland, New Zealand

Jon Bywater Born 1970, Ipswich, England
Lives and works in Auckland New Zealand

Alex Monteith Born 1977, Belfast, Northern Ireland
Lives and works in Auckland, New Zealand

Natalie Robertson Born 1962, Kawerau, New Zealand
Lives and works in Auckland, New Zealand

Local Time is an Auckland-based collective of artists, writers and teachers who have been working together since 2006. Their practice is varied, creating site-specific projects with an emphasis on local and indigenous knowledge and the investigation of naming and framing across multiple histories. Local Time’s multi-strand projects and events aim to integrate their academic and artistic backgrounds. Their research and interventions have often been staged in remote areas, addressing the complexities of living in a colonial nation.

Selected exhibitions:

Local Time: Sarai Reader 09, Devi Art Foundation, Delhi, 2013; Local Time – Horotiu, St Paul St, Auckland, 2012; Local Time: Waitangi Day, Parihaka/Taranaki, 2009.

‘... Local Time is committed in their efforts to articulate Māori people’s right to land and resources in the modern city.’

Hou Hanru, Curator, 5th Auckland Triennial

Waiariki

2013
Auckland Art Gallery

Thursday 9th May to Sunday 11th August

actions at multiple locations:

Artspace, George Fraser Gallery, Gus Fisher Gallery, St Paul St Gallery.


Venue
The Forgotten Space 2010 (still)

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


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


Venue
Architectural plans with notes for the removal and acquisition of garage doors from Mahia Road, Manurewa

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

 


Venues
Earth, 2009 (video still)

Earth, 2009 (video still)

The Cloud of Unknowing, 2011 (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

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


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

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