Studio Mumbai (Bijoy Jain)

Copper House II, Chondi, Maharashtra, India, 2010

Copper House II, Chondi, Maharashtra, India, 2010

Palmyra House, Nangaon, Maharashtra, India, 2007

Palmyra House, Nangaon, Maharashtra, India, 2007

Palmyra House, Nangaon, Maharashtra, India, 2007

Palmyra House, Nangaon, Maharashtra, India, 2007

Born 1965, Mumbai, India
Lives and works in Mumbai, India

 

Bijoy Jain is an architect and founder of Studio Mumbai, a contemporary and award-winning architectural practice drawing on the traditional skills and expertise of India’s craftspeople. Creating a studio where skilled stonemasons, wood workers and other traditional trades do not simply execute his projects but are regarded as advisors and collaborators, Jain has enabled a rediscovery of traditional knowledge and the sustainable use of local resources.

Drawing upon the Indian landscape and regarding it as a resource, Studio Mumbai have created buildings as diverse as private residences, public spaces, research centres and rural retreats formed by local climatic conditions, materials and technologies.

‘An architectural practice almost unique in the world, Studio Mumbai redefines the construction process...’

Andrew Barrie


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
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


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
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
Kauri-oake, 2013

Kauri-oake, 2013

Kauri-oake, 2013

Kauri-oake, 2013

Kauri-oake, 2013

Kauri-oake, 2013

(formed 2007) Live and work in Sydney, Australia
Tessa Zettel Born 1980, Sydney, Australia
Karl Khoe Born 1980, Sydney, Australia

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/

Selected exhibitions (solo):

Making Time, Performance Space, Sydney, 2013; A Leaf from the Book of Cities, National Institute for Experimental Arts/City of Sydney, 2012; Make-do Garden City, 4A Centre for Contemporary Asian Art, Sydney, 2010; Colony Collapse, Firstdraft, Sydney, 2010. Selected exhibitions (group): IASKA Spaced: Art Out of Place, Fremantle Arts Centre, 2012; Primavera 2011, Museum of Contemporary Art, Sydney, 2011; Sister Cities Biennial: Urbanition, San Francisco Arts Commission Gallery/Carriageworks, San Francisco/Sydney, 2011; In the Balance: Art for a Changing World, Museum of Contemporary Art, Sydney, 2010.

‘... prefaces pleasure and community spirit over economic benefit.’

David Cross, Associate Professor in Fine Art, Massey University, Wellington

Kauri-oke!

2013
Fresh Gallery Otara

New Zealand kauri, karaoke machine and mixed media, folk songs
dimensions variable
courtesy of the artists


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


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


Venue
Tlatelolco Clash, 2011 (still)

Tlatelolco Clash, 2011 (still)

3-2-1, 2011

3-2-1, 2011

(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

3-2-1

2011
Gus Fisher Gallery

live performance featuring artist André Vida responding to the film Long Sorrow
courtesy of the artist


Venue
Model Home,2013

Model Home,2013

Bokutei, 2008

Bokutei, 2008

(formed 1992) Lives and works in Tokyo
Yoshiharu Tsukamoto Born 1965, Kanagawa, Japan
Momoyo Kaijima Born 1969, Tokyo, Japan

 

Atelier Bow Wow’s practice is based on a thorough study of existing cultural, economic, and environmental conditions and they are most well known for small-scale and idiosyncratic buildings squeezed into tiny sites around Tokyo. Known as ‘pet architecture’, these charming yet highly functional and considered residences reflect a deep understanding of local needs and cultural practices.

Atelier Bow-Wow has also acquired a following through its Micro Public Space projects and the innovative projects at exhibitions such as the 2011 Venice Biennale (as an official representative of Japan) and at the Hayward Gallery in London.

Selected exhibitions:

house inside city outside house, Tokyo Opera City Art Gallery, 2011; 12th Venice Architecture Biennale, 2010; The Gallery at REDCAT, Los Angeles, USA, 2009; 3rd Liverpool Biennial, 2008; 27th São Paulo Biennale, 2006.

Model Home

2012
Auckland Art Gallery

For the 5th Auckland Triennial Michael Lin and Atelier Bow Wow collaborated with Professor Andrew Barrie from the University of Auckland to create a life-size paper document of worker housing element of the Model Home project, the sound and video artists were Nanli Lou and Ren Cheng. Andrew Barrie is a specialist in the Japanese technique of paper model building known as okoshi-ezu (folding drawing), and has adapted aspects of this technique for Model Home 2013.