Henry Art Gallery, Washington, U.S.A.

23.11.2019 — 26.04.2020

The group exhibition In Plain Sight engages artists whose work addresses narratives, communities, and histories that are typically hidden or invisible in our public space (both conceptually and literally defined). The presenting artists approach the exhibition’s theme from a range of directions, varying across all media as well as aesthetic and conceptual contexts. Works encompass deliberately activist endeavors and direct documentation; the unpacking of individual histories excluded due to race, ethnicity, or class; explorations of coded language for protection, secrecy, or both; the illumination of invisible or covert systems of labor, exploitation, and capitalist control; and translation through surreal, oblique, or fantastical frameworks.

The exhibition expands into the entire museum, including interstitial/transitional spaces, and activates external sites through programs, performances, and community partnerships. Site becomes a material through which what we have heretofore considered the complete, authoritative story is expanded and retold.

National Gallery of Canada, Ottawa, Canada

08.11.2019 — 05.04.2020

Àbadakone | Continuous Fire | Feu continuel, the second exhibition in the National Gallery of Canada’s series of presentations of contemporary international Indigenous art, features works by more than 70 artists identifying with almost 40 Indigenous Nations, ethnicities and tribal affiliations from 16 countries, including Canada. Mata Aho Collective from Aotearoa New Zealand are presenting a new work created for this exhibition.

Àbadakone animates both galleries and public spaces with art in all media, including performance art, video and commissioned installations, complemented by a dynamic program of workshops, performances, film screenings, talks, and more.

NSU Art Museum Fort Lauderdale, U.S.A.

27.10.2019 — 05.07.2020

NSU Art Museum Fort Lauderdale will present Happy!, a new exhibition of contemporary works produced by artists who aim to engage the viewer emotionally. As in life, sorrow and happiness are intertwined in their works. Happy! is organized by NSU Art Museum Fort Lauderdale and is curated by Bonnie Clearwater, the Museum’s Director and Chief Curator, who states, “Many of these artists acknowledge that making art is an essential means for them to work out their own trauma and frustrations, and they suggest that art can provide viewers with a sense of well-being that will help them cope with life’s challenges.” Cartoon and manga characters and cuddly animals, often signifiers of childhood joy, emphasize an upbeat outlook in the works of artists such as Keith Haring, Jeff Koons, Takashi Murakami, Kenny Scharf, Susan Te Kahurangi King, and Alake Shilling.

Centre Georges Pompidou, Paris, France

23.10.2019 — 23.12.2019

Cosmopolis 2: rethinking the human brings artists and critical thinkers to address questions of technological diversity, scale and of social value, reaffirming other modes of existence, geographic articulations and cosmologies. Curated by Kathryn Weir, the exhibition includes work by Nandita Kumar and Lisa Reihana. While Kumar creates sensory objects and environments that reflect and reimagine the encounters between the industrial and natural worlds, Reihana reinterprets the cosmological and mythological figures of Māori culture in the photographic and video works from Ihi

Launched as a platform at the Centre Pompidou in 2016, Cosmopolis focuses on research-based, collaborative and interdisciplinary contemporary art practices. Through residencies, exhibitions, discursive programs and publications, it engages with artists who are concerned with the production of relationships and the exchange of knowledge, participating in a resurgence of interest in cosmopolitical approaches. Following 'Cosmopolis #1: Collective Intelligence', presented in 2017 in Paris, focused on new forms of artistic collaboration, 'Cosmopolis #1.5: Enlarged Intelligence', presented in 2018 in Chengdu, China saw artists envisioning how to draw on artificial and ecological intelligence towards collectively defined ends.

CODA Museum, Apeldoorn, The Netherlands 

14.10.2019 — 19.01.2020

For the fifth edition of ‘HANDSHAKE’, CODA has asked twelve New Zealand jewellery makers to enter into a dialogue with works from the CODA collection. The designers have taken pieces from this collection as a starting point to investigate three themes: "Innovation", "the Body" and "Rough and Raw". In the "HANDSHAKE 5" exhibition, the jewellery made by New Zealand designers is exhibited alongside the selected works from the CODA collection. Works by Vanessa Arthur
Vivien Atkinson, Becky Bliss, Nadene Carr, Nik Hanton, Kelly McDonald, Neke Moa, Brendon Monson, Sarah Read, Sandra Schmid, Caroline Thomas, Sarah Walker-Ho.

"HANDSHAKE" is an initiative from New Zealand where emerging jewellery designers were given the opportunity to collaborate with experienced makers in order to inspire the new generation of designers (to "lend a hand") with combined knowledge and experience. 

Black Box Projects, Mayfair, London, U.K.

08.10.2019 — 19.10.2019

Fundamentals brings together the work of nine international contemporary artists who apply historic photographic techniques to create innovative and unique artworks. The artists, many of whom work with handmade cameras, modified cameras, or no camera at all, are unified by their dedication to exploring the processes of the past and discovering novel approaches to factoring them into their practice, while redefining the very root of what photography can be.

Gasworks, London, U.K.

30.09.2019 — 15.12.2019

Open studio on 07.12.19 from 12-6 pm

Christina Pataialii is undertaking a residency at Gasworks from 13 September to 16 December 2019. Pataialii’s paintings explore the possibilities that arise with the merging of culturally specific codes. Considering a globalized cultural context, her work has a focus on geopolitical shifts, the resurgence of western nationalism and collective nostalgia for mid-20th Century utopias.

Off-site at New Westminster Quay and Queensborough Bridge billboard, Vancouver, Canada

29.09.2019 — 04.10.2019

Lowering Simon Fraser culminates Maddie Leach’s Burrard Marina Field House residency and research project focusing on the Simon Fraser Monument currently sited on the riverside boardwalk of the Quay in New Westminster, British Columbia. The monument commemorates the controversial early nineteenth century fur trader and explorer credited with charting much of what is now understood as British Columbia. In 1808, with the aid of many Indigenous communities, he explored the river that now bears his name, long a transportation and exchange route and source of food for Coast Salish Nations near the mouth of the Fraser; the Nlaka’pamux, Okanagan, Secwepemc, St’át’imc and Tsilhqot’in in the central Fraser; and the Dakelh, Sekani and Wet’suwet’en in the regions around its northernmost origins.

Vancouver Art Gallery, Canada

28.09.2019 — 26.01.2020

Transits and Returns presents the work of 21 Indigenous artists whose practices are both rooted in the specificities of their cultures and routed via their travels. These forces of situatedness and mobility work in synergy and in tension with one another, shaping the multiple ways of understanding and being Indigenous today. Within the exhibition, these dual realities are explored through themes of movement, territory, kinship and representation, with many artworks inhabiting multiple categories. It is curated by Tarah Hogue, Senior Curatorial Fellow, Indigenous Art, Vancouver Art Gallery, with Sarah Biscara Dilley, Freja Carmichael, Léuli Eshraghi and Lana Lopesi.

Featuring artists from local First Nations, as well as those from communities located throughout the Pacific region (ranging from Alutiiq territory in the north to Māori lands in the south, with many mainland and island Nations in between), Transits and Returns traces wide-ranging experiences that are inclusive of both ancestral knowledges and global connections. Participating artists include Edith Amituanai, BC Collective with Louisa Afoa, Carol McGregor, Ahilapalapa Rands amongst many others.

MAL, Sevilla, Spain

26.09.2019 — 15.12.2019

'Leeyenda negra' is a collaboration between MAL and artists Matthew Galloway (New Zealand) and Solange Jacobs (Peru), pursuing their interest in developing long-distance research projects from multiple perspectives. This project is based on the local colonial past to build multiple horizons. Specifically, the work of Galloway and Solange, observes two fundamental infrastructures in the history of Seville: the shipyards and the Archive of the Indies, the beginnings of a global extraction network and the place from which the writing of an official past is raised.

Matthew Galloway's 'Horizon reduced / Imaginary corridors' installation uses the old shipyards of the port of Seville as a starting point to look towards our relationship with nature at the dawn of Climate Change and the Sixth Extinction. Currently, part of the shipyards of the port of Seville are used by the company GRI Towers, producer of wind towers, an industry in which Spain is a world leader. Galloway's work looks at the contradictions of the "green revolution", capable of renewing energy sources but not changing exploitation relations with the land, maintaining a capitalist expansion structure that reproduces problems, and not solving them.

MOKU Pacific HQ, London, U.K.

26.09.2019 — 28.09.2019

We come from generations of story tellers. 

We have so many stories, we could fill our ocean many times over.

Our stories come from the rich and colourful cultures of an ocean, that some might call Te Moananui a Kiwa, over 150 million square kilometres of water. Our stories reflect our complex and beautiful diversity, the things that make us different and the similarities we have with each other, like our ocean, the VĀSA, it is the space between us, that connects us together.

In*ter*is*land Collective are honoured to present ATA | VĀSA – Reflections of an Ocean, a small but carefully curated collection of a few stories, told in the medium of film, that come from the latest generations of storytellers.

Art Encounters Biennial 2019, Timisoara, Romania

20.09.2019 — 27.10.2019

Paradise Blueprint addresses a history of cultural exchange and myth-making surrounding the so-called bird of paradise native to Papua New Guinea. The bird became currency between Papuans and 16th-century European explorers, being traded for tools, nails and blankets. In the local tradition, the trade-skins were prepared without feet or wings. Once in Europe, this triggered various theories, one being that the birds were living in a world of paradise—that they were a kind of flying serpent that never touched the ground until it died. Paradise Blueprint is a continuation of a previous project in which Zac-Langdon Pole removed the legs of the taxidermied Bird of Paradise to recompose it according to the initial forms of trade and contact between the two cultures. Here, Langdon-Pole has used the amputated legs themselves to create the pattern for a wallpaper that wraps around an entire space. In the wallpaper which resembles a blue sky, the bird’s legs are rendered visible, yet remain mysterious.

Fagor Factory, Biennale de Lyon, France

18.09.2019 — 05.01.2020

Yona Lee makes large, labyrinth-like installations. In the Fagor Factory, hundreds of metres of stainless-steel piping will be cut and welded to form elaborate linear structures that allow a different rapport with space. By incorporating items extracted from urban and domestic spaces, the artist infuses her piece with an everyday surrealism. Producing site-specific work, she arranges systems and networks that can equally seem authoritarian or utopian, utilitarian or playful. A musician who plays the cello, she conceives of her artworks as scores, which visitors are invited to interpret by engaging with them.

Born in 1986 in Busan, South Korea, Yona Lee lives and works in Auckland, New Zealand.

Yorkshire Sculpture Park, U.K.

15.09.2019 — 14.10.2019

Darcell Apelu is the recipient of the Yorkshire Sculpture Park and Te Tuhi UK Residency Award, which will fund her 4-week residency. Apelu works with moving image, sound, performance and installation. Her practice is informed by her experiences as an afakasi – a Samoan person with some European ancestry – female and her projects often reflect the social climate of New Zealand. The body plays an important role in her work as she explores perceptions of the Pacific body, identity and of ‘being other’. Her work is often autobiographical, exploring the cultural identity of the pacific community and how it is perceived in the west.

Situated on a 500-acre, 18th-century estate in West Yorkshire, YSP was the first sculpture park in the UK. Established in 1977, it is the largest of its kind in Europe and showcases over 80 works in the open air  by world-class artists including Ai Weiwei, Phyllida Barlow, Andy Goldsworthy, Barbara Hepworth, Roger Hiorns, Sol LeWitt, Joan Miró, Henry Moore, Dennis Oppenheim and James Turrell.

Nagel Draxler Gallery, Berlin, Germany

14.09.2019 — 02.11.2019

the reparative work of transforming
proximity into accountability;
the labor of positioning oneself
in relation to another in ways
that revalue and redress
complex histories of dispossession.
– Tina M. Campt

Cooper Cole Gallery, Toronto, Canada

12.09.2019 — 19.10.2019

Cooper Cole is pleased to present Kate Newby’s second solo exhibition with the gallery.


This Is How We Do (A Never-Ending Text, For Kate’s Exhibition, Starting Today, Thursday, Added To, Maybe Tomorrow, Or More Like The Day After)

All of these lines bring softness, not lines like any others we march to, wait for, complain about:

bus lines,
border lines,
hair lines,
time lines. (...)

MASS MoCA, North Adams, U.S.A.

11.09.2019 — 08.10.2019

Lang Ea is currently participating in the Studio at MASS MoCA Artist Residency program in North Adams, Massachusetts. MASS MoCA is known as one of the world’s liveliest Art Museum for making and enjoying today’s most evocative art.
During her residency Lang is exploring the possibilities of seeing passed the surface by distinguishing our differences, exposing our rich inherit colours, patterns and traditions which has often prevented us from co-existing. When underneath all this we are just the same beings, breathing in the same air.

Kunsthalle Giessen, Gießen, Germany

07.09.2019 — 17.11.2019

Matthew Cowan explores European customs and the role they play in today's world in his photographs, videos, installations and performances. Rituals, clothing, and costumes are central to his work. In the exhibition The Scream of the Strawbear, the New Zealand artist takes on various traditions from Giessen and its surrounding areas and places them in the context of contemporary art. To mark the occasion of his tenth anniversary, the Kunsthalle is cooperating with the Oberhessisches Museum, where Matthew Cowan wants to use the Heidenturm for the first time.


Matthew Cowan (*1974, Auckland, New Zealand) lives and works in Berlin. He studied fine art at the University of Northumbria at Newcastle upon Tyne, UK. Since 2015, he has been a doctoral candidate at the Academy of Fine Arts in Helsinki, Finland.

Read Contemporary HUM's publication about this exhibition: Screaming Strawbears and other Strange Engagements: Tessa Laird in conversation with Matthew Cowan.

Jack Hanley Gallery, New York, U.S.A.

06.09.2019 — 06.10.2019

Jack Hanley Gallery is excited to present Panspermia, Sing Omega, Jess Johnson’s second solo exhibition with the gallery. In an immersive installation of new drawings, a series of quilts made in collaboration with her mother Cynthia Johnson, video animations and Virtual Reality, Jess Johnson opens a portal into new realities. Johnson’s laborious and carefully hand-crafted drawings manifest a fictional world of genderless flesh-colored humanoids, bat-faced aliens, and worms that slither through monumental architectures of unknown times. Cross-cultural influences of patterns and symbols, and a formative interest in early video games, horror movies and science fiction unfold in densely composed dreamscapes that draw the viewer into hallucinogenic spheres.

Alongside the works on paper, Johnson collaborated on a series of four unique quilts with her mother, Cynthia Johnson. Watching her mother craft quilts with repetitive geometries at an early age has been influential on her own work ever since. For their collaborations, Jess Johnson’s analog drawings were printed digitally on rolls of cloth and then worked into quilts and embellished with geometric borders by Cynthia.

Susan Hobbs, Toronto, Canada

05.09.2019 — 12.10.2019

Eighty-eight years ago, Marcel Duchamp coined the term mobile for the hanging artworks of Alexander Calder. The word implied movement but was also a pun: ‘mobile’ in French means motive.

Motion & Motive commits fully to the ceiling for support. The architecture of Susan Hobbs Gallery has always called out for artworks that engage the soaring height. The mobiles in Motion and Motive compel the viewer to look up and wait for movement.

1 / 15

Please reload

back to top

Sign up to receive
news and updates from
Contemporary HUM! 


HUM is the first centralised platform dedicated to New Zealand arts in the global context.



  • Black Facebook Icon
  • Black Twitter Icon
  • Black Instagram Icon

© 2017 Contemporary HUM.

Graphic design by Creme Fraiche CH

Digital design by Maria Guichard