EXHIBITIONS & EVENTS BY NEW ZEALAND PRACTITIONERS ABROAD

Oakville Galleries at Centennial Square, Oakville, Canada

26.01.2020 — 22.03.2020

Ka mua, ka muri is a new sound and moving image installation by Aotearoa New Zealand-based artist Shannon Te Ao (Ngāti Tūwharetoa) that explores our experience of time, history and song.

The exhibition consists of a two-channel film, which uses the road movie genre as its starting point, and locates two sisters in the immediate wake of an unnamed tragic event. Following on from his most recent work what was or could be today (again) (2019), the film features two original songs developed by Te Ao in collaboration with Kurt Komene (Te Ātiawa, Taranaki Whānui). These function as both script and score and reflect a social embodiment that privileges poetic imagery.

The exhibition's title, Ka mua, ka muri, is derived from a whakatauki (proverb) often cited as a central guiding principle within Māori ideology. Meaning “to walk backwards into the future," it suggests time exists on a continuum where past, present and future co-exist and are inherently tethered through ancestry and action.

Anastasia Photo, New York, U.S.A.

05.12.2019 — 22.02.2020

Ans Westra is responsible for the most comprehensive documentation of Māori culture over a 60 year period of significant political and cultural change in New Zealand. Regarded for their realism and spontaneity, Westra’s images bear witness to the post-war urban drift of historically rural Māori as they moved to urban areas and began living in a very different world, alongside Pākehā (New Zealand Europeans), often for the first time.

  

Westra emigrated from The Netherlands in 1957 and in 1962 began her career as a fulltime freelance documentary photographer, primarily working for the School Publications Branch of the Department of Education and Te Ao Hou, a Māori magazine published by the Department of Internal Affairs. Westra’s work for these two publications led her to travel extensively throughout New Zealand and the South Pacific. Her Humanist style was greatly influenced by Edward Steichen’s landmark international exhibition The Family of Man which Westra saw when it traveled to Amsterdam in 1956.

Tate Britain, London, U.K.

Until 17.05.2020

In the late 1920s and 1930s, New Zealand artist Len Lye (1901–80) was at the forefront of experimental film-making in London. He carved sculptures from stone but also used cardboard or tin. As well as making paintings with oils, he used the batik technique of wax-resist dyeing. He wrote poetry and designed books. Lye was best known for the abstract animated sequences that sometimes appeared in his films. Rather than use a camera, he would paint and scratch directly onto the film. Lye felt that the resulting animations conveyed a ‘body energy’, underlined by their jazz soundtracks.

These experimental films were produced as adverts for Post Office products, cigarettes, Imperial Airways, Shell Oil and the Ministry of Information. Shown in cinemas across the country, Lye’s films were seen by larger audiences than any other experimental art of the period. Under the guise of advertising, they introduced the general public to artistic movements such as abstraction and surrealism.

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.

Salon 94, New York, U.S.A.

19.11.2019 — 06.12.2019

Salon 94 announces their third major exhibition of work by renowned artist and jeweler Karl Fritsch. In an explosion of creative energy over the last year, Fritsch has combined what seems to be endless variations of precious stones with non-traditional materials. Often times cutting and carving the stones himself, Fritsch has opened up an entirely new range of possibilities that build up—and dismantle—classic notions and categories of the good and the beautiful.

Each of Fritsch’s works evidence ongoing material and aesthetic conversations and propose questions anew: What intensity of treatment can a ruby accept? How forgiving are synthetic stones? How much weight can a ring handle? How drastically can a jeweler update a motif before it is considered transformed? Are there times that accumulation might be seen as a subtractive process rather than an additive one, or that cutting away leaves positive marks? How might we invert classic commitments to scale, weight, and balance in unexpected and exciting ways?

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.

Museum Tinguely, Basel, Switzerland

23.10.2019 — 26.01.2020

After living in Wellington for a while, Lye spent 1923–26 in Sydney, where he studied the art of the indigenous peoples of Samoa, New Guinea and Africa, Aboriginal Australian and the Maori familiar to him from his native New Zealand, recording what he saw in sketchbooks. These not only juxtapose drawings of masks and ornaments from different cultures with works of the Russian Constructivists and Henri Gaudier-Brzeska, but in one of the books in this visual compendium flank them with a transcription of Sigmund Freud’s essay Totem and Taboo (first published in German in 1913, and in Abraham Brill’s English translation in 1918), as well as texts by and about Gaudier-Brzeska (published in an anthology by Ezra Pound in 1916) and by Oskar Pfister (Expressionism in Art, published in English in 1922).

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.

MACRO, Rome, Italy

22.10.2019 — 31.10.2019

In the participatory artistic practice of the Imagine the Land project, fruit of the collaboration between the two artists Ekarasa Doblanovic and Karma Barnes, one digs in depth to re-emerge on the surface, in a pedological survey that spans time. Thanks to their work with pigments found in the area and lands produced thousands of years ago by the forces of nature, the artists offer visitors an opportunity for intense involvement with the Earth and its schedule of infinite cycles of life and death, creation and destruction. Participants of all ages will make clay vessels and add them to an installation designed specifically for the exhibition space. Collaboration and community spirit are fundamental: the creative path will lead to mutual understanding and shared experience,

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.

Galerie Vincenz Sala, Paris, France

05.10.2019 — 02.11.2019

Every now and then is the artist's second solo exhibition at Galerie Vincenz Sala in Paris.

Richard van der Aa is a Christchurch-born artist living in France since 2005.

Gallery S O, London, U.K.

04.10.2019 — 27.10.2019

Known for work that has questioned the very nature of jewellery – its past, present and potential future – Walker mixes materials and ideas in an investigative practice that constantly reconsiders its own answers.

 

Working with found objects, precious and non-precious materials, abandoned bits and bobs, pieces, parts and leftovers, Walker’s works are intuitive and impetuous, but hardly irreverent. She understands the significance of her choices, her references and her results, and celebrates her influences as much as her finished work. . She transforms, commingles, rewrites and recreates her influences and inspirations into pieces that are beyond our expectations of jewellery.

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 — 23.02.2020

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.

Galeria Madragoa, Lisbon, Portugal

26.09.2019 — 09.11.2019

MADRAGOA is delighted to host Loved like a sunbeam the first solo exhibition of Kate Newby at the gallery.
Kate Newby’s sculptural practice is rooted in the act of collecting; rather than finished objects, she collects different matters, materials, and fragments that contain only the memory of the object they used to be, caught in the process that from objects brings them back to being materials.


Earth, pebbles, glass splinters and pieces of metal constitute the DNA of the sites that Newby has gone through, taking samples of clay from the ground, which are then modeled by her fingers in order to obtain a more or less thin and concave shape, that recalls the valve of a shell. These small and simple forms of clay are then cooked on the spot, using traditional techniques and local kilns, and achieving very diverse results.

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.

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