EXHIBITIONS & EVENTS BY NEW ZEALAND PRACTITIONERS ABROAD

Museum Villa Stuck, Munich, Germany

05.03.2020 — 07.06.2020

The Museum VILLA STUCK is presenting a comprehensive retrospective of the work of Lisa Walker (b. 1967 in Wellington, New Zealand), arguably one of the most influential contemporary jewellers. Walker transforms everyday objects into jewellery and, in doing so, examines fundamental questions about what jewellery means and how it connects to contemporary life and to art and society.

 

On view are some 250 works by Lisa Walker from three decades. Added to this are ten photographs which show Lisa Walker’s jewellery with its wearers. The exhibition is divided into three chapters ranging from Dunedin to Munich and back to Wellington. 

backsteinboot, Berlin, Germany

28.02.2020, doors open 11:59pm

THE CROSSING is a multimedia, simulcast plus live event Germany/Aotearoa collaboration.

DJs, VJs and performance artists through the night leading up to (and after also): ‘The Crossing’ live show on 29.02.2020 at 09:30am with Hinemoana Baker, Takumi Motokawa, Samin Son and, Dan Untitled (beaming in from Welly) plus footage and simulcast from Wellington event. Entry by donation/koha.

Simultaneously, AOTEAROA event on 29.02.2020 at 21:30pm on Wellington Waterfront, featuring live performance plus
footage and simulcast from Berlin event, hosted by The Performance Arcade

Palais de la Porte Dorée, Paris, France

26.02.2020 — 26.07.2020

The Palais de la Porte Dorée presents a major exhibition devoted to the work and creativity of Christian Louboutin, the internationally renowned footwear designer and key figure in the fashion world. From the beginning, Christian Louboutin infused his designs with a great wealth of motifs and colours inspired by his love of art and different cultures. Flamboyant, daring, open to the world, generous and at times caustic, the designer’s creativity is informed by a passion for travel and references from the worlds of pop culture, theatre, dance, literature and cinema.

Historic and artistic pieces by Louboutin will be shown alongside a number of exclusive collaborations, never seen before, with artists who are important to him: the director and photographer David Lynch, the New Zealand multimedia artist Lisa Reihana, the British designer duo Whitaker Malem, the Spanish choreographer Blanca Li, and the Pakistani artist Imran Qureshi, amongst others. Christian Louboutin assigned the task of his biography to the New Zealand artist Lisa Reihana, whom he discovered at the Venice Biennale in 2017. Through a monumental work designed especially for the exhibition, she retraces the moments, places and key figures of Christian Louboutin’s life and career by means of a moving and hypnotic digital fresco.

de Young Museum, San Francisco, U.S.A.

22.02.2020 — 25.10.2020

In today’s AI-driven world, increasingly organized and shaped by algorithms that track, collect, and evaluate our data, the question of what it means to be human has shifted. 

In 1970 Japanese engineer Masahiro Mori introduced the concept of the “uncanny valley” as a terrain of existential uncertainty humans experience when confronted with autonomous machines that mimic their physical and mental properties.  With nearby Silicon Valley driving the development of AI, Uncanny Valley: Being Human in the Age of AI arrives as the first major West Coast museum exhibition to thicken the discourse around these new technologies through a lens of artistic practice. It argues that it might be time to let go of the speculative fantasies of AI and redefine the coordinates of the uncanny valley. It proposes a visual vocabulary for an imagination of AI that is grounded in the technology’s design, mechanisms, and practical applications. An imagination born from the modeling of algorithms and neural networks on natural forms of intelligence, from the statistical nature of its mathematical operations, and from the (sometimes problematic) conditions and goals of its (mostly) commercial applications. 

Museum Volkenkunde, Leiden, The Netherlands

from 21.02.2020

Made up of thousands of islands in the Pacific Ocean, Oceania covers more than a third of the Earth’s surface, extending from New Guinea to Easter Island, and from New Zealand to Hawaii. The ocean borders the islands, but it has also always been the thing that connects them. This exhibition focuses on the islanders’ connection with water and their huge resourcefulness. It features objects of breathtaking beauty, from canoes several metres long and ingenious navigation tools to statues and jewellery. It also includes contemporary art, with eye-catching pieces like the live-action video by Lisa Reihana and an installation by George Nuku.

This year we are celebrating the tenth anniversary of the arrival of two wakas, distinctive Maori canoes, at Museum Volkenkunde with a full programme of demonstrations, workshops and lectures during Maori Weekend on 2-3 May 2020.

MARKK Museum Hamburg, Germany

19.02.2020 — 28.06.2020

Lisa Reihana is among the most relevant contemporary artists from the Pacific. Her work in Pursuit of Venus [infected] constitutes the heart of the exhibition In the Shadow of Venus: Lisa Reihana & Pacific taonga. Here, the Museum am Rothenbaum puts artistic production from Oceania into the spotlight. Reihana’s digital panorama will be on view for the first time in Germany. It is brought into dialogue with exceptional historical artworks from the museum’s collection. Her work critically engages with the first encounters between Europeans and Pacific Islander societies which lead to their colonisation and also resulted in the transfer of cultural goods to Europe.

Quezon CIty, Manila, Philippines

07.02.2020 — 22.02.2020

The 3rd iteration of the Triennial (KT3) titled “Sawsawan:Conversations in the Dirty Kitchen” takes place from February 7-22, 2020 and is co-curated by the Kamias Special Projects (KSP) Collective: Patrick Cruz, Allison Collins (Vancouver) and Su-Ying Lee (Toronto). It gathers a group of international artists to participate in exhibitions, performances, screenings, discussions and more. All events are free and open to the public. 

 

Although the word ‘triennial’ simply means an occurrence of once every three years, it has become synonymous with institutionalized, powerful art-world events. Against such expectations, Kamias takes place in a “developing” country favouring a domestic scale, artist-run culture, accessible events and participants selected for their potential to gather together to generate new possibilities. The project is situated to consider the notion of globalization as a now-established norm, yet one where uneven national relationships often gives authority to topics defined in the West. Since the Kamias Triennial was founded by Canadian-Filipino artist Patrick Cruz in 2014, the event has continued to take place in the dedicated Kamias Special Projects space (KSP), adjacent to the Cruz family home, and across partner venues in Quezon City, Metro Manila.  The domestic-cum-public location of the KSP space has remained the heart of the Kamias Triennial signifying deep roots and attentiveness to human scale and scope. 

Shilpakala Academy, Dhaka, Bangladesh

07.02.2020 — 15.02.2020

Convening a critical mass of artists, thinkers and participants, ‘Dhaka Art Summit 2020: Seismic Movements’ (DAS 2020) will provoke us to reconsider (art) histories, movement, borders and fault lines. From 7–15 February 2020, Dhaka, Bangladesh will be the epicentre of a radical upheaval of how we think about art, activated by intellectual and curatorial contributions, spanning four floors of the Shilpakala Academy in the city’s vibrant University belt. Built through alliances across Africa, Australia, South and Southeast Asia (and also extending into Europe and the US) this platform will be free to the public and include contributions by 500 artists, scholars, curators and thinkers.

‘The Collective Body’ is an exhibition within ‘Seismic Movements’ co-curated by Diana Campbell Betancourt and Kathryn Weir which crystallizes concerns pertinent to collaborative practice in Bangladesh, drawing parallels and creating unprecedented exchange with other collective movements emerging across Asia, Africa, Central and South America, and Oceania. Over forty collectives and collaborative platforms active in Asia, Africa, Oceania, and Central and South America will be present at DAS 2020 including Mata Aho Collective from Aotearoa.

Haus Mödrath, Kerpen, Germany

02.02.2020 — 20.12.2020

The childhood home is a place of fantasy, protection, and play. But it can also be one of trauma, violence, and fear. The home is where it’s decided who we are, what will become of us, and what we will repress. For many artists, the impulse to create is rooted in childhood. Through art, they transmute their early and ingrained experiences into something bigger, something that renews, expands, and transforms our perspective on the world.

The exhibition Dream Baby Dream features artists whose work arises from just such an imaginative power. They all evince a strong connection to childhood and youth, not just as a source of creative inspiration, but also as a metaphor for physical, psychological, and social conflicts. The interplay of the artists creates an atmosphere in which the dark sides of childhood and youth take on entirely new forms.

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.

Tai Kwun Contemporary, Hong Kong

16.01.2020 — 19.01.2020

White Fungus are taking part in the second edition of BOOKED: Hong Kong Art Book Fair at Tai Kwun Contemporary. The art book fair welcomes over 80 local, regional, and international exhibitors—including artists, publishers, booksellers and more—with a programme of talks, live events, displays, editions, workshops and special projects. BOOKED: provides a platform for creative practitioners and publishers who are invested in books as a medium of artistic and intellectual expression to share their work with public audiences.

White Fungus is a print magazine and publishing platform based in Taiwan. The publication began in 2004 as a protest zine and quasi political manifesto produced on a photocopier in Wellington, New Zealand. Now it is an international arts publication based in Taiwan that is distributed globally. Each cover of the magazine is derived from a scan of a can of "white fungus", a commercially produced pulped beverage from Taichung City.

Residencia Artística, Center for Contemporary Creation Matadero Madrid, Spain

15.01.2020 — 31.12.2020

Creative duo Lilián Pallares and Charles Olsen currently have a residency at the Centre for Artists in Residence of the Matadero Madrid, titled Juegos al sol (‘Playing in the sun’) in which they will explore the theme of childhood, play and public space. Through photography, film, painting, poetry, oral storytelling and writing, they will reflect on and investigate the place of childhood in the city, going further down paths they have explored in recent work. There will also be a series of talks around questions that arise during the process.
 

Providing residency work spaces for local, national and international creative artists, the guiding principles of the Centre are to promote experimentation in an open and collaborative environment, to stimulate artistic creation as a process of investigation, and to prioritize creation as a process closer to education than to the demands of the market. During the residency there will be open studios for the public to meet the artists, the first of these will coincide with ARCOMadrid 2020 on 28 February, and at the end of the residency there will be an exhibition curated by Barcelona-based Juan Canela.

Altman Siegel Gallery, San Francisco, U.S.A.

14.01.2020 — 22.02.2020

Altman Siegel is pleased to present an exhibition of new sculptures, wall reliefs and framed works by the New Zealand born, Berlin based artist Simon Denny. This will be the artist’s first solo show in San Francisco. Addressing the intersection of technology, society and aesthetics, Denny sources the material for his work from within the objects, documents, and images produced by technology companies and states. In preparation for this exhibition, Denny acquired a collection of scarves from an auction of the estate of former British Prime Minister Margaret Thatcher. A towering figure in the former British colony of New Zealand during Denny’s formative years, Thatcher is synonymous with the neoliberal agenda advocating free markets, deregulation and privatization that is under increasing scrutiny as signs of rampant economic inequality become ever more visible on the streets of our globally connected cities. The specifically loaded materials and forms of the sculptural objects throughout Security Through Obscurity and the ways in which they

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.

Cibrian Gallery, San Sebastian, Spain

22.11.2019 — 15.02.2020

The way David Antin described the first signs of the arrival of Spring in the state of New York in his talk poem Spring, love, noise and all is quite far from what is commonly expected. His description of the ice breaking into the river, cooling the water and giving it a terrible color somehow encapsulates what the distance between expectations and experience is about; A physical banal platitude that turns out to be very important, is still hard to apprehend.

David Antin’s talk poems were improvisatory talk performances in which he addressed to a live audience simple thoughts about the weather, a train ride or a friendship. The digressions shaped his poems, creating a clever mixture between expectations, spontaneous thoughts and the intervention of the immediate environment (experience). This poetical attitude of letting things happen gives to Antin’s work a very special tone. There are exactly four of them is an exhibition that marks the first anniversary of the gallery, exploring, through the work of four significant artists, the possibility of translating this poetic sensibility into the exhibition space.

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.

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