The HUM Calendar is taking a short break while we build and transition to our new website, launching in May 2021.

To let us know of upcoming projects, you can still email us at


Online on Zoom

17.12.2020 at 6:30 pm (GMT)

Art Curator Grid online platform and SALOON London network are joining forces to host a new Curators Conversation, exploring the online spheres and the digital realm in curatorial practices. Join this great panel where the curators Julia Greenway and Noelia Portela will be in conversation with SALOON London co-founder Mara-Johanna Kolmel to share their insights on curating exhibitions online.

Noelia Portela is an independent curator and arts professional based in Paris. She is the founder and curator of Persona Curada, a non-profit experimental curatorial project founded for the purpose of fostering Latin American Contemporary art, in conversation with the French art scene, through exhibitions, cultural exchange, and cross-disciplinary collaboration.She studied at the School of Architecture and Design from Victoria University in Wellington, New Zealand. She is interested in African and Latin-American contemporary art, and her curatorial practice delves in non-western narratives, human mobility, identity and intersectional issues in feminism.

gr_und, Berlin, Germany

12.12.2020 — 24.01.2021

gr_und is a nonprofit artist-run space situated in Wedding. Using multidisplinary methods of visual art, performance, sound and linguistics, gr_und is a platform for experimentation and re-adjusting the status quo of the commercial art world. gr_und works from various media outlets via exhibitions, workshops, live web radio and an open source art library.

From December 12 to January 24 2021, gr_und presents an exhibition by artists Alex Chalmers and Gisèle Gonon curated by Cédric Mantel.

Online project, Schinkel Pavillon, Berlin, Germany

20.11.2020 — 31.12.2020

HIGH-RISE BERLIN is an experimental take on the well-established format of a studio visit. Through the pandemic-proof lens of a drone, Schinkel Pavillon offers an intimate glimpse into the worlds of a few Berlin-based artists. Some of them will present their lesser-known artistic skills and tell us about what has recently been inspiring them.

Studio Visit #1 is with Simon Denny in his apartment on the 18th floor high-rise in Berlin-Mitte. Denny’s artistic works include installation, sculpture, print, and video. His elaborate exhibitions endeavor to dismantle the social and political impacts of a ever-expanding techno-industry and entanglements of social media, startup culture, and blockchain. The video captures Simon Denny making his show Mine for K21, Düsseldorf,  during lockdown. The drone footage intersects to a minecraft version of Mine which is now temporarily closed because of Covid-19 regulations.

Shanghai Duolun Museum of Modern Art, Shanghai, China

20.11.2020 — 13.12.2020

Southern Transmissions: Contemporary Video Art From Oceania features work by Lucy Aukafolau, Jasmine Togo-Brisby, Robert George, Lisa Reihana, Angela Tiatia, Christian Thompson, and Christopher Ulutupu. 

Shanghai-based New Zealand curator Hutch Wilco said, “Ironically, it is the tumultuous forces of colonialism and globalisation that have once again enabled the diverse communities of Oceania to reforge connections with Asia. Southern Transmissions provides an opportunity to connect with artists from across Oceania who explore issues that have challenged their region through the format of video, from anxieties about the preservation of customary knowledge, or the legacy of the South Pacific slave trade, to contemporary concerns about rising sea levels enveloping communities, the exhibition serves as an introduction both to Oceanic video practices and the diversity of Oceanic preoccupations.”

ZEBRA Poetry Film Festival, Berlin, Germany (Online)

19.11.2020 — 22.11.2020

The collaborative te reo Māori poetry film Noho Mai which was created as part of an online writing and film workshop run by New Zealanders, Charles Olsen and Peta-Maria Tunui, and the Colombian writer Lilián Pallares, during the Covid-19 confinement in Spain and Aotearoa, New Zealand, has been nominated as one of 34 films chosen from around 2,000 entries from more than 100 countries for this year’s ZEBRA Poetry Film Festival Competition. The Jury comprising Maren Kames, Tom Konyves and Martina Nix will be awarding four prizes together worth €12,000 (NZ$20,000).

Furthermore, Noho Mai will be screened on 29 November 2020 in the 8th Ó Bhéal International Poetry Film Competition, Cork, Ireland.

Taipei Art Book Fair, Huashan Creative Park, Taipei, Taiwan

13.11.2020 — 15.11.2020

White Fungus will exhibit at the Taipei Art Book Fair at Huashan Creative Park on November 13-15.
This is one the few art book fairs to take place this year. Due to Taiwan's successful elimination of Covid, the fair will operate as usual but will follow the measures set out by the CDC.

Tua-Tiu-Tiann International Festival of Arts, Taiwan Busan 3rd Floor, Taipei, Taiwan

24.10.2020 at 10 am -12:30 pm

This event is organised by the Taiwan Cultural Policy Research Association as part of the 2020 Tua-Tiu-Tiann International Festival of Arts (TTTIFA). This year, as all international events around the world are overwhelmed by the landslide of the Covid-19 pandemic, we understand the importance to maintain the communications between countries through arts and culture that facilitate understanding among peoples in this hardship. Taiwan and New Zealand are both signalled in international media for their success in controlling the spreading of Covid-19 within their borders and maintaining the economic activities as much as possible. Nevertheless, art and cultural workers are severely impacted during this time. International cultural organizations and policy makers are urging to find methods to reconnect to the world. Cultural fields in Taiwan and New Zealand are not only facing the challenge in resuming the domestic dynamics, but also the need to reconnect to the world while keeping the nation safe. This forum aims to open a dialogue between international cultural organizations and practitioners of the two countries and exchange their observations and ideas that may lead to further progress on their works of cultural exchanging.

Speakers will include New Zealand art professionals Ron Hanson, Editor of White Fungus and Catherine George, Senior Adviser of International Services & Initiatives, Creative New Zealand as well as Taiwan art professionals Wei Wan-jung, Director of OISTAT and Catherine Lee , Director of Taipei Artist Village.

Contemporary HUM is pleased to support this initiative in documenting the discussion through the publication of an edited transcript on its online platform in coming months.

Palais de Tokyo, Paris, France

23.10.2020 — 03.01.2021

The worldwide experience of lockdown and the adoption of social and physical distancing have made us reconsider the idea that our bodies are sealed units. Did we forget how porous we actually are?

The exhibition Antibodies platforms the voices of 20 artists from the French and international artistic scene. With recent and new works they take the pulse of our ability to bond together and help us rethink how we inhabit the world. Len Lye's film Tusalava, 1929, the only non-contemporary work in the exhibition, brings to a close the section devoted to warrior tales. From the social body to cellular organisms, the evolution of forms seems to be governed by a polar opposition between domination and revolt.

Nassauische Kunstverein, Wiesbaden, Germany

20.10.2020 — 07.02.2021

From the boundary that we take for granted between animals and humans, neither evolutionary biology nor paleoanthropology can define with certainty the point at which animal and human life are separated. In search of this boundary, the “clever animal” undertakes further categorizations and hierarchizations that derive relationships, form groups, but above all result in manifesting a polar assessment: lovable or disliked (companion), useful or harmful (resource) - ultimately good or bad.

In fact, it is human beings who unquestionably turn out to be the greatest pest on the planet, while slowly becoming more and more aware of the (eco) system-preserving importance of the innumerable, mostly smaller living beings. Immediately after falling through the dark tunnel, a white rabbit is now required – alles im Wunderland (all in Wonderland).


Launching 20.10.2020

Va // relational space between all things in the world
Tagatavasa // peoples of the oceans, of sacred relational spaces 
Teu le va, tauhi va, vaha loto mahani mitaki // cherish the va​

In*ter*is*land Collective wanted to explore, engage and traverse connections in ta and va (time and space) in 2020, as a way to connect again too.  

In sending out the above provocation on social media we were privileged to receive a number of responses from creatives based all around the world. From a base of both London and Aotearoa, we began to curate this digital space which actively prioritised tagata Moana and BIPOC artists and their creations. We gift you a version of 2020, as seen through the eyes of these artists - and we thank them all for their time, energy and vulnerability.

Monuina, ia manuia, kia ora and thank you, 

In*ter*is*land Collective 

Luis De Jesus Gallery, Los Angeles, U.S.A.

17.10.2020 — 19.12.2020

Luis De Jesus Los Angeles is very pleased to announce Unreachable Spring, a group exhibition with artists June Edmonds, André Hemer, Laura Krifka, Kambui Olujimi, Edra Soto, and Peter Williams.

"Those late-night early mornings have become my favorite time of day. Birdsong fills the crisp air, echoing between my terrace and the apartment building opposite. And in that transition from night to day the light changes so quickly that it’s difficult to pinpoint the exact moment it shifts. Overhead is an infinitely deep blue—not sky exactly, but an actual window into the outer atmosphere. I can imagine floating up and piercing through to space." - André Hemer

M+P | Art Gallery, Oxfordshire, U.K.

17.10.2020 — 07.11.2020

A new series of paintings by Oxford based NZ Painter Emily Wolfe. Emily has long been interested in what we can’t see – the unknown, the hidden, the area lying beyond what is visible or known. Her new series extends this interest by including what appear to be old master styled landscape paintings retrieved from perhaps an estate sale. Added to them are her own quirky signs of work – discarded furniture pieces, unwritten note pages, pieces of gauze stuck to and disrupting the serenity.

BAB Box, One Bangkok, Thailand

12.10.2020 — 31.01.2021

Bangkok Art Biennale (BAB) is a biannual art festival set in various venues of the capital of Thailand. This year marks the second instalment of the Biennale. ‍Visitors are able to immerse themselves in an array of artworks and performances from a diverse range of artists, both local and international, throughout the heart of Bangkok, in galleries, public spaces, and iconic landmarks. In addition, they are accompanied by conferences, workshops, guided visits, and publications to ensure a memorable and holistic experience. Three venues open on 12th October 2020, while the remaining venues open on 29th October.

Dane Mitchell’s practice speculates on what is material and explores systems of knowledge or belief and people’s experiences of them. Dealing with the way things transform or transmit and the presence of material forces and the unseen, his work transmutes invisible phenomena into tangible forms as sculptural objects and images, connecting the sensual and the cognizant, and teasing out the potential for objects and ideas to appear and disappear.

Hollis Taggart, Chelsea, New York, U.S.A.

08.10.2020 — 07.11.2020

On October 8, Hollis Taggart opens These Days, artist André Hemer’s first solo exhibition in New York. The presentation will feature a selection of new paintings and sculpture created by Hemer during the worldwide shutdowns spurred by the COVID-19 pandemic. The new works reflect Hemer’s ongoing engagement with nature, and in particular the cycles of the rising and setting sun, which have especially drawn his attention in the sudden quieting of his home city of Vienna. These Days will be accompanied by a catalogue featuring an essay by writer Victoria Scott. Hemer joined the gallery’s contemporary program in August 2019 and has since been included in a wide range of its fair and group presentations. 

André Hemer’s new work is also currently being presented by LUIS DE JESUS gallery, Los Angeles, in an online viewing room. Titled Sunset / Sunrise, the digital presentation will remain on view through November 30, 2020

Royal Academy, London, U.K. and Online

06.10.2020 — 03.01.2021

252 years ago, a group of artists made it their mission to form an annual exhibition to support artists and architects, by showcasing art of the moment to the nation. The Summer Exhibition has run uninterrupted ever since: a backdrop to famous artistic rivalries of the past and now a fixture of the summer calendar for art seekers, year after year.
Coordinated by artistic duo Jane and Louise Wilson RA, The Summer Exhibition is the world’s oldest open-submission exhibition. This year the Royal Academy received over 18,000 entries of which around 1000 works in a range of media will go on display. This year’s exhibition includes new works by Tracey Emin, Rebecca Horn, Anselm Kiefer, Julian Schnabel, Gillian Wearing, and Ai Weiwei. Jen Bowmast's work The Listening Tool is included in the Lecture Room, selected by Royal Academician Richard Deacon.


Launched 02.10.2020

Initiated by Berlin-based artist Ruth Buchanan, Evacuation Tapes is a collection of writing that posits the very real paradox of the precarious and staunch (female) body as lived and encountered within society, front and centre. It looks at the ways in which certain life structures draw out or exaggerate the relationship between these forces—the weak, the strong. The collection explicitly folds out from a selection of poems by J. C. Sturm, one of Aotearoa New Zealand’s most significant Māori women writers of the twentieth century. Sturm’s poetry is placed in relation to new writing by five women working today: Ruth Buchanan, Anna Gritz, Sarah Hopkinson, Hanahiva Rose, and Sriwhana Spong.

Witte de Withstraat 50, Rotterdam, The Netherlands

20.09.2020 — 14.02.2021

For over three decades, the New Zealand-born artist Michael Stevenson, who lives and works in Berlin, has developed a practice that is at once research based and materially dedicated. This exhibition presents a first for Stevenson, comprising a selection of works drawn from key projects developed over the past decade, as well as new work. In the absence of their original assemblies of past art installations, the artist regards their parts and re-assemblage as if emerging from a “boneyard” of sorts. Akin to an aviation boneyard, this alludes to a storage area for furloughed parts and materials that may come to be reused and repurposed over time. A fitting analogy, considering it is sites of this particular kind that have long-inspired Stevenson’s work. For this exhibition, each of the artworks have come to be thought anew along new lines of inquiry. Together, they manifest rationalized ideas as much as emotional binds that people have with education, theology, and technology. This is the artist’s first exhibition in the Netherlands. This exhibition is co-presented by KW Institute for Contemporary Art in Berlin, where a larger iteration of the exhibition will be staged in 2021.

Hosfelt Gallery, San Francisco, U.S.A.

08.09.2020 — 10.10.2020

Hosfelt Gallery presents a solo exhibition of work by the esteemed 84 year-old painter, calligrapher, and Rinzai Zen monk Max Gimblett. Gimblett’s paintings are a harmonious, postmodern synthesis of American and Japanese art. Often working on shaped panels or canvases—tondos, ovals, and his signature four-lobed quatrefoil—he marries Abstract Expressionism, Modernism and Spiritual Abstraction with mysticism and traditions of Asian calligraphy. Gimblett’s paintings are defined by masterful brushwork combined with an eccentric and sophisticated color sense, and finished with sensuously glossy surfaces. They frequently incorporate gilding in precious metals—a nod to alchemy, the Presbyterian Church of Scotland (in which he was raised) and Japanese lacquerware, ceramics, and temple art.

Born in Auckland, New Zealand in 1935, Gimblett trained at the San Francisco Art Institute in the 1960s and has since lived, studied, traveled, taught, and exhibited extensively across the globe.

K21, Dusseldorf, Germany

05.09.2020 — 17.01.2021

With his context and research-based work, Simon Denny investigates how profoundly our perception and experience of culture is changed by the transformation of technology and politics. He examines the organizational structures, rhetoric, and visual language of high-tech companies, as well as the people behind them. Thanks to this ongoing interest, it becomes possible to understand how the mood towards the high-tech world has changed in recent years.

At K21, the artist presents a group of new works developed for the MONA (Museum of Old and New Art) in Hobart, Australia, which have never before been shown in Europe. The focus is on extractive industry models, which mine both minerals from the earth and data, extrapolated from the labor we do on consumer apps and tools on the internet. Denny's sculptures, wall works, and large-scale installations unpack the consequences of the development of the data economy and reveal extraction as one of the dominant principles in the way humans interact with their environment.

Kunsthaus Glarus, Switzerland

05.09.2020 — 29.11.2020

Im Volksgarten has been the address of Kunsthaus Glarus since 1952; it serves as both street name and location description. Im Volksgarten, 8750 Glarus is also the title of a site-specific work by Maria Eichhorn, on view recently as a loan along with works from the Glarner Kunstverein collections. Painted nearly invisibly on the wall, the address declared the museum as a site that took temporary possession of the work. In the exhibition Im Volksgarten, the understanding of “possession” goes beyond the object and is returned to the space: it is about forms of taking possession of space, but also about fetishization and desire. How is the status of objects and things altered when they enter the museum? How do these things seduce us? What significance does the private and intimate have in this public realm. But also: what social or political and public meanings do we associate with the museum? Artists include Berlin-based Richard Frater.