Calendar
Calendar
The HUM calendar features exhibitions & events by New Zealand arts practitioners working or living abroad.
Yuki Kihara, Art Basel Conversation
Hong Kong Convention & Exhibition Centre, Hong Kong
12.30PM — 1.30PM
30 March 2024
Taking place as part of the Art Basel Hong Kong 2024 Conversations programme, Social Fabrics: Weaving as Art Form is a panel discussion that looks at the art of weaving as a tradition of social cohesion: a creative act that produces textiles that are worn, used, or displayed in public and private spaces to signal identities, tell stories, express traditions, and build relationships. It puts forwards the premise of the craft’s transmission as a negotiation of identity, community and history: a unique process that artists will discuss in relation to their own practices.
Social Fabrics: Weaving as Art Form includes artists Qualeasha Wood, Yee I-Lann and Yuki Kihara and is moderated by Mizuki Takahashi, Executive Director and Chief Curator, Centre for Heritage, Arts & Textile (CHAT).
Taking place as part of the Art Basel Hong Kong 2024 Conversations programme, Social Fabrics: Weaving as Art Form is a panel discussion that looks at the art of weaving as a tradition of social cohesion: a creative act that produces textiles that are worn, used, or displayed in public and private spaces to signal identities, tell stories, express traditions, and build relationships. It puts forwards the premise of the craft’s transmission as a negotiation of identity, community and history: a unique process that artists will discuss in relation to their own practices.
Social Fabrics: Weaving as Art Form includes artists Qualeasha Wood, Yee I-Lann and Yuki Kihara and is moderated by Mizuki Takahashi, Executive Director and Chief Curator, Centre for Heritage, Arts & Textile (CHAT).
FAFSWAG Arts Collective, Asia TOPA Radar
The Substation, Naarm Melbourne, Australia
6.30PM — 9.00PM
27 March 2024
From playlists to performances, exhibitions, books and internet deep dives, Asia TOPA Radar brings together artists from across the Asia-Pacific for an evening of creativity, community and good times.
March's event features three leading artists and collectives: Queer Indigenous collective FAFSWAG (Aotearoa New Zealand), an iconic ensemble with a shapeshifting practice that bends genres and artforms; Melbourne artists Mindy Meng Wang & Monica Lim, a duo who share Chinese heritage and experiment across contemporary and traditional music and sound; and dance artist and producer Efren Pamilacan, whose practice traverses cultural and social spheres including hip-hop culture, underground dance culture and contemporary art.
This edition of Asia TOPA Radar is specially curated to coincide with FAFSWAG’s exhibition Alteration, which is on display during the event, presented as part of PHOTO 2024.
From playlists to performances, exhibitions, books and internet deep dives, Asia TOPA Radar brings together artists from across the Asia-Pacific for an evening of creativity, community and good times.
March's event features three leading artists and collectives: Queer Indigenous collective FAFSWAG (Aotearoa New Zealand), an iconic ensemble with a shapeshifting practice that bends genres and artforms; Melbourne artists Mindy Meng Wang & Monica Lim, a duo who share Chinese heritage and experiment across contemporary and traditional music and sound; and dance artist and producer Efren Pamilacan, whose practice traverses cultural and social spheres including hip-hop culture, underground dance culture and contemporary art.
This edition of Asia TOPA Radar is specially curated to coincide with FAFSWAG’s exhibition Alteration, which is on display during the event, presented as part of PHOTO 2024.
Elisabeta Hinemona Heta, Re-Stor(y)ing Oceania
Ocean Space, Venice, Italy
23 March —
13 October 2024
Re-Stor(y)ing Oceania by TBA21–Academy is a new exhibition curated by Bougainville-born artist Taloi Havini and comprising two new site-specific commissions by Indigenous artists from the Pacific: Latai Taumoepeau and Elisapeta Hinemoa Heta.
For the new commissions, Havini has invited artist Latai Taumoepeau who uses faivā ("performing art") grounded in Tongan philosophies of relational vā ("space") and tā ("time") to make visible the impact of the climate crisis in the Pacific. In response to Taumoepeau‘s new solo commission, a live project space emerges at Ocean Space that is imagined in collaboration with Wāhine architect Elisapeta Heta, a Māori, Sāmoan and Tokelauan leader and advocate for change, whose work provides Māori and Pasifika perspectives on the importance of place to design and cultural identity.
In her response to this exhibition Heta presents a new multi-sensory installation, The Body of Wainuiātea, embodying ritual and ceremony guided by the Māori concept of tikanga, derived from the word "tika" which means "right" or "correct", so to act in accordance with tikanga is to behave in a way that is culturally proper or appropriate. Collaborators include Dr Albert Refiti, Hiramarie Moewaka, and Rhonda Tibble.
Re-Stor(y)ing Oceania by TBA21–Academy is a new exhibition curated by Bougainville-born artist Taloi Havini and comprising two new site-specific commissions by Indigenous artists from the Pacific: Latai Taumoepeau and Elisapeta Hinemoa Heta.
For the new commissions, Havini has invited artist Latai Taumoepeau who uses faivā ("performing art") grounded in Tongan philosophies of relational vā ("space") and tā ("time") to make visible the impact of the climate crisis in the Pacific. In response to Taumoepeau‘s new solo commission, a live project space emerges at Ocean Space that is imagined in collaboration with Wāhine architect Elisapeta Heta, a Māori, Sāmoan and Tokelauan leader and advocate for change, whose work provides Māori and Pasifika perspectives on the importance of place to design and cultural identity.
In her response to this exhibition Heta presents a new multi-sensory installation, The Body of Wainuiātea, embodying ritual and ceremony guided by the Māori concept of tikanga, derived from the word "tika" which means "right" or "correct", so to act in accordance with tikanga is to behave in a way that is culturally proper or appropriate. Collaborators include Dr Albert Refiti, Hiramarie Moewaka, and Rhonda Tibble.
Yuki Kihara, Factory of Tomorrow
Centre for Heritage, Arts and Textile, Hong Kong
16 March —
14 July 2024
Does heritage only serve to record a bygone era and feed the nostalgia of those living in changing times? How can we collectively learn from the past and forge a better future?
The Centre for Heritage, Arts and Textile (CHAT) celebrates its 5th anniversary with the group exhibition Factory of Tomorrow. Featuring CHAT’s own contemporary art collection and newly commissioned works, it endeavours to critically examine the past and evoke imagination for what is to come. From textile works and sculptures to immersive installations and videos, it brings together creations by 19 artists and collectives of Asian backgrounds, reflecting their takes on textile technology and materials, diversity, climate change and our future.
Does heritage only serve to record a bygone era and feed the nostalgia of those living in changing times? How can we collectively learn from the past and forge a better future?
The Centre for Heritage, Arts and Textile (CHAT) celebrates its 5th anniversary with the group exhibition Factory of Tomorrow. Featuring CHAT’s own contemporary art collection and newly commissioned works, it endeavours to critically examine the past and evoke imagination for what is to come. From textile works and sculptures to immersive installations and videos, it brings together creations by 19 artists and collectives of Asian backgrounds, reflecting their takes on textile technology and materials, diversity, climate change and our future.
Sarah Rose, A Bonnie Way
Hospitalfield and various venues across Scotland, UK
14 March —
03 May 2024
Hospitalfield and Travelling Gallery present A Bonnie Way: Unravelling the seducation of the countryside, a travelling exhibition featuring artists who have been involved in the Residencies at Hospitalfield: three artists who all explore their experiences of life and conversations in rural and semi-rural places.
Featuring sculpture, moving image, and sound, each artist brings a different approach and experience touching upon themes such as hidden histories, pictoral representation, the more-than human, energy networks, traditional music, memory, who is included/excluded, industrial landscapes, and the urgently felt impacts of the climate crisis.
The artworks are accompanied by an index of community-based publications, connecting their questions, manifestos, and propositions of people in rural places from across Scotland. A Bonnie Way opens at Hospitalfield from 14—16 March and between March and May 2024 will tour to venues throughout Scotland, including Edinburgh, Aberdeen, Shetland, Moray, Inverness, Dundee and Angus.
Hospitalfield and Travelling Gallery present A Bonnie Way: Unravelling the seducation of the countryside, a travelling exhibition featuring artists who have been involved in the Residencies at Hospitalfield: three artists who all explore their experiences of life and conversations in rural and semi-rural places.
Featuring sculpture, moving image, and sound, each artist brings a different approach and experience touching upon themes such as hidden histories, pictoral representation, the more-than human, energy networks, traditional music, memory, who is included/excluded, industrial landscapes, and the urgently felt impacts of the climate crisis.
The artworks are accompanied by an index of community-based publications, connecting their questions, manifestos, and propositions of people in rural places from across Scotland. A Bonnie Way opens at Hospitalfield from 14—16 March and between March and May 2024 will tour to venues throughout Scotland, including Edinburgh, Aberdeen, Shetland, Moray, Inverness, Dundee and Angus.
Ann Shelton, worm, root, wort...& bane
Alice Austen House, New York, USA
09 March —
26 May 2024
Systems of belief concerning the medicinal, magical and spiritual uses of plant materials were well established in the lives of European forest, nomadic and ancient peoples. However, these beliefs were forcibly supplanted as pagan practices were displaced across Europe and other continents in the wake of Christianity and the rise of capitalism. The consequences of the suppression and attempted erasure of this plant-based belief system continue to be profound. Knowledge, often held by women, of the healing and spiritual effects of plants has been replaced by a significantly more limited emphasis on their predominantly aesthetic qualities. This separation informs our contemporary relationship to plants as being primarily one of commodification.
The images in worm, root, wort…& bane, Ann Shelton's first solo institutional exhibition in the United States, are part of the re-assemblage of fragments of this old knowledge and, in their ontology, invoke the persecution of wise women, witches and wortcunners who kept this knowledge safe but whose understanding of plants and their connection with reproduction, in particular, represented a threat to the new order. This body of work asks that we reconsider this complex nexus of lost understanding; that we re-examine the continuing persecution of women, their gender roles and physical bodies, and honour the position they have held in this long-contested space.
Systems of belief concerning the medicinal, magical and spiritual uses of plant materials were well established in the lives of European forest, nomadic and ancient peoples. However, these beliefs were forcibly supplanted as pagan practices were displaced across Europe and other continents in the wake of Christianity and the rise of capitalism. The consequences of the suppression and attempted erasure of this plant-based belief system continue to be profound. Knowledge, often held by women, of the healing and spiritual effects of plants has been replaced by a significantly more limited emphasis on their predominantly aesthetic qualities. This separation informs our contemporary relationship to plants as being primarily one of commodification.
The images in worm, root, wort…& bane, Ann Shelton's first solo institutional exhibition in the United States, are part of the re-assemblage of fragments of this old knowledge and, in their ontology, invoke the persecution of wise women, witches and wortcunners who kept this knowledge safe but whose understanding of plants and their connection with reproduction, in particular, represented a threat to the new order. This body of work asks that we reconsider this complex nexus of lost understanding; that we re-examine the continuing persecution of women, their gender roles and physical bodies, and honour the position they have held in this long-contested space.
24th Biennale of Sydney: Ten Thousand Suns
six venues across Sydney, Australia
09 March —
10 June 2024
The 24th Biennale of Sydney, titled Ten Thousand Suns and led by artistic directors Cosmin Costinaş and Inti Guerrero, takes place across six iconic Sydney locations, showcasing the creations of leading artists from diverse corners of the globe.
Presenting work at this edition of the Sydney Biennale are Aotearoa artists John Pule at the Art Gallery of New South Wales; Nikau Hindin together with Ebonie Fifita-Laufilitoga-Maka Fungamapitoa and Rongomai Gbric-Hoskins at White Bay Power Station; Pacific Sisters and Pauline Yearbury, both at the Art Gallery of New South Wales; and Te Whā a Huna at the Museum of Contemporary Art.
The 24th Biennale of Sydney, titled Ten Thousand Suns and led by artistic directors Cosmin Costinaş and Inti Guerrero, takes place across six iconic Sydney locations, showcasing the creations of leading artists from diverse corners of the globe.
Presenting work at this edition of the Sydney Biennale are Aotearoa artists John Pule at the Art Gallery of New South Wales; Nikau Hindin together with Ebonie Fifita-Laufilitoga-Maka Fungamapitoa and Rongomai Gbric-Hoskins at White Bay Power Station; Pacific Sisters and Pauline Yearbury, both at the Art Gallery of New South Wales; and Te Whā a Huna at the Museum of Contemporary Art.
Architecture of Aroha, Luleå Biennial 2024
Kulturenshus, Luleå, Sweden
02 March —
26 May 2024
Architecture of Aroha is a collaborative project that explores indigenous practices in Aotearoa New Zealand and Sápmi, being presented at Kulturenshus in Luleå as part of the 2024 Luleåbiennalen (Luleå Biennial).
Speaking to the biennial's focus on the context and processes within Norrbotten, Sweden and its connections to other geographies and communities across the globe which share similar dynamics, this bi-national project unfolds a dialogue between two objects that hold important cultural significance: the wahakura and the gietkka, baby sleeping vessels from the Māori and Sámi communities.
Architecture of Aroha brings together Berit Kristine Guvsám (b. 1986, Steinkjer, Norway), Gunvor Guttorm (b. 1958, Karasjok, Norway), Iŋgos-Máhte Iŋgá, Inga Ravna Eira (b. 1948, Karasjok, Norway), Jasmine Te Hira (b. 1990, Aotearoa New Zealand), Tanya Reihana White (b. 1965, Aotearoa New Zealand; Ngāti Whātua, Ngāti Hineāmaru and Ngāti Maniapoto) and Zoe Black (b. 1985, Aotearoa New Zealand).
Architecture of Aroha is a collaborative project that explores indigenous practices in Aotearoa New Zealand and Sápmi, being presented at Kulturenshus in Luleå as part of the 2024 Luleåbiennalen (Luleå Biennial).
Speaking to the biennial's focus on the context and processes within Norrbotten, Sweden and its connections to other geographies and communities across the globe which share similar dynamics, this bi-national project unfolds a dialogue between two objects that hold important cultural significance: the wahakura and the gietkka, baby sleeping vessels from the Māori and Sámi communities.
Architecture of Aroha brings together Berit Kristine Guvsám (b. 1986, Steinkjer, Norway), Gunvor Guttorm (b. 1958, Karasjok, Norway), Iŋgos-Máhte Iŋgá, Inga Ravna Eira (b. 1948, Karasjok, Norway), Jasmine Te Hira (b. 1990, Aotearoa New Zealand), Tanya Reihana White (b. 1965, Aotearoa New Zealand; Ngāti Whātua, Ngāti Hineāmaru and Ngāti Maniapoto) and Zoe Black (b. 1985, Aotearoa New Zealand).
PHOTO 2024: International Festival of Photography
various venues across Naarm Melbourne, Australia
01 March —
24 March 2024
Taking place every two years in Naarm Melbourne and cities across regional Victoria, the festival addresses the major issues of our time in a programme of free exhibitions, outdoor displays and artist commissions, as well as awards, talks, workshops, tours and film screenings. Presenting ideas critical to contemporary photographic discourse, PHOTO International Festival of Photography encourages the public to engage with and think about photography and visual culture in new and inspiring ways.
Participating artists from Aotearoa New Zealand in PHOTO 2024 - The Future Is Shaped by Those Who Can See It include Amrita Hepi, Angela Tiatia, FAFSWAG Arts Collective and Fiona Amundsen.
Taking place every two years in Naarm Melbourne and cities across regional Victoria, the festival addresses the major issues of our time in a programme of free exhibitions, outdoor displays and artist commissions, as well as awards, talks, workshops, tours and film screenings. Presenting ideas critical to contemporary photographic discourse, PHOTO International Festival of Photography encourages the public to engage with and think about photography and visual culture in new and inspiring ways.
Participating artists from Aotearoa New Zealand in PHOTO 2024 - The Future Is Shaped by Those Who Can See It include Amrita Hepi, Angela Tiatia, FAFSWAG Arts Collective and Fiona Amundsen.
Karl Fritsch, Ringlein, Ringlein, Du must wandern
Vice Versa, Lausanne, Switzerland
28 February —
30 March 2024
Contemporary jeweller Karl Fritsch presents a new series of rings at Vice Versa in Lausanne.
"There are rings we choose for ourselves and those we receive. Beyond their tactile presence, they are visible because adorning our own hands, we maintain visual and intimate contact with them. Symbolically, this jewellery is often very involved and it is probably the most worn and widespread jewellery. For us – Homo Faber – the ring draws our daily gestures and bears the traces of our activities. It accompanies our life path and often that of several generations, between symbiosis and burden. This aspect is perhaps the very heart of Karl Fritsch's love and fascination with rings, this power to intervene in their trajectories, and thus modify their destinies, destinies that we escort." – Vice Versa gallery.
Contemporary jeweller Karl Fritsch presents a new series of rings at Vice Versa in Lausanne.
"There are rings we choose for ourselves and those we receive. Beyond their tactile presence, they are visible because adorning our own hands, we maintain visual and intimate contact with them. Symbolically, this jewellery is often very involved and it is probably the most worn and widespread jewellery. For us – Homo Faber – the ring draws our daily gestures and bears the traces of our activities. It accompanies our life path and often that of several generations, between symbiosis and burden. This aspect is perhaps the very heart of Karl Fritsch's love and fascination with rings, this power to intervene in their trajectories, and thus modify their destinies, destinies that we escort." – Vice Versa gallery.
Yuki Kihara, Staging Oneself
Cairns Art Gallery, Cairns, Australia
24 February —
19 May 2024
Staging Oneself: Photography and new media self-portraits by women artists examines the extraordinary and creative ways in which contemporary women artists use role play, disguise, and self-portraiture to explore womanhood and female identity within the public and private spheres.
Artists represented in the exhibition are from diverse cultural backgrounds and draw on their own experiences, or broader cultural and social stereotypes, to engage with ideas and issues around gender, sexuality, self-image, traditions, race and empowerment. Using photography and new media, their self-portraits reveal a complex interpretation and understanding of female identity informed by real and imagined experiences. In so doing they seek to question and challenge preconceived or stereotypical social and cultural readings that are prescriptively used to define identity. Staging images of the self, using props, clothing, object placement, gestures and other cultural, social and gender markers are, for many artists in this exhibition, a way of codifying issues of identity to suggest a new construct for interpretation and empowerment of the female self.
Staging Oneself: Photography and new media self-portraits by women artists examines the extraordinary and creative ways in which contemporary women artists use role play, disguise, and self-portraiture to explore womanhood and female identity within the public and private spheres.
Artists represented in the exhibition are from diverse cultural backgrounds and draw on their own experiences, or broader cultural and social stereotypes, to engage with ideas and issues around gender, sexuality, self-image, traditions, race and empowerment. Using photography and new media, their self-portraits reveal a complex interpretation and understanding of female identity informed by real and imagined experiences. In so doing they seek to question and challenge preconceived or stereotypical social and cultural readings that are prescriptively used to define identity. Staging images of the self, using props, clothing, object placement, gestures and other cultural, social and gender markers are, for many artists in this exhibition, a way of codifying issues of identity to suggest a new construct for interpretation and empowerment of the female self.
Simon Denny, Multi-User Dungeon (MUD)
Petzel Gallery, New York, USA
21 February —
30 March 2024
Petzel presents Multi-User Dungeon (MUD), a group exhibition curated by Simon Denny, featuring works by etoy.corporation, Öyvind Fahlström, Genevieve Goffman, Jack Goldstein, Matthias Groebel, Peter Halley, Yngve Holen, Josh Kline, Isabelle Frances McGuire, Seth Price, Harris Rosenblum, Avery Singer, Suzanne Treister, and Anicka Yi.
The exhibition takes its title from an historical genre of computer game, called Multi-User Dungeons (MUDs). Early online adventure games often based on genres like fantasy or science-fiction, MUDs were text-based software that accepted connections from many simultaneous users. Starting in the 1970s, MUDs were the predecessors of contemporary Massive Multiplayer Online Role Playing Games (MMORPGs or MMOs). The era of the MUD’s emergence and prominence can be seen as an in-between time, which bridged the emergence of the commercial internet and earlier networked systems like Bulletin Board Systems (BBS) and academic internets.
Petzel presents Multi-User Dungeon (MUD), a group exhibition curated by Simon Denny, featuring works by etoy.corporation, Öyvind Fahlström, Genevieve Goffman, Jack Goldstein, Matthias Groebel, Peter Halley, Yngve Holen, Josh Kline, Isabelle Frances McGuire, Seth Price, Harris Rosenblum, Avery Singer, Suzanne Treister, and Anicka Yi.
The exhibition takes its title from an historical genre of computer game, called Multi-User Dungeons (MUDs). Early online adventure games often based on genres like fantasy or science-fiction, MUDs were text-based software that accepted connections from many simultaneous users. Starting in the 1970s, MUDs were the predecessors of contemporary Massive Multiplayer Online Role Playing Games (MMORPGs or MMOs). The era of the MUD’s emergence and prominence can be seen as an in-between time, which bridged the emergence of the commercial internet and earlier networked systems like Bulletin Board Systems (BBS) and academic internets.
Simon Denny, Dungeon
Petzel Gallery, New York, USA
21 February —
30 March 2024
A new exhibition by Berlin-based artist Simon Denny, Dungeon features sculptures and paintings responding to the fantasy idiom of the dungeon, celebrating the importance of the format in the history and present of virtual world and game design, and how it has been integrated within technology businesses as they build online environments.
The sculptures and paintings mix digital and analogue technologies, including rough and ready 3D prints (some very crude and others more high resolution) and traditional media like oil on canvas overlaid with digital print. The painted maps and sculptural artifacts are rough, touched; forged together in unconventional combinations of surfaces and techniques.
Translating the virtual into the tangible, Dungeon synthesizes a visceral impression of a world between realities. Organised in conjunction with Petzel Gallery, Denny also presents the exhibition Read Write Own at Dunkunsthalle in New York, open from 22 February—31 March 2024.
A new exhibition by Berlin-based artist Simon Denny, Dungeon features sculptures and paintings responding to the fantasy idiom of the dungeon, celebrating the importance of the format in the history and present of virtual world and game design, and how it has been integrated within technology businesses as they build online environments.
The sculptures and paintings mix digital and analogue technologies, including rough and ready 3D prints (some very crude and others more high resolution) and traditional media like oil on canvas overlaid with digital print. The painted maps and sculptural artifacts are rough, touched; forged together in unconventional combinations of surfaces and techniques.
Translating the virtual into the tangible, Dungeon synthesizes a visceral impression of a world between realities. Organised in conjunction with Petzel Gallery, Denny also presents the exhibition Read Write Own at Dunkunsthalle in New York, open from 22 February—31 March 2024.
Kate Newby, Very active weather
Kayokoyuki, Tokyo, Japan
17 February —
24 March 2024
Very active weather, Kate Newby's first solo exhibition in Japan, includes a site-specific terrazzo step installed in the floor of the gallery entrance and ceramic sculptures molded from brick-coloured terrazzo produced in Toyama, Japan.
By merging broken glass found in the streets and pathways of Tokyo with clay which she fires in Texas, Newby’s work in Very active weather speaks to the transformative nature of everyday objects over time, and the impact of external factors such as climate and human activities that soften the edges and fade the colours of the original source materials.
Very active weather, Kate Newby's first solo exhibition in Japan, includes a site-specific terrazzo step installed in the floor of the gallery entrance and ceramic sculptures molded from brick-coloured terrazzo produced in Toyama, Japan.
By merging broken glass found in the streets and pathways of Tokyo with clay which she fires in Texas, Newby’s work in Very active weather speaks to the transformative nature of everyday objects over time, and the impact of external factors such as climate and human activities that soften the edges and fade the colours of the original source materials.
Louise Beer, Aesthetica Art Prize 2024
York Art Gallery, York, UK
16 February —
21 April 2024
UK-based artist Louise Beer is one of 20 artists longlisted for the Aesthetica Art Prize 2024 and presents two pieces in the 2024 Longlist Showcase hosted at York Art Gallery.
Featuring a vast range of media, from drawing to large-scale sculpture to digital media, The Aesthetica Prize exhibition champions some of the world’s most significant talent in contemporary art and contributes to a global dialogue around creative practice today. This year’s nominees prompt viewers to consider important questions about the evolving relationship between humans and the natural world, the fluidity of medium, and the power of claiming identity.
UK-based artist Louise Beer is one of 20 artists longlisted for the Aesthetica Art Prize 2024 and presents two pieces in the 2024 Longlist Showcase hosted at York Art Gallery.
Featuring a vast range of media, from drawing to large-scale sculpture to digital media, The Aesthetica Prize exhibition champions some of the world’s most significant talent in contemporary art and contributes to a global dialogue around creative practice today. This year’s nominees prompt viewers to consider important questions about the evolving relationship between humans and the natural world, the fluidity of medium, and the power of claiming identity.
Kate Newby, Dialogue 2: Ephemeral Anchoring
Ginza Maison Hermès, Tokyo, Japan
16 February —
31 May 2024
The Fondation d’entreprise Hermès presents Ecology: Dialogue on Circulations, an ongoing two-part exhibition series that examines ecological practices in art.
Following the first exhibition by Jaeeun Choi, Dialogue 1: La Vita Nuova, the second installment, Dialogue 2: Ephemeral Anchoring is curated by Reiko Setsuda and features four artists: Nicolas Floc’h, Kate Newby, Takeshi Yasura and Raphaël Zarka. The exhibition aims to be a dialogue exploring the potential of communication and the phenomenon of energy circulation between nature and humans within the platform of contemporary art.
The Fondation d’entreprise Hermès presents Ecology: Dialogue on Circulations, an ongoing two-part exhibition series that examines ecological practices in art.
Following the first exhibition by Jaeeun Choi, Dialogue 1: La Vita Nuova, the second installment, Dialogue 2: Ephemeral Anchoring is curated by Reiko Setsuda and features four artists: Nicolas Floc’h, Kate Newby, Takeshi Yasura and Raphaël Zarka. The exhibition aims to be a dialogue exploring the potential of communication and the phenomenon of energy circulation between nature and humans within the platform of contemporary art.
Luana Asiata, Bold Impressions
The Old Bank, Waterford, Ireland
15 February —
31 May 2024
In her latest exhibition, Bold Impressions, Aotearoa-born, London-based artist Luana Asiata draws comparisons between her home and Ireland. The exhibition invites viewers to embark on a visual journey through a series of bold and captivating pieces inspired by the landscape of Dungarvan, Waterford, the hometown of Asiata's husband Ronan McCarthy.
In her latest exhibition, Bold Impressions, Aotearoa-born, London-based artist Luana Asiata draws comparisons between her home and Ireland. The exhibition invites viewers to embark on a visual journey through a series of bold and captivating pieces inspired by the landscape of Dungarvan, Waterford, the hometown of Asiata's husband Ronan McCarthy.
Ella Sutherland, Image, Interrupted
UTS Gallery, Sydney, Australia
13 February —
12 April 2024
Image, Interrupted considers the ways in which contemporary artists use strategies of deflection, disruption and subterfuge to trouble the data-generated image. The group exhibition, curated by Eleanor Zeichner, includes new and recent works of photography, painting, textile and video that find loopholes and misdirections in the technologies that shape images today.
As a material, a subject and a non-human collaborator, data drives these artworks and their commentary on contemporary politics, storytelling, environment, conflict and sex. Image, Interrupted considers the material textures of these hybrid forms, and the practices of artists who complicate the machine-generated image via the tactile imagination.
Image, Interrupted considers the ways in which contemporary artists use strategies of deflection, disruption and subterfuge to trouble the data-generated image. The group exhibition, curated by Eleanor Zeichner, includes new and recent works of photography, painting, textile and video that find loopholes and misdirections in the technologies that shape images today.
As a material, a subject and a non-human collaborator, data drives these artworks and their commentary on contemporary politics, storytelling, environment, conflict and sex. Image, Interrupted considers the material textures of these hybrid forms, and the practices of artists who complicate the machine-generated image via the tactile imagination.
Jen Valender, Field
Shepparton Art Museum, Shepparton Victoria, Australia
03 February —
05 May 2024
Jen Valender’s SAM Selects exhibition Field presents a new body of work developed during Valender’s creative residency at the University of Melbourne’s Agricultural Campus in Dookie for the Centre of Visual Arts’ Art + Ecology program.
Inspired by sights, sounds, stories, and serendipitous encounters with residents of all species during Valender’s time in Dookie, Field features a multi-channel video installation of four moving image works (Re-search, Bovine Harp, Artist as Animal and Sediment) that combine sculpture, performance and video to explore aspects of agricultural life, and the relationship between art and the natural world.
SAM Selects is an annual opportunity for local artists, curators and creative practitioners to propose and present an exhibition in the Hugh D.T. Williamson Community Gallery at SAM (Shepparton Art Museum).
Jen Valender’s SAM Selects exhibition Field presents a new body of work developed during Valender’s creative residency at the University of Melbourne’s Agricultural Campus in Dookie for the Centre of Visual Arts’ Art + Ecology program.
Inspired by sights, sounds, stories, and serendipitous encounters with residents of all species during Valender’s time in Dookie, Field features a multi-channel video installation of four moving image works (Re-search, Bovine Harp, Artist as Animal and Sediment) that combine sculpture, performance and video to explore aspects of agricultural life, and the relationship between art and the natural world.
SAM Selects is an annual opportunity for local artists, curators and creative practitioners to propose and present an exhibition in the Hugh D.T. Williamson Community Gallery at SAM (Shepparton Art Museum).
FAFSWAG Arts Collective, Queer PHOTO: Alteration
The Substation, Melbourne, Australia
27 January —
24 March 2024
Queer PHOTO: Alteration meets at the intersections of cultural archival practices, digital technology and queer Indigenous storytelling, presenting a glimpse into the shapeshifting practice of FAFSWAG, an Aotearoa-based queer Polynesian arts collective.
Compiling a decade of artistic output, with two years of co-design, co-curation, research and production, this show presents a mixed media archival exhibition of significant works from the collective from 2013 to now. Contemplating ancestry and legacy, reclaiming stolen narratives, speculating fictional futures, and redefining the cultural image of queer Pacific bodies living on stolen land, Alteration seeks to break down predictable, fixed colonial narratives.
Featuring 17 artists, 14 exhibitions, 30 interactive events and 7 locations, Queer PHOTO is a multi-pronged programme transforming iconic venues and the streets of west Melbourne into a gallery of accessible and highly visible visual artworks from LGBTQIA+ artists.
Queer PHOTO: Alteration meets at the intersections of cultural archival practices, digital technology and queer Indigenous storytelling, presenting a glimpse into the shapeshifting practice of FAFSWAG, an Aotearoa-based queer Polynesian arts collective.
Compiling a decade of artistic output, with two years of co-design, co-curation, research and production, this show presents a mixed media archival exhibition of significant works from the collective from 2013 to now. Contemplating ancestry and legacy, reclaiming stolen narratives, speculating fictional futures, and redefining the cultural image of queer Pacific bodies living on stolen land, Alteration seeks to break down predictable, fixed colonial narratives.
Featuring 17 artists, 14 exhibitions, 30 interactive events and 7 locations, Queer PHOTO is a multi-pronged programme transforming iconic venues and the streets of west Melbourne into a gallery of accessible and highly visible visual artworks from LGBTQIA+ artists.
David Rickard, Synthesis (Heavy Chain)
Pears Building, London, UK
25 January 2024 —
25 January 2026
David Rickard unveils Synthesis (Heavy Chain), a new permanent sculpture for UCL Institute of Immunity & Transplantation at the Pears Building in London. Developed over two years, the work has been informed by lab visits and many discussions with the researchers at the IIT who are working on groundbreaking cures for such a diverse range of illnesses by decoding the building blocks of immune systems.
Guided by the coding of Messenger RNA, four different sized chain links sequence all the amino acid types within human biology and a single antibody ‘heavy chain’ suspended into the building entrance, connecting the public space with the research areas above. A short film documenting the work from concept through to installation screens at the opening event on 25 January 2024.
David Rickard unveils Synthesis (Heavy Chain), a new permanent sculpture for UCL Institute of Immunity & Transplantation at the Pears Building in London. Developed over two years, the work has been informed by lab visits and many discussions with the researchers at the IIT who are working on groundbreaking cures for such a diverse range of illnesses by decoding the building blocks of immune systems.
Guided by the coding of Messenger RNA, four different sized chain links sequence all the amino acid types within human biology and a single antibody ‘heavy chain’ suspended into the building entrance, connecting the public space with the research areas above. A short film documenting the work from concept through to installation screens at the opening event on 25 January 2024.
Telly Tuita, Tongpop's Great Expectations
Campbelltown Arts Centre, Campbelltown NSW, Australia
03 January —
28 March 2024
The exhibition, Tongpop’s Great Expectations, invites visitors to experience Tuita’s Tongpop multiverse. It is a compelling assembly of early works from Tuita’s time growing up in Minto and working in Campbelltown and from his practice since 2017 when the artist moved to Pōneke Wellington, Aotearoa. Central to the exhibition are two major new commissions. The first a site-specific Tongpop landscape which will feature mixed media painting and installation. The exhibition will also present a new multi-channel video work, the artist’s first time working in animation.
Telly Tuita encourages visitors to recognise their own life in his story, especially the conflict between great expectations of ourselves and the expectations of our contemporary global and technological reality. The exhibition is accompanied by an intergenerational public program which will focus on how one encounters the different stages of life, in Tuita’s words, “dawn, day and dusk”.
The exhibition, Tongpop’s Great Expectations, invites visitors to experience Tuita’s Tongpop multiverse. It is a compelling assembly of early works from Tuita’s time growing up in Minto and working in Campbelltown and from his practice since 2017 when the artist moved to Pōneke Wellington, Aotearoa. Central to the exhibition are two major new commissions. The first a site-specific Tongpop landscape which will feature mixed media painting and installation. The exhibition will also present a new multi-channel video work, the artist’s first time working in animation.
Telly Tuita encourages visitors to recognise their own life in his story, especially the conflict between great expectations of ourselves and the expectations of our contemporary global and technological reality. The exhibition is accompanied by an intergenerational public program which will focus on how one encounters the different stages of life, in Tuita’s words, “dawn, day and dusk”.
Kalisolaite 'Uhila, ISCP residency
ISCP, New York, USA
01 January —
31 March 2024
Two years after receiving the biannual Harriet Friedlander residency award, Kalisolaite ‘Uhila joins 12 other international artists at ISCP in New York.
‘Uhila, originally from Tonga, creates unique visual art that conveys ideas metaphorically, sparking reflection in viewers. His performances involve immersive experiences, such as living on the streets in Tāmaki Makaurau Auckland, inhabiting a pig crate, and conducting the waves of the Pacific Ocean from its shore. 'Uhila’s work delves into cultural, social, and political themes, examining the intersection of traditional Tongan notions about the relationship between people and sacred animals with Western concepts.
Two years after receiving the biannual Harriet Friedlander residency award, Kalisolaite ‘Uhila joins 12 other international artists at ISCP in New York.
‘Uhila, originally from Tonga, creates unique visual art that conveys ideas metaphorically, sparking reflection in viewers. His performances involve immersive experiences, such as living on the streets in Tāmaki Makaurau Auckland, inhabiting a pig crate, and conducting the waves of the Pacific Ocean from its shore. 'Uhila’s work delves into cultural, social, and political themes, examining the intersection of traditional Tongan notions about the relationship between people and sacred animals with Western concepts.
Judy Millar, Spotlight
Kunstmuseum St. Gallen, St. Gallen, Switzerland
25 December 2023 —
24 March 2024
The permanent collection of the Kunstmuseum St.Gallen is a treasure trove. Following Unexpected Encounters, in which the collection was placed in dialogue with carefully selected loans, and Collection Fever, which explored the history of collecting, Spotlight now focuses on the individual artists for whom we hold significant bodies of work: John M. Armleder, Candice Breitz, Silvie Defraoui, Georg Gatsas, Sharon Hayes, Sara Masüger, Judy Millar, and Carl Ostendarp.
A selection of masking tape on paper works by Millar, made from 1981—1994, are included in the exhibition. Referencing crude, improvised architectural structures, including timber ladders, stairs, lean-tos, fences, gates, bridges, parapets, verandahs, these works are referred to as the Temple Fences.
The permanent collection of the Kunstmuseum St.Gallen is a treasure trove. Following Unexpected Encounters, in which the collection was placed in dialogue with carefully selected loans, and Collection Fever, which explored the history of collecting, Spotlight now focuses on the individual artists for whom we hold significant bodies of work: John M. Armleder, Candice Breitz, Silvie Defraoui, Georg Gatsas, Sharon Hayes, Sara Masüger, Judy Millar, and Carl Ostendarp.
A selection of masking tape on paper works by Millar, made from 1981—1994, are included in the exhibition. Referencing crude, improvised architectural structures, including timber ladders, stairs, lean-tos, fences, gates, bridges, parapets, verandahs, these works are referred to as the Temple Fences.
Richard Frater, What remains of a naturalist
Klosterruine, Berlin, Germany
10 December 2023 —
27 April 2024
Richard Frater presents a site-responsive structure at Klosterruine Berlin, a historical monument and space for contemporary art, adapted to local raptors that he had been observing onsite over the spring and summer. In conjunction, the artist presents a comparative video-study that studies the shrinking and expanding territorial ranges of avian species—whether into increasingly remote and hostile environments or into urban expansion—as two unsettling threads of the same conservation reality today.
For the exhibition’s finissage, Frater’s video study is joined by one more screening event; a video for which Frater records his own biological father’s reflections of their trans-identity and gender journey. Here, too, dominant notions of biological determinism, environmental and cultural constructs are combated, however this time through an anthropological moderation of such questions.
Richard Frater presents a site-responsive structure at Klosterruine Berlin, a historical monument and space for contemporary art, adapted to local raptors that he had been observing onsite over the spring and summer. In conjunction, the artist presents a comparative video-study that studies the shrinking and expanding territorial ranges of avian species—whether into increasingly remote and hostile environments or into urban expansion—as two unsettling threads of the same conservation reality today.
For the exhibition’s finissage, Frater’s video study is joined by one more screening event; a video for which Frater records his own biological father’s reflections of their trans-identity and gender journey. Here, too, dominant notions of biological determinism, environmental and cultural constructs are combated, however this time through an anthropological moderation of such questions.
Richard Lewer, NGV Triennial
NGV International, Melbourne, Australia
03 December 2023 —
07 April 2024
Through twelve paintings, Richard Lewer (b. 1970 Aotearoa New Zealand) examines the creation story of Adam and Eve, central to Abrahamic religions. Particular to Christianity is how this story of the original human couple also represents the concept of ‘original sin’ and ‘the fall of man’.
The story has served as a source of inspiration and commentary by artists throughout the history of Western art. Lewer’s series sits in association with the Carved retable of the Passion of Christ, also known as the Antwerp altarpiece (c. 1511–20) – created as a didactic edifice for the contemplation by the faithful. The associationof this significant historical work with Lewer’s series is indicative of how people have always and continue to look to biblical stories for self-examination and understanding of their contemporary world.
Through twelve paintings, Richard Lewer (b. 1970 Aotearoa New Zealand) examines the creation story of Adam and Eve, central to Abrahamic religions. Particular to Christianity is how this story of the original human couple also represents the concept of ‘original sin’ and ‘the fall of man’.
The story has served as a source of inspiration and commentary by artists throughout the history of Western art. Lewer’s series sits in association with the Carved retable of the Passion of Christ, also known as the Antwerp altarpiece (c. 1511–20) – created as a didactic edifice for the contemplation by the faithful. The associationof this significant historical work with Lewer’s series is indicative of how people have always and continue to look to biblical stories for self-examination and understanding of their contemporary world.
Darcy Lange, Videography as Social Practice by Mercedes Vicente
Available to order online
21 November 2023 —
21 November 2028
Darcy Lange, Videography as Social Practice, by Mercedes Vicente, is a critical monograph of a pivotal figure in early analogue video. Trained as a sculptor at the Royal College of Art, Lange developed a socially engaged video practice with remarkable studies of people at work in industrial, farming, and teaching contexts that drew from conceptual art, social documentary and structuralist filmmaking. Lange saw in portable video a democratic tool for communication and social transformation, continuing the legacy of the revolutionary avant-garde projects that merged art with social life and turned audiences into producers.
Darcy Lange, Videography as Social Practice, by Mercedes Vicente, is a critical monograph of a pivotal figure in early analogue video. Trained as a sculptor at the Royal College of Art, Lange developed a socially engaged video practice with remarkable studies of people at work in industrial, farming, and teaching contexts that drew from conceptual art, social documentary and structuralist filmmaking. Lange saw in portable video a democratic tool for communication and social transformation, continuing the legacy of the revolutionary avant-garde projects that merged art with social life and turned audiences into producers.
Alexis Hunter, Women in Revolt: Art, Activism and the Women’s movement in the UK 1970–1990
Tate Britain, London, UK
08 November 2023 —
07 April 2024
The first of its kind, Women in Revolt! is a major survey of work by over 100 women artists practicing in the UK from 1970 to 1990, using a wide variety of mediums including painting, drawing, sculpture, film and performance.
This exhibition explores and reflects on issues and events such as: the British Women’s Liberation movement, the fight for legal changes impacting women, maternal and domestic experiences, Rock Against Racism and Punk, Greenham Common and the peace movement, the visibility of Black and South Asian Women Artists, Section 28 and the AIDs pandemic.
The show celebrates the work and lived experiences of women who, frequently working outside mainstream art institutions, were largely left out of the artistic narratives of the time. It showcases a productive, politically engaged set of communities, who changed the face of British culture and paved the way for future generations of artists.
The first of its kind, Women in Revolt! is a major survey of work by over 100 women artists practicing in the UK from 1970 to 1990, using a wide variety of mediums including painting, drawing, sculpture, film and performance.
This exhibition explores and reflects on issues and events such as: the British Women’s Liberation movement, the fight for legal changes impacting women, maternal and domestic experiences, Rock Against Racism and Punk, Greenham Common and the peace movement, the visibility of Black and South Asian Women Artists, Section 28 and the AIDs pandemic.
The show celebrates the work and lived experiences of women who, frequently working outside mainstream art institutions, were largely left out of the artistic narratives of the time. It showcases a productive, politically engaged set of communities, who changed the face of British culture and paved the way for future generations of artists.
Ilke Gers, in Border Buda
various locations in Brussels, Vilvoorde and Machelen, Belgium
27 October 2023 —
27 October 2026
Land marks is a new multi-component outdoor work from Rotterdam-based artist Ilke Gers, the first in a series of commissioned public artworks by various artists for the three-year cultural project Border Buda.
Spanning the municipalities of Brussels, Vilvoorde and Machelen, in Belgium, Border Buda is an iniative from curators Anna Laganovska and Koi Persyn aiming to revitalise an industrial grey zone. It invites nine artists to realise projects around the transport axes that forms Buda's identity—the railway, the Vilvoorde viaduct, the water, and future bike arteries, and will result in an exhibition and public programme from 26—28 April 2024.
Land marks is a new multi-component outdoor work from Rotterdam-based artist Ilke Gers, the first in a series of commissioned public artworks by various artists for the three-year cultural project Border Buda.
Spanning the municipalities of Brussels, Vilvoorde and Machelen, in Belgium, Border Buda is an iniative from curators Anna Laganovska and Koi Persyn aiming to revitalise an industrial grey zone. It invites nine artists to realise projects around the transport axes that forms Buda's identity—the railway, the Vilvoorde viaduct, the water, and future bike arteries, and will result in an exhibition and public programme from 26—28 April 2024.
Kate Newby, Our Ecology
Mori Art Museum, Tokyo, Japan
18 October 2023 —
31 March 2024
The impact of humanity on our planet since the industrial revolution is said to match that of the thousands of preceding years of geological change. The environmental crisis is a challenge of utmost urgency, and right now an important theme on the international art scene. Is there still any possibility of a sustainable future, in which we leave behind the anthropocentrism that has triggered this crisis, and instead, as humans, find a new way of relating to all other, non-human entities?
Contemplating how contemporary art and artists have engaged to date with environmental issues, and how they can do so in future, Our Ecology aims to explore the possibilities left for the sustainable future on a global scale. Featuring a diverse range of pieces—from historical work such as Agnes Denes’ 1982 conjuring of a wheatfield in the capitalist capital Manhattan, to new works made especially for the exhibition—Our Ecology posits the questions: who are we, and to whom does Earth’s environment belong?
The impact of humanity on our planet since the industrial revolution is said to match that of the thousands of preceding years of geological change. The environmental crisis is a challenge of utmost urgency, and right now an important theme on the international art scene. Is there still any possibility of a sustainable future, in which we leave behind the anthropocentrism that has triggered this crisis, and instead, as humans, find a new way of relating to all other, non-human entities?
Contemplating how contemporary art and artists have engaged to date with environmental issues, and how they can do so in future, Our Ecology aims to explore the possibilities left for the sustainable future on a global scale. Featuring a diverse range of pieces—from historical work such as Agnes Denes’ 1982 conjuring of a wheatfield in the capitalist capital Manhattan, to new works made especially for the exhibition—Our Ecology posits the questions: who are we, and to whom does Earth’s environment belong?