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Gallery News
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| Julian Dashper - The Physics Room - Thursday, August 07, 2008 |
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| Melbourne Art Fair - Wednesday, July 16, 2008 |
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| Julian Dashper - Institute of Contemporary Art Newtown - Wednesday, June 18, 2008 |
From June 20 until July 6, 2008, The Institute of Contemporary Art Newtown (ICAN) will be hosting its own Biennale of Sydney exhibition. The exhibition titled "The Most Meaningful Art of Our Time" (What Goes Around Comes Around), will use satire to confront the current tendency in international art – of which Biennales are a prime manifestation - to attempt to encapsulate and therefore relativise an excessive degree of cultural difference. The latter part of the exhibition's title punningly refers to the actual subtitle of the upcoming Biennale of Sydney, Forms That Turn and transforms this benignly innocuous phrase into a loaded and comically vengeful subtext.
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| Julian Dashper @ PS1 - Tuesday, June 03, 2008 |
| Julian Dashper has been included in a survey exhibition, curated by Phong Buiof, of the last 5 years of MINUS SPACE http://www.minusspace.com/ at PS1 Contemporary Art Center http://www.ps1.org (NYC) this American fall.
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| Julian Dashper - Sydney College of the Arts - Tuesday, June 03, 2008 |
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| Bill Culbert: Groundworks catalogue - Thursday, May 29, 2008 |
The catalogue including images from the exhibition and additional images from the groundworks series will be published shortly.
Culbert's installations see the transformation of domestic debris into poetic vehicles for ideas and states of being. Working with materials such as light bulbs, fluorescent tubes, plastic bottles, lampshades and suitcases, Culbert explores the dynamic interplay between light and shadow, between luminescence, space and visual perception.
Govett-Brewster Director Rhana Devenport describes Culbert as "a conjurer of light".
"Deftly articulated, his installations harness ordinary light sources and exist as reminders of the power of material transience and immaterial imagination," she says.
The two new works are View West Taranaki and Flat Lighthouse. View West Taranaki, employees recycled Samsonite-style suitcases, sourced through a nationwide appeal, and electric light. Flat Lighthouse, uses demolition materials and devices concerned with daylight within a building, which will be lit by interior artificial lighting.
Flotsam 1992, first exhibited in Europe and last year at the Institute of Modern Art in Brisbane, sees a slick of discarded plastic bottles and fluorescent lights across the gallery floor.
Culbert began working with light as a medium in the late 1960s. Trained as a painter, he saw it as a way of extending beyond the constraints of a canvas. Since this time, through photography and installation Culbert's extensive body of work has offered a consistent exploration of light and shadow in a poetic and personal way.
Devenport says, "Bill Culbert has been an ever present source of inspiration to generations of artists in New Zealand, England and France".
Born in Port Chamers, Otago, Culbert has lived between London and the South of France for over fifty years. He has exhibited widely in Europe, Australia and Aotearoa New Zealand often working in vast scale.
Within New Zealand his large-scale works include the neon piece SkyBlue 2006 in Wellington's Post Office Square and a recent collaboration with Ralph Hotere, Void 2006, which inhabits a multi-storey space within Te Papa Tongarewa, Wellington.
Bill Culbert 'Pacific Flotsam' collection Christchurch Art Gallery
Bill Culbert 'View West Taranaki' collection Govett-Brewster Art Gallery
Bill Culbert 'Flat Lighthouse' courtesy Sue Crockford Gallery
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| Christian Jankowski's Rooftop Routine 454 K'rd - Wednesday, May 28, 2008 |
It's 10am on November 3rd and a small, tired looking crowd stand on the rooftop of Ming Tower on Division Street, Chinatown. We have been invited here, to the roof of the artist Christian Jankowski's apartment, to witness Rooftop Routine an early morning collaborative performance that is part of PERFOMA 07.
Just across from us on an adjacent rooftop is a Chinese woman stood amid bits of junk, walls of graffiti, discarded chairs and cans. She is dressed in red and is hula-hooping for all her worth rocking slightly back and forth, with both arms in the air, her palms toward her. Back on our roof thirty seconds later someone excitedly points in another direction just west of the original hula-hooper; another hula-hooper has been spotted doing the same routine. Then another. All in all the Chinese woman sets off a hula-hooping chain reaction that involves about 20 people and stretches in a three block radius around us.
Combined, the gyrating, sports-clad hula-hoopers are beautifully at
odds with the grey New York morning, with its loud and busy rush hour
streets, looming Uptown skyline and litter strewn Chinatown rooftops.
The shared, simple arm gestures of the hula-hoopers, which change
variously from waving arms up and down and turning palms inside and
out, move out sequentially from the Chinese woman, travelling beyond
any one individual hula-hooper's body or sightline. This autonomy of
movement gives the routine itself a visceral and contagious quality or
choreography that moves through, but is independent of, the bodies of
the hula-hoopers. Spreading like a happy rash over the rooftops, each
change in the hula-hoop workout create links, making tangible the
physical and conceptual bonds that bind us here together; this project,
these buildings, these bodies.
The basis for Rooftop Routine was
Jankowski looking out of his apartment window to discover his
neighbour, Suat Ling Chua, doing her daily 40 minute hula-hoop workout
on the roof of her apartment opposite. It is outside the frame of this
project that spying on what your neighbour gets up to as part of her
personal fitness regime might be a dubious starting point for a
performance. Also not in the picture is why Suat Ling Chua was
hula-hooping on her roof in the first place and whether or not
hula-hooping is actually a sport, it is also unclear what Suat Ling
Chua's actual level of input or personal investment in the project is
(aside from being the lead hula-hooper). All this is of interest, but
what really matters is that the artist eventually found, and initiated
contact with, Suat Ling Chua and the rest, as they say, is history.
The
coming together of the community of Chinatown and New York's
contemporary art world is not something new or unique. Chinatown, one
of the remaining parts of New York to retain its (Chinese) inhabitants
and distinct (Chinese) flavour, is also home to many New York artists -
including Jankowski - who live or keep art studios in the area. In
recent history, this mix of low rent, available space, immigrant
communities and artists has inevitably signalled areas in danger of
impending corporate development or gentrification. Whether or not this
is the immediate future for Ming Tower such local geographic and
economic concerns seem important to Rooftop Routine. Seen in this
political light, Jankowski's deceptively simple human chain of
hula-hoopers is the perfect cover for a performative restoration of
neighbourhood links that highlight the area's distinct blend of
community, architecture and art that might just keep the developers at
bay for a while longer.
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| John Reynolds at Starkwhite 26 May - 21 June 2008 - Monday, May 19, 2008 |
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| Pae White: "Lisa, Bright & Dark" SMoCA - Tuesday, May 06, 2008 |
May 17, 2008- September 7, 2008
Pae White plays exuberantly with the boundaries between art and design. She is influenced by all things Californian—from West Coast modernism, to the glitz of Hollywood, to the cult of sunshine and leisure. White looks carefully at the objects that populate our world, with equal interest in popular culture and "high" art. She has an amazing ability to transform materials: her wonderfully hybrid objects claim a quirky social space. White's hypnotic paper mobile, for example, is partly a hip, formal play on modernism; partly libertarian decoration; partly a brilliant evocation of nature. Might it be a metaphor for a sunlit rain shower? a windswept flock of birds?
White amplifies the "artfulness" of everyday things, to use her term. Books, advertisements, barbeque grills, a shopping bag, even a theatre curtain become the objects of her witty elaborations and re-constructions. She looks far beyond the question posed by Charles Eames: "Who ever said that pleasure wasn't functional?"
White titled this exhibition after a favorite teen novel by John Neufeld, Lisa, Bright and Dark, 1969, © SG Phillips. The installation is organized, accordingly, into a "bright" and a "dark" gallery, which suggest opposite psychological moods. The artist thus refers to the complexity and the duality of the human psyche—to our propensity to swing between the "bright" and "dark" sides of our natures. In the "bright" gallery, three of White's signature paper mobiles become a magical forest of lively colors and free-floating whimsical shapes. In the "dark" space, richly hued objects of weighty materials like bronze and cast iron create a meditative, somber environment. Throughout, White's intricate craftsmanship will charm viewers, along with her inventive use of surprising materials, from electro-luminescent wire to real spider webs.
Pae White is one of the most significant women artists participating in the international dialog about the intersection of art and design today. She embraces a wide range of artistic traditions, from the work of the Bauhaus to Charles and Ray Eames to Isamu Noguchi. Born and raised in Pasadena, White uses a palette inspired by the era of the 1970s, for example the floral scarves of Vera and the anti-war posters of Sister Mary Corita Kent.
The catalog accompanying this exhibition is the first major U.S. museum publication on White's art, which is widely shown abroad. Designed in close consultation with White, it includes an interview by Hans Ulrich Obrist, co-director of exhibitions and programs and director of international projects at the Serpentine Gallery, London, and texts by Cassandra Coblentz, implementing curator, and Marilu Knode, originating curator and now assistant director, F.A.R. [Future Arts Projects], Arizona State University, Tempe.
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| Caroline Rothwell at Sydney Artspace - Thursday, April 10, 2008 |
4 April - 26 April 2008
Blowback
Inflatable islands; a cast metal thylacine with a stuffed toy sensibility; an animal trap and trees make up Caroline Rothwell's installation, Blowback.
The works in Blowback suggest undiscovered territories somewhere between Dr no's technosonic islands, enlarged mass-produced toys and strange drawings by eighteenth-century voyagers.
Industrial urban materials are processed by hand into large-scale distortions of nature to create an other-worldly yet strangely familiar environment.
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| Elliot Collins - Sue Crockford Gallery Projects at 454 K'rd - Thursday, April 10, 2008 |
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| Pae White opens commission for new Oslo Opera House - Tuesday, April 08, 2008 |
Pae White's Metafoil
marks the boundary and the meeting between the stage and the seating
area, between the performance and the public and between fiction and
reality.
The woven textile has been developed through a digital
process in several stages. A photograph of light-sensitive foil was transferred to a loom by using
digital technology and woven in matte cotton. An illusion of
reflections and forms has been created through the use of colour. From
close quarters the surface has a rich texture – from a distance a
spatial, metallic composition
is revealed.
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| Gretchen Albrecht & Bill Culbert - Hong Kong exhibition - Monday, February 18, 2008 |
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| Richard Maloy- Residency Artspace Sydney - Monday, February 18, 2008 |
Richard Maloy will be artist in residence at Artspace Sydney 12 February to the 9 May 2008.
The three month residency will be used to create new works, at the same time as creating connections with artists, curators and gallerists in Sydney. The residency was made possible with a $10,000 Creative New Zealand Creative and Professional Development grant.
www.artspace.org.au
www.creativenz.govt.nz
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| Julian Dashper - Sydney College of the Arts , University of Sydney - Friday, December 14, 2007 |
Julian Dashper will be artist in residence at the Sydney College of the Arts , University of Sydney, from March 2008.
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| Billy Apple - Artist makes pit stop at Auckland Art Gallery - Monday, December 10, 2007 |
Billy Apple, The Art Circuit
Auckland Art Gallery, Main Gallery forecourt
Sunday 16 December, 12pm – free
A free public sound performance featuring motorcycles from The Billy Apple Historic Racing Collection. These grand prix bikes come with both professional racing and art pedigrees. They have been exhibited in public art galleries throughout New Zealand and raced by legendary riders including John Surtees, Hugh Anderson and Aaron Slight. This Billy Apple event curated by Andrew Clifford pays tribute to Auckland’s mid-town art circuit, which focuses on the Auckland Art Gallery. It is the last work to be staged on the gallery’s forecourt.
Billy Apple (b. 1935) has been a practicing artist for over five decades. He is one of New Zealand's best known and internationally acclaimed avant–garde figures, who made his reputation in London and New York, exhibiting alongside artists such as David Hockney, Andy Warhol and Dan Flavin. He is one of the original pop art generation before becoming a central figure in the evolution of conceptual art.
Billy Apple (then known as Barrie Bates) studied at the Royal College of Art in London from 1959-62 on a New Zealand government scholarship. After several trips across the Atlantic beginning in 1961, he moved permanently to New York in 1964. It was here that he was one of the pioneers of using emerging technologies such as neon, laser light, Xerox (in collaboration with GT&E and Xerox Corporation of America) in art-making. In 1969 he founded New York's second artist-run alternative space, his self-named gallery Apple, one of only seven in that era. A retrospective of his work was held at London's Serpentine Gallery in 1974 and in 1977 he had his first exhibition at New York's Leo Castelli Gallery, one of the most important dealer galleries of the twentieth century.
Billy Apple toured New Zealand twice in the 1970s, showing work in public institutions and dealer galleries. His permanent return to New Zealand was heralded by the Good as Gold retrospective, which opened at Wellington City Gallery in 1991 before touring to the Govett Brewster Art Gallery in New Plymouth and the Auckland Art Gallery. In 2006 he was prominently featured in the Auckland Art Gallery's presentation of the Tate's Art & the 60s exhibition. His works are held in numerous international collections and institutions and he continues to exhibit prolifically.
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| Billy Apple talks at GOMA - Monday, December 10, 2007 |
Brisbane's Gallery of Modern Art (GoMA) flew Billy Apple over for the opening of Australia's first major Andy Warhol retrospective. Billy met Andy in the summer of 1962 and exhibited with him in New York. He is being interviewed here by Channel 10's media team for the evening news.
www.queenslandartgallery.com/exhibitions/current/andy_warhol/exhibition
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| Richard Frater 'In a Nutshell' now on at Sue Crockford Gallery Projects 454 K'rd - Monday, November 05, 2007 |
Richard Frater's "In a Nutshell' 2006 DVD video, 5 minutes, looped.
Richard presents a walnut to the camera. The walnut, his hands, the table top, the background are all a satisfying tone of brown or orange. The colour isn't really important but it makes it very beautiful and succinct. He opens the walnut and scoops out the nut. The nut disintegrates due to the way it's removed from the shell. So now here are the two sides of the nutshell and a pile of nut crumbs on the table. Richard squeezes the nut crumbs together into variously configured piles. He pushes the nut crumbs back into the shell. The oiliness of the nut covers his fingers and makes them shiny and wet looking. This is really good in relation to the smooth surface of the table top.
His hands move off camera and manually alter the focus of the image. The plane of focus shifts to the background and to the foreground and back again. The nut sits on the table in focus along with the table around it, now blurry and out of focus as the background or foreground come into focus. The shifting of the focus plane brings the camera to mind in a really simple and nice way.
And then here are these two hemispheres with their displaced/ replaced content. Volume and mass become something a little more tangible. And all of this sits on the table surface, all brown together, gravity in a way being the more silent partner, more silent even than the camera. Gravity of course is not a constant but rather a logic of moving and interrelated masses.
And now things start moving gravity-less. Sliding around the table of their own volition. And of course this is not in relation to gravity's shifts, but video editing's little guises and manipulations. The machine can so lightly dispel the newly performed volumes and mass of the walnut. Here is a reality of things that becomes apparent as they move contrary to our expectations.
Martyn Reynolds
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| Christian Jankowski in 'The Leisure Class' GOMA, Queensland. - Tuesday, October 23, 2007 |
13 October 2007 - March 2008
Conspicuous leisure, conspicuous consumption, conspicuous waste; this exhibition draws its name from economist Thorstein Veblens celebrated monograph, The Theory of the Leisure Class (1899). In the social and economic system Veblen described, goods, production, and leisure activities are extreme distortions of individual physical, social and emotional needs. Since the democratization of consumption in the twentieth century, links between economics and desire, property and celebrity, visible leisure and detached cool are reinforced across the economic strata of society. The Leisure Class includes film, video and installation works by international and Australian artists who respond strongly to the contemporary packaging of leisure, consumption and lifestyle as social capital and markers of identity.
Media artist Matthieu Laurettes interventions into lifestyle television draw upon Guy Debords The Society of the Spectacle (1967). Debords book and subsequent film pointed to economic revaluing of life as spectacle, an approach similar to contemporary parodies of commercial visual culture by Justine Cooper, Penelope Umbrico, Tony Cokes and David Rosetzky. The real-world effects of sixties-era countercultural critique are thrown into question through the ambiguous final explosion of Michelangelo Antonionis film Zabriskie Point 1970. In Aernout Miks Pulverous 2003, conspicuous waste " the flipside of conspicuous consumption " is staged in the quiet destruction of goods in a supermarket stockroom. Taste, emulation and arbitrary value are humorously played out in works by other filmmakers and artists including Pierre Bismuth, Claude Closky, Nathalie Djurberg, Andrea Fraser, Oriana Fox, Lily Hibberd, Christian Jankowski, Rosalind Nashashibi, MarcO, Grant Stevens, Jacques Tati, Penelope Umbrico and Emile Zile.
Christian Jankowski
Die jagd (The hunt) 1992/98
Video installation, television, articulated wall bracket, Betacam SP, 1:11 mins, colour, sound, exhibited on DVD
Courtesy: Sue Crockford Gallery, New Zealand
A portable video captures German artist Christian Jankowski during his week-long quest in 1992 to eat only groceries shot with a bow and arrow in the supermarket. The work contrasts hunting and gathering with the unconscious engagement of supermarket shoppers with packaged goods and processed produce. The pace of the work is humorous - the artist ambles with bow, arrow and shopping trolley through the supermarket aisles, throwing into relief modes of attaining sustenance based on need. A close-up of the artist's trophies concludes the hunting excursion - spiked products including toilet rolls, ham and butter.
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| Daniel Buren opens "Red Arches", Bilbao 10th anniversary - Tuesday, October 23, 2007 |
Buren's project is based on his conviction that the steel arch of the bridge is the only element that distorts the perfect harmony achieved by Frank Gehry between the Museum and the bridge, which is embraced and integrated into the building's architecture. As Buren puts it, the arch "is not visually connected to the elegance of Museum."
So his proposal concentrates on transforming the structure of the bridge, covering it with a colored "skin", as a sort of sculpture, thus modifying the shape of the bridge without affecting its original function in any way.
For his sculpture, Buren has chosen a vivid red to create a sharp contrast with the bridge's predominating green, while at the same time establishing a "chromatic connection" with the titanium scales of Gehry's building. The succession of black and white stripes on the edges acts as a counterpoint to the red.
The installation entails two types of lighting; one static that illuminates both sides of the "red sculpture"; the other a rather more dynamic, complex illumination located at the sides to give an effect of constant movement to the bridge's internal and external edges.
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| Christian Jankowski - Frieze Sculpture Park - Monday, October 08, 2007 |
Sculpture Park at Frieze 2007 will be presented in the wonderful setting of the English Gardens, located a short walk to the east of the entrance to the fair.
The majority of the works in the park have been made for the Fair and all the work, with one exception, is from 2007. They include three life-size bronze statues by Christian Jankowski of street performers dressed as Che Guevara, Salvador Dali’s ‘anthropomorphic cabinet’ woman and a Roman legionnaire who calls himself ‘Caesar’.
Claes Oldenburg and Coosje van Bruggen will present French Horns, Unwound and Entwined, 2005, two oversize stainless steel musical instruments painted bright yellow. Kader Attia has topped broken concrete columns with rusted metal fragments to create works that resemble decaying house foundations and distorted concrete trees. The work was inspired by houses the artist has seen in Algeria, his homeland, and comment on both the broken dreams of immigrants returning home and the architecture of the Parisian suburb (the Banlieues) where Attia grew up.
David Thorp, curator of Sculpture Park 2007 at Frieze Art Fair, commented “The Sculpture Park at Frieze Art Fair is a unique opportunity for the public to experience some of the very latest in contemporary art in a beautiful setting”.
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| John Reynolds exhibition at Gus Fisher Gallery - Monday, October 08, 2007 |
12 October - 24 November 2007
John Reynolds: Speaking Truth to Power
Commissioned by Laurence Simmons to provide a cover image for the Auckland University Press book Speaking Truth to Power: Public Intellectuals Rethink New Zealand John Reynolds then went on to produced a complete portfolio of works exploring aspects of intellectual life in New Zealand. Although reproduced in black-and-white for the book, this irreverent set of works will be shown in their full glory for the first time at The University of Auckland's Gus Fisher Gallery.
John Reynolds: I Tell You Solemnly
John Reynolds will also produce a new site-specific work for the foyer in response to the gallery's dramatic architecture. I Tell You Solemnly borrows its name and texts from a poem by Anne Kennedy. This painted installation continues in the tradition of Reynolds' popular work Cloud, a consideration of the presence of language, which he produced for the 2006 Sydney Biennale.
Saturday 27 October, 1pm
Film Screening: Questions for Mr Reynolds
A free screening of the feature-length version (67 minutes) of Shirley Horrocks' documentary, which tracks artist John Reynolds through an extraordinary year with total behind-the-scenes access.
Saturday 17 November, 1pm
Blackboard lecture: John Reynolds
A blackboard presentation by John Reynolds will explore the texts in his I Tell You Solemnly installation.
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| Bill Culbert - Sue Crockford Gallery Projects at 454 K'rd - Sunday, October 07, 2007 |
Born in Port Chalmers,1935. Culbert left New Zealand in 1957 to
study at the Royal College of Art, London. He works in sculpture,
installation and photography, often in combination. The subject of his
work is light. His materials include light bulbs, lampshades,
fluorescent tubes, plastic bottles, wine glasses and suitcases. He
travels extensively and exhibits widely in Europe, Australia and New
Zealand. The solo exhibition Lightworks was toured by the City
Gallery,Wellington in 1997. Culbert represented New Zealand in the 1990
Sydney Biennale and collaborated with Ralph Hotere in Toi Toi Toi at
the Fridericianum Museum, Kassel, and the Auckland Art Gallery, 1999.
He lives and works in the South of France and in London.
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| Daniel Buren awarded a 2007 Praemium Imperiale Laureate - Thursday, October 04, 2007 |
The Japan Art Association has awarded its 2007 prizes, naming the sculptor Tony Cragg and painter Daniel Buren among its 2007 laureates. Other laureates include Jacques Herzog and Pierre de Meuron for architecture, pianist and conductor Daniel Barenboim in the category of music, and theater director and producer Ellen Stewart in the theater/film category.
The five awards, each consisting of ¥15,000,000 (about $130,000) and a
commemorative gold medal, are aimed at supporting "the development of
art and culture worldwide, according to the last wishes of Prince
Takamatsu," according to the association. They go to "artists who have
contributed significantly to the development of international arts and
culture."
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| Richard Maloy - 'Existence: life according to art' - Thursday, August 30, 2007 |
Richard Maloy has work currently on show in 'Existence: life according to
art' curator Leafa Wilson at the Waikato Museum. Included in the show are
artists Dan Arps, Michael Parekowhai, Ricky Swallow, Yvonne Todd, Francis
Upritchard, Ronnie van Hout and others. The show runs from 14 July - 14
October 2007. Existence explores ideas of how life came into being, how we
exist and our ultimate destiny through paintings, installations and
multi-media.
www.waikatomuseum.co.nz
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| Daniel Buren - site-specific artwork Pasadena, California - Wednesday, August 15, 2007 |
Daniel Buren will present a monumental site-specific artwork of his
signature striped flags in the large central courtyard at One Colorado,
a popular gathering place in the heart of Old Pasadena.
His installation, "A Colored Square in the Sky," will consist of a
fluttering field of more than 4,000 brilliantly colored triangular
orange and yellow flags suspended above this brick and cobblestone
public space. "Colored Square in the Sky" will be on view for three
months, from Saturday, August 11 to Sunday, November 11. Public
access to Buren's art installation and the One Colorado Courtyard are
free.
 
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| Documentary on artist John Reynolds - Wednesday, August 15, 2007 |
Questions for Mr Reynolds, a profile of artist John Reynolds, will be screened on TV One in the Artsville series on Sunday August 26 at 10.30 pm.
Directed by Shirley Horrocks, the documentary tracks Reynolds through an extraordinary year during which he creates 'Cloud' (his huge painted work at the Sydney Biennale), collaborates with architects to design a hotel in Auckland, reworks the iconic Swanndri for Karen Walker, tattoos a friend, appears as a character in a popular cartoon series, presents his 21st exhibition at the Sue Crockford Gallery, does Samuel-Beckett-style performances, and makes extraordinary large-scale landscape works with native species in Otago and the Kaipara. Inviting unpredictable answers, the 'questions' for John range from 'What is painting now?' to 'Where do ideas come from?'
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| Bill Culbert at Pace Wildenstein Gallery New York - Wednesday, August 08, 2007 |
| A group exhibition entitled LIGHT TIME AND THREE DIMENSIONS includes work by Alexander
Calder, Bill Culbert, Tara Donovan, Dan Flavin, Robert Irwin, Donald
Judd, Sol LeWitt, Louise Nevelson, Isamu Noguchi, Claes Oldenburg and
Coosje van Bruggen, Lucas Samaras, Joel Shapiro, Keith Sonnier, Kiki
Smith, and recent sculptural work by Jim Dine, Tim Hawkinson, James Turrell and Fred Wilson.
Featured works include an almost 12' tall sculpture of a leaning fork
with a meatball and spaghetti by Oldenburg, a fluorescent tube and bottle work by Culbert, a metal Calder mobile c.
1948, a new neon light work from Sonnier, and an Incomplete Open Cube
by LeWitt from 1974. LIGHT TIME AND THREE DIMENSIONS is on view through August 24, 2007.
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| Bill Culbert in 'Grey Water' IMA Brisbane 4 August — 6 October - Tuesday, July 31, 2007 |
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Australia – and particularly the state of Queensland – is
experiencing a severe prolonged drought. Clean water is no longer taken
for granted. There are massive water restrictions and a plan to recycle
waste water, or 'grey water'. Another item that dominates the news is
race. There is great fear around immigration tied to terrorism. We
welcome people from other places if they are prepared to 'become'
Australian. What that means, however, is hard to define. These two
themes – the purity of our water and the purity our national essence –
have become subtly intertwined.
Grey Water
showcases works from different cultural viewpoints that address our
identification with water, and address the purity and pollution of
water. Hits of the show include Bill Culbert's Pacific Flotsam,
a scatter-installation – a sea fluorescent tubes and plastic bottles,
and Teresa Margolles's sublime soap-bubble blowing machines using water
used to wash down corpses in a Mexico morgue.
The full
line up is: Bill Culbert (NZ), Marian Drew (Australia), Lawrence
English (Australia) and Toshiya Tsunoda (Japan), Roland Fischer
(Germany), Peter Greenaway (Britain), Roni Horn (USA), Zhang Huan
(China), Abie Jangala (Australia), Rosemary Laing (Australia) with
Stephen Birch (Australia), Teresa Margolles (Mexico), Jun
Nguyen-Hatsushiba (Vietnam) and Lawrence Weiner (USA).
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| Julian Dashper at Christchurch Art Gallery - Thursday, July 26, 2007 |
Julian Dashper: To the Unknown New Zealander
10 August - 14 October 2007
Julian Dashper is one of New Zealand's most internationally successful contemporary artists.
His work focuses on the histories, theories and more general or popular ideas of abstraction, conceptualism and minimalism.
Dashper's practice manifests itself in various forms, including
paintings, unique photographs of paintings, found objects such as
drumkits which he infuses with abstract images.
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| Sue Crockford Gallery Projects window at 454 K'rd - Tuesday, June 26, 2007 |
Now on show Richard Maloy 'Mirror Poles 1-4' 2007.
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| Gretchen Albrecht and Bill Culbert second venue in Spain at the CASAL SOLLERIC on Palma di Majorca - Monday, June 25, 2007 |
The NZ group exhibition that Gretchen Albrecht and Bill Culbert are
included in - ULTRAMarte- Contemporary Art from New Zealand - has now
opened in its second venue in Spain at the CASAL SOLLERIC on Palma di
Majorca.
"Ultramarte – Contemporary Art from New Zealand", is an exhibition of paintings and sculpture by 6 prominent NZ artists.
The work of artists – Gretchen Albrecht, Bill Culbert, Pip Culbert,
Tony Lane, Fiona Pardington and James Ross – represents a cross-section
of current art practice and a wide range of artistic points-of-view. It
includes painting, sculpture, installation art and photography.
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| Laurence Aberhart monograph published - Monday, May 28, 2007 |
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LAURENCE ABERHART has been at the forefront of New Zealand photography
since the late 1970s, and is recognised as a major international
figure. Like the paintings of Colin McCahon—an artist with whom
Aberhart is frequently paired—his photographs are a sustained
meditation on time, place and cultural history. They are also virtuoso
pieces of photographic craft.
This book is a landmark
in New Zealand art publishing. In a definitive overview of Laurence
Aberhart's work to date, 240 full-page reproductions of iconic
photographs of churches, marae, cemeteries, Masonic Lodges and other
subjects are accompanied by illuminating essays by leading New Zealand
art writers Gregory O'Brien and Justin Paton. O'Brien pursues the motif
of the horizon through Aberhart's work, considering the many journeys
that his career encompasses and the shelters and structures seen along
the way, while Paton focuses on the human presences that quietly
animate Aberhart's extraordinary body of work.
This beautifully crafted book brings the work of internationally
renowned New Zealand photographer, Laurence Aberhart, into sharp focus
with exquisite full-page reproductions and essays by leading art
writers Gregory O'Brien and Justin Paton. A
major figure in this country's photographic arts, Aberhart is known for
his black and white images of Masonic lodges, churches, maraes and
cemeteries – a sustained meditation on time, place and cultural
history. O'Brien concentrates on Aberhart's preoccupation with horizon
lines, both in architecture and landscapes, and Paton discusses the
fleeting human traces present in this photographer's work.
The essays are an absolute pleasure to read, shedding light – and
levity – on Aberhart's oeuvre and tracing his visual and geographical
journey's throughout New Zealand. "The images reveal a willingness, on
the part of the photographer, to clock up miles on the kinds of roads
that would instantly affect the resale value of your car," writes
O'Brien. This is sure to be snapped up as one of the best books on a
New Zealand photographer to come out in recent times.
ARTNEWS NEW ZEALAND Winter 2007 Some technical information about the printing of Aberhart The plates in Aberhart are printed in tritone, with a tinted spot overgloss and matt seal: 1. The first black plate is slightly flatter than in single-colour black-and-white printing. 2. The tritone black captures solid blacks and details. 3. The warm grey plate captures the midtones. 4. The tinted spot overgloss warms and brightens the image area. 5. A matt seal over the whole page protects it from dust and damage. Tritone
printing was chosen for this book after printing trials, because it
best captured the extraordinary intensity and detail, and subtle tones,
of Laurence Aberhart's photos. Duotone printing (black and warm grey)
is the standard (and cheaper) option for high quality photographic
printing. It was rejected because the reproductions looked distinctly
flatter in a straight comparison. Full colour (CMYK) reproduction was
also trialed, but rejected because it softened the images, especially
in areas of solid back or fine detail. On 12 May 2007 City Gallery Wellington opened Laurence Aberhart,
a landmark exhibition in New Zealand photography. Over 200 iconic
photographs will be displayed in the most comprehensive overview of
Laurence Aberhart's work to date. The exhibition will tour NZ.
Publication 14 May 2007
ISBN 9780 86473 5560
Format hardback with dust jacket
270mm x 240mm
rrp $125.00
Art, photography
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| Julian Dashper showing in NY - Monday, May 28, 2007 |
Julian Dashper is having his second solo show with Esso Gallery in New York, 24 May – 23 June.
Titled 'The Abstract Office', this exhibition will present a broad
survey of his paintings and sculpture from 1992 - 2007. |
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| Caroline Rothwell showing in Poor Yorick, representations of the human skull - Monday, May 28, 2007 |
Poor Yorick
Riverway Arts Centre, Townsville
May 26 - June 24, 2007
Based on representations of the human skull, Poor Yorick is a
meditation on the fragility of life and a reminder to live life today
for tomorrow you might be gone. Artists include Ben Quilty, Imants
Tillers, Caroline Rothwell, Tim Storrier, Shaun Gladwell, Tim Silver,
Fiona Lowry, Mel O'Callaghan, Michael Lindeman, Oliver Watts, David
Griggs, Paul Wrigley and more.
Curated by Anthony Whelan
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| Caroline Rothwell - BloodLines: Art and the Horse - Monday, May 28, 2007 |
2 August - 14 October
BloodLines: Art and the Horse
Hawksebury Regional Gallery
From The Man From Snowy River to 'the race that stops the nation', the
horse has played and continues to play an important role in Australian
culture and identity. Nowhere is this more apparent than in The
Hawkesbury, where the enthusiasm for all things equine includes
breeding, thoroughbred racing, endurance riding, polo, show jumping and
showing. This enthusiasm goes back to the earliest days of settlement,
when buyers and spectators from all over the colony regularly came by
special trains for the annual sales at Hobartville, a property which
continues as a horse stud to this day and boasts three Melbourne Cup
winners.
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| Mladen Bizumic selected for Lyon Biennial of Contemporary Art - Monday, May 28, 2007 |
The 21st century hasn't yet begun, the century has to begin!
The next Lyon Biennial of Contemporary Art will open on 17
September 2007. The project devised for this 9th edition by Stéphanie
Moisdon and Hans Ulrich Obrist is a history book written by a number of
people. The history of a decade yet to be named; of a present that is
endlessly arriving.
The project is structured like a grand game, with rules for
selecting and casting the roles; a game in which some 50 “players” from
around the world are invited to invite an essential artist of this
decade. The ultimate purpose of this game, in which invitation is the
rule, is to produce together an original landscape, to rethink the
format and grammar of contemporary art biennials, and to create living
matter from the archaeology of now.
This history book, published on the occasion of the biennial, is
both the project's origin and its horizon. It is conceived as a space
open to different voices and trajectories. It will comprise essays by
philosophers, critics and historians, and the manifesto texts of each
player, centred on a particular vision of the present and of what is
happening on the contemporary creative scene. The dynamic system which
develops through the formation of this community, enables us to reach
beyond generational, geographical and thematic axes and to shift the
hierarchies and conventions of knowledge into a feedback loop.
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| Sue Crockford Gallery @ Auckland Art Fair - Monday, May 28, 2007 |
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| Gretchen Albrecht & Bill Culbert show in Spain - Friday, March 30, 2007 |
"Ultramarte – Contemporary Art from New Zealand", is an
exhibition of paintings and sculpture by 6 prominent NZ artists. It
will be opened on April 14 by the Prime Minister, Helen Clark at
the Casa-Museo Benlliure, a public art gallery in the
historic centre of Valencia, and will run through to May 31,
2007.
The work of the 6 artists – Gretchen Albrecht, Bill Culbert, Pip
Culbert, Tony Lane, Fiona Pardington and James Ross – represents a
cross-section of current art practice and a wide range of artistic
points-of-view. It includes painting, sculpture, installation art and
photography.
Four of the artists (Gretchen Albrecht, Tony Lane, James Ross and Fiona
Pardington) will be at the opening in Valencia, where the exhibition is
part of the week that highlights the presence of New Zealand
during the second stage of the Louis Vuitton Cup.
Along with a South American/Spanish exhibition, ‘Encounter
Between Two Seas: Bienal de Sao Paulo-Valencia’; ‘ Ultramarte’ will
play a prominent role in the cultural programme accompanying the
America’s Cup.
In Valencia "Ultramarte – Contemporary Art from New Zealand", is
supported by “Vive Valencia”, the official entity created
by the Generalitat (Regional Government) and the Ayuntamiento (City
Council) to highlight all of the events related to the America’s Cup.
The exhibition will be installed on the contemporary exhibition floor
of the Casa-Museo Benlliure. The gallery is producing a catalogue in
both English and Spanish for the show.
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| Major Laurence Aberhart Exhibition At City Gallery - Thursday, March 15, 2007 |
Laurence Aberhart has been at the forefront of New Zealand photography
since the late 1970s, and is increasingly recognised as a major
international figure. On 12 May 2007 City Gallery Wellington opens
Laurence Aberhart, a landmark exhibition in New Zealand photography.
"Over 200 iconic photographs will be displayed in the most
comprehensive overview of Laurence Aberhart's work to date," City
Gallert Wellington director Paula Savage says.
City Gallery Wellington senior curator Gregory O'Brien, working closely with the photographer and
Justin Paton (from Dunedin Public Art Gallery), has brought together fourteen thematic clusters of
work, which together form a sustained meditation on knowledge, history, faith and culture.
Aberhart's photographs of church interiors, marae, monuments and Masonic Lodges are not only an
essential part of the nation's visual art; they offer a journey through the heart and soul of New
Zealand. His subjects appear illuminated from within. "Aberhart's images are bathed in the light of
photographic history, as well as that of the world around. In his
exquisite prints, photography reclaims a magic often lost in the
digital age," curator Gregory O'Brien says.
This preeminent
retrospective is accompanied by ABERHART, a lavish, definitive book
from Victoria University Press, with 235 full-page reproductions. It
will later tour throughout New Zealand.
Biography: Laurence Aberhart was born in Nelson in 1949, and since 1983 has lived and worked in
Russell, Bay of Islands. He is increasingly recognised as an important international figure. His
photographs have been exhibited widely in New Zealand, Australia and elsewhere. A solo exhibition
was held at the Stedelijik Museum Amsterdam in 2002, alongside Colin
McCahon: A Question of Faith. A survey of his work was shown at the
Centre for Contemporary Photography, Melbourne, Australia, in 2005.
Laurence Aberhart
City Gallery Wellington
Civic Square, Wellington
www.citygallery.org.nz
12 May – 29 July 2007
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| Guggenheim Museum Bilbao commissions Daniel Buren - Wednesday, February 28, 2007 |
In celebration of its tenth anniversary, the Guggenheim Museum Bilbao
has commissioned French artist Daniel Buren to create a site-specific
work that uses the La Salve Bridge, adjacent to the museum, as support.
Buren was selected from a competition that included Liam Gillick and
Jenny Holzer. The work, entitled 'Going through', A Sculpture in situ,
was conceived to transform the structure of the bridge by softening the
harsh contrast generated between the H-like arch of the bridge and
curved forms of the museum building. The artist plans to cover the arch
with a bright red structure to bring it into chromatic connection with
the museum, with the bridge's profile marked by Buren's characteristic
black and white strips. The work will be unveiled in October 2007.
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| Directions - Virgil Marti and Pae White @ Hirshhorn - Wednesday, February 28, 2007 |
 Image: View of Pae White's tapestry in progress. Artists Virgil Marti and Pae White,
in their first museum collaboration, transform the Hirshhorn's lobby
into an immersive environment of color, light and texture. The
exhibition includes sculptures in the form of functional couches
covered by rich tapestries that employ the technique of tromp l'oeil;
bright, ornate chandeliers; a boldly patterned window treatment; and a
dramatic gold "bone curtain." Their work combines nature-inspired
forms, such as poison ivy and antlers, with other unconventional design
elements, including newspaper headlines and macrame. Responding
to the museum's late modernist architecture, the collaborators
seamlessly create a space that evokes retro and contemporary design, as
well as high art and popular culture. Marti
and White have worked together once before. During the summer of 1990,
while in residence at the Skowhegan School of Painting and Sculpture in
Maine, they published a biweekly newspaper as an homage to an
abandoned, unadorned study room. It was at this time that they began to
consider the value of questioning whether or not what they were making
was art. Ultimately, the two settled on the pointlessness of the
debate, a topic Marti recently reflected upon while taping a Hirshhorn
podcast. "A mediocre painting is categorized as art, but that doesn't
make it better than a really great lamp," he said. "A lamp could still
be interesting, even if it's not categorized as art." "The artists are
interested in the poetic movement of Art Nouveau, as evidenced in their
use of complex, decorative, organic forms, while thematically linking
to Conceptual art by exploring the definitions, materials and display
of art," said exhibition curator Milena Kalinovska. The artists
explore beauty with works that are visually complex and intellectually
stimulating, while escaping conventional categorization, providing a
thought-provoking platform from which visitors may develop a personal
connection to the art. The public will have several opportunities to
interact with the artists during two lunchtime gallery talks and an
evening discussion as part of the Hirshhorn's Meet the Artist series. The
artists also will be present to celebrate the opening of the exhibition
at Hirshhorn After Hours on Friday, March 9. After Hours is a series of
late-night events in a social setting offering art, music and other
activities. Ticketing information is available from www.hirshhorn.si.edu.Virgil
Marti (born 1962, St. Louis; lives and works in Philadelphia) earned a
bachelor's degree in fine art from the School of Fine Arts at
Washington University in 1984 and a master's degree in fine arts from
the Tyler School of Art at Temple University in 1990. His work has been
exhibited since 1990 and is most recently included in the 2007 Biennale
de Montrel in Canada. Pae White (born 1963, Pasadena,
California; lives and works in Los Angeles) earned a bachelor's degree
from Scripps College, Claremont and a master's degree in fine arts from
the Art Center College of Design in Pasadena. She has been exhibiting
her work in galleries and museums internationally since 1990 and has
been selected to participate in the 2007 Sculpture Projects in Munster,
Germany. "Direction - Virgil Marti and Pae White" is organized
by the Hirshhorn's director of public programs Milena Kalinovska.
Support for the "Directions" series is generously provided by the
Trellis Fund. Additional funding is provided by the Durfee Foundation,
Carol and Arthur Goldberg and Nancy and Stanley Singer. The
Hirshhorn Museum and Sculpture Garden, the Smithsonian's museum of
international modern and contemporary art, encompasses some 11,500
paintings, sculptures, mixed media installations and works on paper.
The Hirshhorn maintains an active exhibition program and offers an
array of free public programs that explore the art of our time. The
museum, located at Independence Avenue and Seventh Street S.W., is open
daily from 10 a.m. to 5:30 p.m. (closed Dec. 25), and admission is
free.
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| Mladen Bizumic - Moscow Biennale - Friday, February 16, 2007 |
The 2nd Moscow Biennale
Time: 1 March - 1 April 2007
Biennale general website:
"http://2nd.moscowbiennale.ru/en/"http://2nd.moscowbiennale.ru/en/
Commissioner: Joseph Backstein. Curators of the main project: Joseph
Backstein, Daniel Birnbaum, Iara Boubnova, Nicolas Bourriaud, Fulya
Erdemci, Gunnar B. Kvaran, Rosa Martínez and Hans Ulrich Obrist.
The exhibition program of the Second Moscow Biennale will comprise 5
main exhibitions, more than 25 special projects and 8 shows of special
guests. The total exhibition space will be approximately 10,000
sqm. Unlike the 1st Moscow Biennale, the international team of curators
will present a number of shows produced by individual curators or
groups of curators instead of a common collective project. All these
projects will share the common theme of "FOOTNOTES about Geopolitics,
Markets and Amnesia", and will present the works of more than 80
artists. The organizers believe that the structure of the main project,
which can be figuratively compared to a book divided into chapters,
will help spectators review the issues to be presented from various
points of view.
About the special project "Through the 'Picture'":
The project "Through the 'Picture'" brings together an international
group of artists with different artistic interests and languages. Such
a temporary alliance is made possible by the exhibition's theme: one of
the key professional issues of contemporary art is the question of the
status of the painting in present-day artistic work. Have the fine arts
of the modern world maintained their characteristic- to represent the
ornamental and plastic unity of the world, even of a world that was
torn asunder by internal contradictions and that has already passed
"through the picture" in its artistic evolution, through conceptual art
and the installation art? Showing, in their own different ways, how
painting's functions are redistributed in new artistic techniques and
styles, the project "Through the 'Picture'" presents a survey of the
problem of the contemporary artistic image and analyzes the
international artistic trends affecting the present-day state of
culture as well as the entire artistic heritage. For fundamental
changes are taking place not only in cutting-edge art but also in the
viewer's optics and in his ways of visually perceiving and
understanding reality.
Artists (participants of the project):
Mladen Bizumic
Carsten Nicolai
Michael Lin
Timur Novikov
Andrey Roiter
Maria Serebriakova
Anatoly Shuravlev
Li Songsong
Sergey Volkov
Vadim Zakharov
Peter Zimmermann
Place: Moscow City, Federation Tower, the 21 floors
Federation Tower is situated in a new international business centre of
Moscow called "Moscow-City" and is going to be the tallest building in
Europe (448 m tall with steeple) with a great panoramic view all over the
city. The project will occupy the 21 floor of the building together
with the main programme of biennale that will be situated
on the 18, 19 and 20 floors. The opening of the main biennale programme
and the project will start the same day.
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| Daniel Malone - The Long March Project 'No Chinatown ' - Friday, February 16, 2007 |
Auckland Triennial.
This multi-venue exhibition opens on 9 March 2007 presenting major
works by over 35 artists from more than 20 countries in diverse media
including painting, sculpture, photography, video, installation, film,
performance and international collaborative actions.
The Long March Project is a group of Chinese artists who in 2002
retraced Mao Zedong’s historical Long March making art along the way.
Since then, they have instigated a range of international projects with
artists around the world.
In turbulence: the 3rd Auckland Triennial, they collaborate with two New Zealand artists,
Daniel Malone and Kah Bee Chow, on a project called No Chinatown which
responds to Auckland’s lack of a clearly-defined Chinatown.
The project stretches across three Triennial venues, and involves a series of actions:
A survey carried out throughout Auckland, online and at a stall at the
Lantern Festival asking: “Do we have a Chinatown? Should we have one?
Or do we in fact have many Chinatowns? And what exactly is a Chinatown?
The stall (in Albert Park from 2 to 4 March) will also sell No Chinatown T-shirts
and souvenirs and host a variety of activities.
The survey results will be displayed at ARTSPACE.
A shortwave radio station broadcasting in Mandarin, English and Maori
from the former studios of Radio New Zealand and TVNZ in Shortland St,
now home to The Gus Fisher Gallery.
A competition to design a new Chinatown on the rejected waterfront site
for the Rugby World Cup stadium. Architects, students and the public
will be invited to submit models and drawings. (The Gus Fisher Gallery.)
A video by Daniel Malone and Kah Bee Chow that meditates on the notion
of Chinatown. Stylistically inspired by Chinese vampire movies and the
‘confessional’ interview. (ST PAUL ST gallery.)
A Chinese “moon” gate designed by Kah Bee Chow. (ST PAUL ST gallery window.)
A residency at Elam for two Long March artists, culminating in part in a hikoi or march across Auckland city.
“The Long March Project is a campaign, a journey, and a collaboration
between Chinese and international artists in which participants carry
out displays, re-examinations, and discussions of contemporary art and
visual culture along the historic route of the Long March . From 2002,
the project has been carrying on marching across borders, regions, and
geography both locally and internationally, collaborating with artists,
curators, scholars and practitioners from throughout the world. “
- David Tung
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| John Reynolds - Hope Street to NO-BRAINER - Friday, February 16, 2007 |
Hope Street to NO-BRAINER
a kinda retrospective of John Reynolds
Thursday 22 February 5.30pm
Ramp Gallery
Wintec, R Block, Gate 2, Collingwood St, Hamilton
Tel: 07 858 7516
Exhibition Dates: 23 February – 23 March 2007
Gallery Open: Monday to Friday 12 – 4pm
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| Julian Dashper in Minimalpop @ Arti en Amicitiae Amsterdam - Friday, February 16, 2007 |
03/02/2007 – 10/03/2007
Maatschappij Arti et Amicitiae
Rokin 112
NL-1012 LB Amsterdam
www.arti.nl
John Armleder (CH), Tim Ayres (UK/NL), John Beech (UK/USA), Julian
Dashper (NZ), Robert Glaubit (USA), Kyle Jenkins (AU), Fransje Killars
(NL), Klaas Kloosterboer (NL), Renée Levi (CH) , Mathieu Mercier (F),
Gerold Miller (D), Olivier Mosset (CH/USA), Gerwald Rockenschaub (A/D),
Léopoldine Roux (F/B), Tilman (D/B/USA), Alan Uglow (UK/USA), Jan van
der Ploeg (NL), Emmanuelle Villard (F/B), Dan Walsh (USA), Tamara
Zahaykevich (USA), Beat Zoderer (CH)
Curator: Petra Bungert en Tilman
Minimalpop, a travelling group exhibition curated by Petra Bungert,
director of CCNOA center for contemporary non-objective art, Brussels
(B), and German artist Tilman, opened at Florence Lynch Gallery, New
York City (USA) in July 2004, and was subsequently presented at Galerie
les filles du calvaire, Paris (F) and Brussels (B) in spring 2005. In
honor of prospective guest countries and its respective exhibition
venues, fortcoming versions of minimalpop will include, along with the
selection of international artists – a wider selection of native
artists. This will not only provide an insight into the artist' divers
artistic approaches, but it will also enrich the supranational
discourse about contemporary non-objective art.
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| Yuk King Tan’s drawing titled ‘Makeshift City’ was publicly voted the winner of the People’s Choice Award 2006 - Tuesday, February 13, 2007 |
YUK KING TAN Makeshift City
IS THE WINNER OF THE
NATIONAL DRAWING AWARD 2006
PEOPLE’S CHOICE AWARD
Yuk King Tan’s drawing titled ‘Makeshift City’ was publicly voted the
winner of the People’s Choice Award 2006, announced at the NDA Closing
Party at The Physics Room on Saturday. Yuk King Tan receives $1000 cash
and a full page reproduction of the drawing in the Autumn issue of Art
News.
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| Yuk King Tan - Ho Chi Minh City, Vietnam - Tuesday, February 13, 2007 |
Ho Chi Minh City, Vietnam – Galerie Quynh and a little blah blah are pleased to copresent
Shelter by Yuk King Tan.
Yuk King Tan is one of New Zealand's best-known young contemporary artists.
Exhibiting for the first time in Vietnam in a solo exhibition, she explores perennial human
needs and desires in the context of the urgent economic development of industrial cities,
through video, photography and a series of 'drawings'.
The multi-layered works presented in Shelter are created in an extraordinary and unique
way. Photographs are first printed onto the paper, which is then 'smoked' with candles to
create a dark cloudy background – as if an inversion of the tonality of Chinese 'mountains
and mist' painting or an upset in the cosmology. This surface is then etched back, and
exquisite images of human figures, bridges or factories are drawn or painted on. With
titles such as Boomtown and Ghosts of Tent City, the artist's work creates a poignant
portrayal of humankind's desire to forge ahead economically, but at the same time
questions the human and environmental costs of this desire. Tan states: "As I make the
works I think about diverse ideas about society and social order, cities and the needs of
civilization….also city plans and architectural diagrams. Like the dramas of a master-city
builder who by day plans the future of a city and by night has hallucinations about its past
and present."
Nevertheless, Tan's engagement with these issues is by no means geographically
specific. Her commentary is quite relevant in the Vietnamese context of rapid economic
development which occurs often at the cost of human health and environmental
degradation.
Also featured in the exhibition is a video work, I am the light of the world, in which Tan
uses firecrackers to create images – a technique that is her signature. Firecrackers are
attached to the wall, outlining a portrait of New Zealand missionaries active in China in
the 1920s, and are then lit. The image bursts and crackles apart for the next 5 minutes.
Shelter has been curated by a little blah blah (albb) – an initiative by two HCMC-based
visual artists, Sue Hajdu and Motoko Uda. albb functions as a platform for contemporary
art through the organization and curation of a range of art activities such as exhibitions
and events. Please visit http://albbsaigon.blogspot.com for more information.
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| Yuk King Tan - Kustverein Hamburg - Tuesday, February 13, 2007 |
KUNSTVEREIN IN HAMBURG
THIS PLACE IS MY PLACE – BEGEHRTE ORTE (DESIRED SPACES)
Yael Bartana, Ursula Biemann, Armin Linke, Dan Perjovschi, Marjetica Potrc,
Sean Snyder, Yuk King Tan
27 January–6 May 2007
This Place is My Place – Begehrte Orte (Desired Spaces)
The exhibition This Place is My Place - Begehrte Orte (Desired Spaces)
combines works by seven international artists who explore the economic,
social, political, and cultural impact of globalization. According to
Antonio Negri and Michael Hardt's seminal workEmpire, we are in a new
phase of capitalism characterized by postmodern lifestyles, postfordist
relations of production, and methods of sovereignty based on the
society of control. Against the backdrop of these developments,
national boundaries are increasingly being relativized by the economic
activities of transnational corporations. The appropriation of space
takes place both concretely as the seizure of territory, and
symbolically through the expansion of spheres of influence.
The following questions are central to the exhibition This Place is My Place -
Begehrte Orte (Desired Spaces): How do artists today relate to the phenomena described?
How, for instance, do they react in their work to the politically or economically motivated
occupation of land? The art projects presented in the exhibition
explore, among other things, the impact that transnational corporations
have on local cultural and
economic systems, and the migratory
movements induced by globally operating concerns. Some of the works
examine the ways in which architecture and urban planning in the
megametropolises have changed, and how this effects the social
situation of their inhabitants. Thus, for instance, architectural
hybrids resulting from the collision of different architectural
languages and economic resources are to be seen in the exhibition. The
confrontation between cultures and between economic systems is also
reflected in those installations that deal with news coverage in the
media. The deliberate use of cliché and the manipulation of how events
are presented reveal more about the intentions behind film and
newspaper reports than about the reality of the events in question. The
distinction between fiction and reality collapses in these works to
provide a fitting illustration of the equivocal relations that
characterize our age.
This Place is My Place - Begehrte Orte
(Desired Spaces) is a comprehensive exhibition and presents works in
the media of film, photography, installation, and murals. It embraces
the entire 1,000 m2 of the main exhibition hall on the upper floor of
the Kunstverein.
Curator: Yilmaz Dziewior
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| Daniel Buren at Modern Art Oxford - Tuesday, November 14, 2006 |
Daniel Buren is one of France's most renowned artists. More than thirty
years after his first exhibition at the Gallery, Modern Art Oxford is
working with the artist on the creation of a new exhibition. Daniel
Buren: Intervention II, works in sity, is on view through January 28,
2007.
Since 1965, when he first began working with what has become his
signature motif of alternating white and coloured stripes of equal and
of non-variable sizes, Buren has created dramatic and thought-provoking
interventions in museums and public spaces around the world. Hugely
influential on younger generations of artists, Buren's work remains
embedded in a refined pictorial sensibility of colour and form, which
he uses to engage the viewer in a visual and physical dialogue with
space.
Although Buren has produced innumerable projects
internationally, including major shows at the Solomon R. Guggenheim
Museum, New York in 2005 and the Musée national d'art moderne, Centre
Georges Pompidou, Paris in 2002, his work remains little known in
Britain. His first exhibition in a public gallery in this country was
held at the Museum of Modern Art Oxford (since 2002 Modern Art Oxford)
in 1973. Buren suspended a series of vertically-striped canvases from
the superstructure of the large upstairs gallery, to create a sequence
of flowing vertical planes that cut across the space at right angles to
the gallery's outer walls.
The exhibition at Modern Art
Oxford presents a new work that creates a permeable space, in which
elements of the Gallery's architecture are multiplied. The exhibition
also features drawings and a series of "film-souvenirs" relating to
earlier projects realised by the artist.
Daniel Buren
will be in conversation with Michael Craig-Martin at Modern Art Oxford
on Wednesday 24 January, 6.30pm. To coincide with the exhibition,
Modern Art Oxford is producing a fully illustrated book including an
interview with Daniel Buren and documentation of the artist's projects
realised in the UK. |
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| John Reynolds receives Laureate Award - Tuesday, October 31, 2006 |
The Arts Foundation of New Zealand and Presenting Sponsor Forsyth Barr
announced the recipients of the prestigious 2006 Laureate Awards at a
gala event in Auckland on 31 October. In recognition of their artistic
achievements and excellence in their chosen art form, these five
distinguished artists received an equal share of the quarter of a
million dollar cash prize ($50,000 each) and a Terry Stringer
statuette. New Zealand's largest cash arts prize pool and the only
non-government, private award considering all art forms.
Congratulation to 2006 Laureates:
John Reynolds - one of New Zealand's foremost painters and printmakers,
John began his career in 1980, exhibiting large abstract colour-fields,
He slowly moved into structural text-based imagery, winning multiple
awards for his work, a finalist in the Walters Prize and exhibitor in
the 2006, Zones of Contact Sydney Biennale.
Alun Bollinger -
a West Coaster, is one of New Zealand's most high profile and
well-known cinematographers. He has received worldwide acclaim for his
innovative and masterful work from behind the camera on films such as
Goodbye Pork Pie, The Piano, Lord of the Rings and River Queen.
Alastair Galbraith - an experimental musician based in Dunedin who is
much admired in the "underground" music scene worldwide. His career
began in the early 1980s, as leader of The Rip and he later went on to
play with Plagal Grind, before recording as a solo artist.
Oscar Kightley - the familiar Samoan face of television and theatre
productions, writer, director, actor, television presenter and
broadcaster, Oscar starred in the box office hit Sione's Wedding and is
a member of the Naked Samoans who write the award-winning TV3 series
Bro' Town.
Ian Wedde, poet, fiction writer, critic and art
curator, has a a career spanning four decades, He has published twelve
collections of poems, four novels, a collection of short stories and
his prolific essays in art critical and cultural studies have been
collected in two volumes, with his most recent novel The Viewing
Platform launched in September 2006.
The artists were chosen by a selection panel of distinguished
peers and arts experts: Lynn Freeman (Radio New Zealand Producer and
Presenter), Justin Paton (Curator of Contemporary Art, Dunedin Public
Art Gallery), Prof. Howard McNaughton (Head of the School of English at
the University of Canterbury), Ruth Harley (Chief Executive, New
Zealand Film Commission) and Jon Bywater (Lecturer at Elam School of
Fine Arts, University of Auckland).
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| Daniel Buren project for Art Basel Miami - Sunday, October 22, 2006 |
Daniel Buren will be building his monumental «Pergola» for Art Basel
Miami Beach. The pergola consists of 14 flat arches measuring a total
length of 38 meters. The arches are covered by a series of transparent,
colored plexiglas panels laid side by side in pairs. Buren's project
for Art Basel Miami Beach 2006 is an installation in situ.
One of the most exciting platforms of Art Basel Miami Beach is «Art
Projects», where 9 projects by internationally renowned artists from 7
countries are on show in public spaces in Miami Beach. These works
engage directly with the spectator, interrupting the daily routine of
passers-by in poetic, alienating, or surprising ways.
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| Ralph Hotere & Bill Culbert VOID opens at Te Papa - Tuesday, October 17, 2006 |
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Bill Culbert and Ralph Hotere are enduring and successful
collaborators of contemporary art. VOID plays with the concepts of dark
and light, empty and full, positive and negative. This extraordinary
artwork in effect creates a dark-and-light-defined space that fills the
core of Te Papa. 
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| Laurence Aberhart - Art Review magazine October issue - Friday, October 06, 2006 |
On first acquaintance, Laurence Aberhart's small black-and-white
photographs of such subjects as war memorials, Masonic lodges,
cemeteries and the storage depot of an antiquated natural history
museum, seem remote from most contemporary photography. Often ranging
from an hour to almost a full day (in cases where the motif was
shrouded in gloom), long exposures impart a weight and gravitas to the
images whose subjects are threatened with imminent decline. Given not
only the precise notation in the work's title of the date it was
recorded, but the fine detailing exposed in the printing - another
hallmark of his close scrutiny - Aberhart's photographs read as
testaments, memorials, allegories even. In this world, prey to decay
and loss, time itself rather than any modernising technology, will be
the vanquisher.
Aberhart's practice was initially formulated in the small towns and
rural regions of southern New Zealand, where he grew up. Shaped by his
acute awareness of the absence of any founding documentary school of
photography in his native country, it was honed by study of the masters
of that modernist tradition, notably Atget and Walker Evans. Once
refined by the vernacular idioms of a postcolonial milieu, his vision
was then galvanised by related contexts: a Macau newly shadowed by
Chinese sovereignty; the eddying backwaters of the Australian Interior.
Yet, his use of a vintage camera and painstaking darkroom techniques
that are fully congruent with his subject matter parallels a more
flagrantly contemporary artist, such as WolfgangTillmans, in his
approach to his medium. Wedding seemingly casual stylistics with
protocols of display befitting a world replete with transitory,
happenstance and feather-light interactions, Tillmans's art offers a
diametric contrast to the stilled, deserted and loaded vistas that
typify Aberhart's lexicon. One's impulse is to measure the degrees of
separation in years rather than miles. First impressions are, however,
misleading. Configured through obsolescence and the outmoded, the
commemorative (in Aberhart's work) is but the obverse of the coin on
which (Tillmans's) ephemeral profiles and dejecta have traced their
imprint.
Lynne Cooke has been a curator at Dia Art Foundation, New York, since 1991 and is a writer on contemporary art.
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| Peter Robinson 'Ack' new exhibition at Artspace - Monday, September 11, 2006 |
Exhibition dates: 16 September – 14 October 2006
Opening: Friday 15 September 6pm
ARTSPACE is pleased to present the first major one-person
exhibition of new work by Peter Robinson since bi-polar at the 49th
Venice Biennale in 2001. In ACK, Robinson's playfulness emerges as he
creates work that utilises the gallery space and tests its limits.
Robinson's new work reanimates and introduces motifs into a complicated
web of Maori, Pakeha and contemporary art iconography. A major
catalogue examining the artist's work during the past 15 years will be
published by ARTSPACE and Clouds in conjunction with ACK and released
in February 2007.
Peter Robinson, born 1966 in
Ashburton, lives and works in Auckland. Originally trained as a
sculptor, Robinson's work expands beyond sculpture into drawing,
painting and other media. His early work was concerned with analysing
his Maori heritage as well as reflecting on his position in the art
world. With an air of irony, he questioned the impact his bi-cultural
background had on his career. Living and working overseas in the mid
90's changed his work's visual language from a local heritage and
cultural background point of view to exploring the 'nothingness' of
finding yourself in an unfamiliar context. Social and political issues
still play a role in Robinson's work today.
Major and
recent exhibitions include: The Humours, Dunedin Public Art Gallery,
2005; Three Colours (with Gordon Bennett) at Heide Museum of Modern
Art, Melbourne and the Institute of Modern Art, Brisbane, Australia,
2004-2005; bi-polar, 49th Venice Biennale, Italy, 2001; Divine Comedy,
Govett-Brewster Art Gallery, 2001; Superman in Bed – Collection
Schürmann Kunst der Gegenwart und Fotografie, Museum am Ostwall,
Dortmund, Germany, 2001.
For more information or images please contact Ida Moberg on ph +64 9 303 4965,
fax +64 9 366 1842 or email media@artspace.org.nz
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| Pae White: Going Up? - Monday, September 11, 2006 |
Pae White: Going Up?
Dunedin Public Art Gallery
26 August 2006- 28 January 2007
Los
Angeles artist Pae White is renowned for a body of work that
encompasses colossal mobiles, innovative book design, shimmering
floor-pieces, and public sculptures that leap the gap between form and
function.
It also includes works like Going Up?, White's
mural for the Big Wall. The words 'Black Cherry Juice' describe a
homemade remedy for depression. Rendered seven metres high and in
interpetrating layers of colour, the words become expansive and even
hallucinatory — language with a lift.
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| Julian Dashper: 'An Artist with a capital A' - Monday, September 11, 2006 |
New Zealand artist Julian Dashper is featured in a 25-year retrospective at Wichita State's Ulrich Museum.
By Chris Shull
The Wichita Eagle
Much of Julian Dashper's artwork is accompanied by a story -- funny
stories, self-deprecating stories, stories that begin with a question
and end with a painting, video or recording.
Dashper is from
New Zealand. A 25-year retrospective of his work, "Midwestern Unlike
You and Me," is on view at the Ulrich Museum of Art at Wichita State
University.
The show, organized by the Sioux City Art Center,
showcases his genre-crossing installations -- some featuring simple,
almost decorative paintings; some showing ads he's placed in art
magazines; another consisting of his multipage resume pinned to the
wall.
"People call me a minimalist," Dashper said. "Well, I
don't call myself a minimalist. People call me a conceptualist. I don't
call myself a conceptualist.
"I just call myself an artist with a capital A."
Much of Dashper's art is easy to look at -- drumheads painted as
brightly colored targets; clear record albums textured with delicate
grooves; four canvases showing black triangles stark against snow-white
backgrounds.
But to fully appreciate Dashper's art. it helps to know the stories and the ideas behind them.
Read more
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| Daniel Malone - Acting out of character - Thursday, September 07, 2006 |
By Andrew Clifford
Auckland artist Daniel Malone has little time for much more than making art at the moment.
Within a week of opening his exhibition at Window, he left the country
to participate in the inaugural Singapore Biennale, which opened last
weekend.
This weekend he is taking part in a
performance event in New Plymouth and, before September is over, he
will also have work at the SCAPE Biennial of Art in Public Space in
Christchurch.
In the months to come, he will appear in Chile and at the Auckland Art Gallery.
For SCAPE, Malone had a 3m neon sign made, resembling a tag of his own name.
"It's not a tag but based on one in its form," he clarifies, "and it is
equally based on commercial signage in its choice of material - neon.
Its resonance is basically played out between these two positions in
contesting public space."
Read more
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| Painting problems: the work of Julian Dashper 1990-2006 - Friday, August 11, 2006 |
14th August – 8th October 2006
Whangarei Art Museum Te Wharetaonga o Whangarei
This exhibition surveys selected works by well known artist Julian
Dashper that examine many of the ongoing critical issues inherent to
painting today. Dashper has a long-standing interest in painting as an
actual subject for making art as well as an international reputation
for his work in this area. The exhibition will include works in a
diverse range of mediums such as wool, wood, sound, paint on canvas,
rabbit skin size on French linen and polycarbonate.
An
illustrated publication (being released post opening) will accompany
the exhibition, featuring a recent interview text between Auckland
based writer Mark Kirby and Dashper, discussing Dashper's highly
particular and sometimes strangely unorthodox painting practice. Kirby
has written extensively on Dashper's work in the past, most recently in
a text entitled `Dashper again and again' for a survey exhibition of
the same name he curated at the Aratoi Museum in Wairarapa earlier this
year.
Julian Dashper and Mark Kirby will present a floor
talk in the museum in Whangarei on Sunday 13th August at 2.00 pm. All
are welcome to attend this presentation as well as the opening to the
public at 3.00 pm afterwards.
Julian Dashper, who last showed
in Whangarei in 1988 at the North Gallery, is well known to New Zealand
audiences through his regular exhibitions in this country since 1980.
Dashper has also shown widely in Australia, throughout Europe and in
America since 1992. In 2001 he was based in America as an artist in
residence at the Chinati Foundation in Marfa, Texas,
http://www.chinati.org/ funded by a senior Fulbright fellowship. His
work from the last 25 years is currently the subject of a major touring
retrospective in the U.S.A, the first such exhibition ever for a New
Zealand based artist. Dashper continues to live and work in Auckland
where he was born in 1960.
The exhibition closes to the public on Sunday 8th October 2006.
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| Daniel Malone selected for the Singapore Biennale. - Tuesday, June 27, 2006 |
The Singapore Biennale's opening event on 2 September 2006 will feature
specially commissioned art projects including Daniel Malone's. This
event will take place at the Padang, in front of City Hall, one of the
Biennale's main exhibition venues.
The Singapore Biennale 2006, Singapore's inaugural international
biennale of contemporary art, will open to the public on 4 September
2006. This major international contemporary art exhibition will feature
more than 80 artists and artist collectives from over 35 countries.
Artists include; James Turrell, Mark, Wallinger, Hiroshi Sugimoto,
Carsten Nicolai, Mariko Mori, and Barbara Kruger.
BELIEF is
the theme for Singapore's first visual arts biennale. If today's world
has painfully called into question many certainties governing society,
history and humankind, can it also be described as an era of
uncertainty in which the very subject of belief is in question? In the
context of this so-called crisis of values, what do we individually and
collectively believe in? Do we act on our beliefs or is belief simply a
mindless act? Are the religious beliefs communicated by the great
faiths more relevant than the secular beliefs in science, progress,
democracy and politics that succeeded them? Or has the conflict between
the two spawned such states of violent and ethical extremism in the
service of religious and economic power that belief in anything appears
incomprehensible? Are we beyond belief or at the threshold of its
revival?
Led by internationally renowned curator Fumio Nanjo,
the exhibition will feature a diverse selection of international
contemporary art practices, including artists from Singapore and its
neighbouring regions. SB2006 aims to address the complexities that
surround and inform some of the above questions. Through a diverse
selection of international contemporary art practices, including
artists from Singapore and its neighbouring regions, the biennale sets
out to create a reflection rather than a representation of contemporary
art's relationship with the subject of belief. In turn, this process of
reflection will also examine the question of belief in relation to the
system of art itself. With its longstanding relationship to religious
and secular systems of thought, what are the inherent values of
contemporary art today?
www.singaporebiennale.org
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| Daniel Malone exhibiting in Trans Versa - Thursday, June 15, 2006 |
The South Project will base itself in Santiago, in October 2006, to
present two major international exhibitions under the South banner
alongside the symposium Culture and Politics in times of the South.
TRANS VERSA, conversing across the south features the work of
Australian and New Zealand artists and is co-curated by Australian
curator Zara Stanhope, who made a significant contribution to the New
Zealand art scene as the inaugural Director of the Adam Art Gallery,
and Danae Mossman, Director of the Physics Room in Christchurch.
Reflective of New Zealand's growing relationship with its Pacific
neighbor Chile, TRANS VERSA brings to the fore important cultural ideas
and practices emerging from lateral connections between the countries.
TRANS VERSA features the work of six established and emerging artists
from New Zealand including Dane Mitchell, Maddie Leach, David Clegg,
Daniel Malone, and Fiona Jack. All avid contributors to the New Zealand
art scene, these artists present an artistic perspective firmly
grounded by a New Zealand vernacular yet progressively outward looking
in their attempts to explore the tenants and threads of lateral
connections, migration, travel and modes of communications – the
language of an increasing global village. The Australian artists
include, among others, Tom Nicholson, Selina Ou and Ash Keating.
Housed in three of the leading venues in Santiago, the Museum of
Contemporary Art, Galeria Metropolitana and Matucana100, TRANS VERSA
will be the first major exhibition to be developed by the South Project
and an important point of contact for a Chilean audience largely
unfamiliar with contemporary art practice from New Zealand and
Australia. The second exhibition to tour to Santiago is Make the Common
Precious, an exhibition of contemporary Australian craft, curated Kevin
Murray, director of Craft Victoria and the South Project.
The exhibitions will open during the symposium Culture and Politics in
Times of the South, which will take place from 3-6 October 2006. The
symposium will provide speakers an opportunity to debate and explore
issues concerning contemporary art practice in the south, particularly
notions of translation, political activism in the arts, notions of
exile, alternative structures and collective practices. The New Zealand
presence at the symposium will be significant and include leading arts
thinkers such as Ian Wedde, Christina Barton and Manos Nathan.
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| Gallery artist Peter Robinson finalist in Walters prize - Tuesday, June 13, 2006 |
"Peter Robinson’s work has always been a challenge to ‘good taste’ and
The Humours is no exception. Here a livid lexicon of sculptural forms
pay their dues to artistic heavyweights like Claes Oldenburg, Jackson
Pollock, Philip Guston and Franz West, while simultaneously simulating
a mess of consumerist excess: a veritable feast of cigarette smoke and
junk food and their nasty after/side effects. This installation feels
like a comeback piece, drawing together Robinson’s earliest sculptural
pieces with his ongoing examination of the insidious ways in which
society is structured: to exclude and prohibit but also to seduce and
compel, using the visceral qualities of his materials to get right
under our skin."
The $50,000 Walters Prize, modelled on the Tate Britain’s Turner Prize,
is awarded for an outstanding contribution to contemporary art in New
Zealand in the past two years. Previous winners were et al. in
2004 for restricted access and Yvonne Todd in 2002 for Asthma and
Eczema.
Named in honour of artist Gordon Walters, the prize was established in
2002 by founding benefactors and principal donors Erika and Robin
Congreve and Jenny Gibbs to make contemporary art a more widely
recognised and debated feature of New Zealand cultural life.
2006 FINALISTS
Stella Brennan nominated for Wet Social Sculpture 2005, first shown at St Paul St Gallery, Auckland
Phil Dadson nominated for Polar Projects 2004, first shown at Dunedin Public Art Gallery
Peter Robinson nominated for The Humours 2005, first shown at Dunedin Public Art Gallery
Francis Upritchard nominated for Doomed, Doomed All Doomed 2005, first shown at Artspace, Auckland
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| John Reynolds showing at the Sydney Biennale - Wednesday, May 24, 2006 |
8 June - 27 August 2006
15th Biennale of Sydney
John Reynolds has been selected to represent NZ at the Sydney Biennale and will present a major new installation 'Cloud'.
The 2006 Biennale of Sydney is organised around the conceptual framework Zones of Contact.
'The road, Cervantes said, is better than the inn.'
Cloud was undertaken in the spirit of a man walking "... with great
purpose, and no purpose". The point of departure, and the beating heart
of the work, is a book; the late Harry Orsman's Oxford Dictionary of
New Zealand English, a regional dictionary of "New Zealandisms",
themselves only a small, yet significant, part of any New Zealander's
total vocabulary.
From the letter A and the term "A & P" (Agricultural and Pastoral),
through to the letter Z and "ZWEIDEENER" (a two-shilling piece), the
work accumulates most of the book's 6,000-odd headwords and a selection
of the 9,300 sub-entries. Drawn in metallic silver on primed canvases
and randomly dispersed on a billowing scale, the words condense and
evaporate. Get close and these speech fragments loom and register; step
back and they haze.
Somehow the pedestrian toil in the work's production recalled for me
the "hard yacker" of Harry Dean Stanton, walking speechless under a big
sky, in the Wim Wenders film Paris Texas.
The Biennale will include 85 artists and collaborations from 57
cities in 44 countries making it one of the most ambitious, daring and
challenging Biennales ever.
In 2006 the Biennale of Sydney
will collaborate with arts organisations across Sydney, extending to
more than 16 venues and sites.
Exciting new projects will be created for specific public sites and outdoor locations.
A program of performances, public talks, symposia and workshops that will be held over the duration of the Biennale of Sydney.
There is also an Australia-wide program involving galleries, art
schools and organisations in a number of cities across Australia.
The 2006 artistic director and curator is Dr Charles Merewether.
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| Richard Maloy - Wellington City Gallery and Auckland Film Archive - Wednesday, May 24, 2006 |
'Snow Balls' & 'Jam Spoon'
Two works playing continuously at ViewFinder, Auckland & SQUARE2 Wellington and online at: www.filmarchive.org.nz.
'Snow Balls'
Maloy collected the 'grass gunk' over three months from under his
family lawn mower and rolled it into grass 'snow' balls. Maloy's
brother stands dodging the balls, as though like a type of firing squad
and the camera is the gun. The artists continuously throws grass balls
at his younger brother's legs for the duration of filming.
Similar to earlier works such as '28 compositions' 2003 where Maloy
used his younger brother as a type of muse, in a seemingly cruel,
torturous or plain bizarre act, Maloy is re-enacting a game he and his
older brother played as children. These days, however, the act of play
occurs under the guise of art, and the roles have reverse, with Maloy
no longer the victim, but in the position of aggressor to his younger
brother.
'Jam Spoon'
Maloy invited a stunt double with
same 'stats' as himself - male, 6ft tall, 70kg, brown hair - to his
studio where he covered his replica's body in strawberry jam, applied
with a wooden spoon. This act could be seen as a fetishist or a
systematic approach to the application of the jam and as though he was
metaphorically applying it to him self. The figure lies on the studio
floor in a dead type of pose while the jam is slapped on to his bare
skin.
When asked about the work, the artist tells a story
that when he misbehaved as a child he was threatened with the jam
spoon. "It was a wooden 'soup' spoon I had made in school woodwork
class, it never made sense to call it a 'jam' spoon, we never made jam
with it, our jam was always bought. Would I be hit so hard I would
bleed jam? Or would mum cover it in jam and then smack me? I never
found out as I could always out-run my mum when she made her move
towards the wooden spoon."
Screening Details:
ViewFinder - The Fim Archive's Continuous Moving Image Presentation at
Auckland Central Library, Lorne st 24 hours a day 7 days a week.
'Snow Balls' 23 May – 5 June / 'Jam Spoon' 6 June – 19 june
SQUARE2 is a dedicated site for moving image artworks located at the
entrance way to City Gallery Wellington. The moving image artworks
displayed in SQUARE2 play continuously; allowing audiences to
experience the artwork 24 hours a day.
'Jam Spoon' 23 May – 5 June / 'Snow Balls' 6 June – 19 jun
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| Daniel Malone & Yuk King Tan at Artists Space, New York - Monday, May 15, 2006 |
Artspace presents an exhibition in two parts.
Auckland
gallery Artspace will present "Local Transit", an exhibition in two
parts jointly organised by Artists Space, New York and Artspace,
Auckland, from 20 May to 1 July.
"Local Transit" alludes to
the question of translations and readings/misreadings. What does it
mean to be in New York compared to Auckland or Los Angeles?
Co-curated by Artists Space Curator Christian Rattemeyer and Artspace
Director Brian Butler, "Local Transit" springs from the recognition of
the two institutions' similar history, size and role in their
respective communities. Through an exchange of artists, the project
investigates the role of familiarity and difference in the reading of
contemporary art.
The exhibition occurs concurrently in
Auckland and New York. In each location a different group of artists
has been selected: four Aucklanders, four New Yorkers and one Los
Angeles artist.
All the artists hail from port cities.
Traditionally, port cities are free cities with a lack of control in
what passes through and enters the port. They are cities open to
communication, language and translation where ideas flow and meanings
are difficult to fix.
The artists taking place in Artspace
are Auckland artists Dan Arps, Kylie Duncan with Keely O'Shannessy and
Gerald Phillips, Simon Esling and Sriwhana Spong; New York artists Sara
Greenberger Rafferty, Jennie C. Jones, Blake Rayne and Lisa Tan; and
Los Angeles artist Jennifer Nocon.
The artists taking place
in the Artists Space exhibition, which runs from 16 May to 24 June,
are: Los Angeles artist Ellen Birrell; New York artists Charles
LaBelle, Marie Lorenz, Mark Orange and Karla Wozniak; and Auckland
artists Daniel Malone, Dane Mitchell, Yuk King Tan and Ri Williamson.
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| Dashper Again and Again - Friday, April 21, 2006 |
Dashper again and again: the multiple works of Julian Dashper 1986 - 2006
28th April - 14th June 2006
Aratoi - Wairarapa Museum of Art and History
Aratoi Wairarapa Museum of Art and History is pleased to announce its
forthcoming exhibition entitled `Dashper again and again'. Curated by
Mark Kirby, associate head of school at Manukau School of Visual Arts
in Auckland and well known writer on the arts nationally, this
exhibition surveys Julian Dashper's artwork in multiple form dating
from 1986- 2006.
'Multiples' are artworks of which there is
more than one version, and have become common practice in art since
industrialisation. It was initially thought that mass production would
cause a major revolution in the art world by making art less precious
and more accessible and available, however according to Kirby "this in
fact did not happen - art remains today as aloof and unaffordable for
most people as it has at any point in history".
Nevertheless
Dashper's multiples are a way for him to disseminate his work to
multiple audiences, meaning a single piece can be on show in a number
of venues simultaneously. As such he is not concerned with creating one
off masterpieces as with creating opportunities for people to view,
experience and think about art and its place in the world. "Dashper's
art is often about thinking about art, it encourages thought, which is
a very useful, beautiful and underrated activity" writes Kirby.
A publication will accompany the exhibition, with a text by Mark Kirby on Dashper's work in multiple formats.
Totalling more than 50 individual works in a variety of media from
paintings to ceramics to drumheads to wristwatches this survey show
promises to be one of the more challenging and diverse exhibitions to
open in the Wairarapa for many years.
Julian Dashper is well
known to New Zealand audiences for his regular exhibitions throughout
the country since 1980. Dashper has also shown widely in Australia,
across Europe and in America since 1992. In 2001 he was based in
America as an artist in residence at the Chinati Foundation in Marfa,
Texas funded by a senior Fulbright fellowship. His work from the last
25 years is currently the subject of a major touring retrospective in
the U.S.A, the first such exhibition ever for a New Zealand based
artist. Dashper continues to lives and work in Auckland where he was
born in 1960.
Julian Dashper and Mark Kirby will present a
lecture about the exhibition in the museum before the opening on Friday
28th April. All are welcome to attend this presentation at 5.30pm and
the opening at 6.30pm afterwards.
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| Bill Culbert's SkyBlues: a brilliant addition to Wellington - Thursday, March 23, 2006 |
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A large and significant neon-lit | | |
