Venue
The Most Difficult Problem, 2013 (still)

The Most Difficult Problem, 2013 (still)

Text from J Bronte Gatenby, 'The New Zealand Glow-Worm' (Tuatara, vol 8, no. 2, 1960)

Text from J Bronte Gatenby, 'The New Zealand Glow-Worm' (Tuatara, vol 8, no. 2, 1960)

Born 1970, Auckland, New Zealand
Lives and works in Wellington, New Zealand

Maddie Leach’s practice is project-based, conceptually driven and frequently involves research into the specifics of the site in which she is working. With her interest in the development of new thinking in relation to social, place-based and process-driven artwork,Leach’s early work held a central position in New Zealand’s relational aesthetics practice. While no longer overtly participatory, her work continues to explore ideas of spectatorship, expectation and strategies of cooperation in the production of art works. Leach’s recent projects often operate beyond the walls of the gallery and focus on constructing complex arrangements between space, time, place and audience.

Campaign to re-open tunnels under Auckland's Albert Park - 3 News

Selected exhibitions (group):

Between Memory and Trace, Te Tuhi Centre for the Arts, Auckland, 2012; Peripheral Relations: Marcel Duchamp and New Zealand Art, Adam Art Gallery, Wellington, 2012; The Obstinate Object, City Gallery Wellington, 2012; Iteration: Again, CAST, Tasmania, 2011; Collecting Contemporary, Museum of New Zealand Te Papa Tongarewa, Wellington, 2011; Reason and Rhyme, Gertrude Contemporary, Melbourne, 2011; Close Encounters, Hyde Park Art Center, Chicago, 2010; One Day Sculpture, Wellington, 2008; Trans Versa, The South Project, Santiago, 200

Leach’s practice weaves narrative threads to connect propositions, actions, and materials. Her sculptural diffusions of matter and imagination challenge the idea of the ‘sculptural object’.

Jem Noble, artist, Bristol and Vancouver

The Most Difficult Problem

2013
Auckland Art Gallery

single-channel colour HD video projection, sound, text on newsprint
piano: Paul Lincke’s Glüwürmchenidyll performed and uploaded to YouTube by Markus Andreas Mayer
print design by Warren Olds
courtesy of artist


Venue
Tlatelolco Clash, 2011 (still)

Tlatelolco Clash, 2011 (still)

3-2-1, 2011

3-2-1, 2011

(born 1974) Albania.
Lives and works in Berlin.

Working primarily in film and video, Anri Sala creates works that bring together documentary, history, language and cultural memory. Early films referenced his personal experience and reflected on Albania’s social and political changes, while recent works have explored the tension between repetition and improvisation, often involving or offering the possibility of live performance.

http://www.mariangoodman.com/artists/anri-sala/

Sala’s films and installations disrupt and reconfigure the viewer’s relationship to the image and the space, echoing his approach to making work, which the artist describes as being ‘shaped, inspired and constrained by rupture, and transitory or intermediate stations’.

Selected exhibitions (solo):

Museum De Pont, Tilburg, The Netherlands, 2013; Centre Georges Pompidou, Paris, France, 2012; Serpentine Gallery, London, UK, 2011; About Change Studio, Berlin, Germany, 2010; CAC Contemporary Arts Center, Cincinnati OH, 2009; Museum of Contemporary Art North Miami, USA, 2008; Extra City, Antwerp, Belgium, 2007. Selected exhibitions (group): 2012 Documenta, Kassel, Germany; 9th Gwangju Biennale, China, 2012; Architektonika, Hamburger Bahnhof, Berlin, Germany, 2012; Tribute to Anri Sala, Locarno Film Festival, Italy, 2011; 29th São Paolo Biennale, Brazil, 2010; Haunted: Contemporary Photography/Video/Performance, Guggenheim Museum, New York, 2010; Gender Check, Museum Moderner Kunst Stiftung Ludwig Wien, Vienna, Austria, 2009; The Implications of Image, Museo Universitario de Ciencias y Arte, Mexico City, Mexico, 2008; Moskau Biennale, Moscow, Russia, 2007.

‘Music, emotive and often abstract, is a powerful form of non-verbal communication, and even a catalyst for change.’

Andrew Clifford, Curator, Centre for Art Research, The University of Auckland

Long Sorrow

2005
Gus Fisher Gallery

HD video transferred from super 16mm film, stereo sound
12:57min
courtesy of Johnen Galerie Berlin; Galerie Rüdiger Schöttle, Munich; Marian Goodman Gallery, New York; Hauser & Wirth, Zurich / London; Galerie Chantal Crousel, Paris

Tlatelolco Clash

2011
Gus Fisher Gallery

HD video projection, five-channel surround sound
11:49min
courtesy of kurimanzutto, Mexico City; Marian Goodman Gallery, New York; Hauser & Wirth, Zurich / London; Galerie Chantal Crousel, Paris

3-2-1

2011
Gus Fisher Gallery

live performance featuring artist André Vida responding to the film Long Sorrow
courtesy of the artist


Venue
Barricade # 2 (Mitroviça dans la partie serbe de la ville), Kosovo, 7 avril 2012

Barricade # 2 (Mitroviça dans la partie serbe de la ville), Kosovo, 7 avril 2012

Au nord de Mitroviça sur la route menant à la Serbie, Kosovo, 8 avril 2012

Au nord de Mitroviça sur la route menant à la Serbie, Kosovo, 8 avril 2012

Born 1968, Châtellerault, France
Lives and works in Paris, France

Bruno Serralongue’s images show the lesser events on the margins of major events and provide alternatives to the linear narrative of news reports of photo essays. Employing a photojournalistic technique Bruno Serralongue has captured important long-lasting geo-political conflicts in countries including Kosova, Sudan and Tibet as well as concerts, summits, forums, and demonstrations. His recent bodies of work reveal the effects of globalisation on those in developing countries.

http://www.brunoserralongue.com/

Selected exhibitions (solo):

South Sudan Series, Francesca Pia gallery, Zurich, 2013; Histoire des avant-dernières luttes, Air de Paris Gallery, Paris, 2012; Feu de camp, Jeu de Paume, Paris, 2010, Bruno Serralongue, Wiels, Brussels, 2009; Backdraft, Centre of Photography, Geneva, 2007. Selected exhibitions (group): Newtopia, The State of Human Right, Mechelen, Belgium, 2012; Oceans and Campfires: Allan Sekula and Bruno Serralongue, San Francisco Art Institute, 2011; Project Europa – Imagining the (Im)possible, Harn Museum of Art, Florida, 2010; Uneven Geographies, Nottingham Contemporary, 2010; Street & Studio: An Urban History of Photographic Portraiture, Tate Modern, London, 2008; 6th Gwangju Biennale, 2006

’[Serralongue] affirms that the only objectivity we have today is an artistic objectivity.’

Pascal Beausse

1998-1999, musée du Kosovo, Pristina, septembre

2009
Artspace

Ilfochrome print mounted on aluminium, frame with glass
1270 x 1590 mm
courtesy of the artist and Air de Paris, Paris

«Travaillons ensemble», Pristina, Kosovo, 8 novembre

2010
Artspace

Ilfochrome print mounted on aluminium, frame with glass
1270 x 1590 mm
courtesy of the artist and Air de Paris, Paris

Locations Artspace 1998-1999, musée du Kosovo, Pristina, septembre 2009 Artspace Ilfochrome print mo

2011
Artspace

Ilfochrome print mounted on aluminium, frame with glass
1270 x 1590 mm
courtesy of the artist and Kadist Art Foundation, Paris

Barricade # 2 (Mitroviça dans la partie serbe de la ville), Kosovo, 7 avril

2012
Artspace

Ilfochrome print mounted on aluminium, frame with glass
1270 x 1590 mm
courtesy of the artist and Kadist Art Foundation, Paris

«Kosovo is serbian Alamo», barricade # 2, Mitroviça, Kosovo, 7 avril

2012
Artspace

Ilfochrome print mounted on aluminium, frame with glass
520 x 630 mm
courtesy of the artist and Air de Paris, Paris

Au nord de Mitroviça sur la route menant à la Serbie, Kosovo, 8 avril

2012
Artspace

Ilfochrome print mounted on aluminium, frame with glass
520 x 630 mm
courtesy of the artist and Air de Paris, Paris

Journaliers (Bosch), Pristina, Kosovo, 11 avril

2012
Artspace

diptych, Ilfochrome print mounted on aluminium, frame with glass

520 x 630 mm
courtesy of the artist and Air de Paris, Paris

Journalier (Bosch), Pristina, Kosovo, 11 avril

2012
Artspace

llfochrome print mounted on aluminium, frame with glass
520 x 630 mm
courtesy of the artist and Air de Paris, Paris

Journaliers (bûcherons), Mitroviça, Kosovo, 9 avril

2012
Artspace

Ilfochrome print mounted on aluminium, frame with glass
520 x 630 mm
courtesy of the artist and Air de Paris, Paris


Venue
Model Home,2013

Model Home,2013

Born 1964, Tokyo, Japan 
Lives and works in Shanghai, China and Brussels, Belgium and Taipei, Taiwan.

Michael Lin is best known for his large-scale colourful floral paintings which cover the facades of building, interiors, windows and furniture. Using patterns from traditional Taiwanese textiles and decorative arts Lin’s work blurs the lines between art and craft, and raises issues around the continuity of traditional and domestic art forms. These playful insertions question the role of art in public space as Lin transgresses the line between the undervalued domestic realm and the dominant public one. Lin has collaborated with architects and local trades people to create environments and structures which encourage new ways of encountering art.

Selected exhibitions (solo):

Model Home, Rockbund Art Museum, Shanghai, 2012; Michael Lin, Free Port No. 005, Peabody Essex Museum, Salem, 2012; Hotel MARCO, Museum of Contemporary Art, Vigo, 2011; A Modest Veil, Vancouver Art Gallery, 2010; Michael Lin, OK Offenes Kulturhaus, Linz, 2007; Michael Lin, Kunsthalle Wien, Vienna, 2005. Selected exhibitions (group): 3rd SingaporeBiennale, 2011; Memories of the Future, Leeum, Samsung Museum of Art, Seoul, 2010; 4th Fukuoka Asian Art Triennale, 2009; Space For Your Future, Museum of Contemporary Art, Tokyo, 2007; Notre Histoire, Palais de Tokyo, Paris, 2006; 2nd Guangzhou Triennial, 2005.

‘... Lin goes out looking for ... anonymous patterns loaded with collective memories.’

Yuko Hasegawa, Chief Curator, Museum of Contemporary Art, Tokyo

Model Home

2013
Auckland Art Gallery

For the 5th Auckland Triennial Michael Lin and Atelier Bow Wow collaborated with Professor Andrew Barrie from the University of Auckland to create a life-size paper document of worker housing element of the Model Home project, the sound and video artists were Nanli Lou and Ren Cheng. Andrew Barrie is a specialist in the Japanese technique of paper model building known as okoshi-ezu (folding drawing), and has adapted aspects of this technique for Model Home 2013.


Venues
Earth, 2009 (video still)

Earth, 2009 (video still)

The Cloud of Unknowing, 2011 (video still)

The Cloud of Unknowing, 2011 (video still)

born 1976 Singapore.
Lives and works in Singapore.

 

Ho Tzu Nyen is a multidisciplinary artist interested in the construction of history and the relationships between still, moving and painted images. Immersive and dreamlike, his films incorporate elements of painting and performance as he extends the boundaries of traditional filmmaking. Ho’s work is characterised by richly detailed and dramatic scenes in which he draws on cultural references from Eastern and Western historic and contemporary sources.

Ho has stated, ‘I wanted to make a film that’s packed dense with so many references that everyone can draw their own visions and hallucinations out of the same source.’ In the recent works including Earth and The Cloud of Unknowing Ho mixes elements from contemporary life with references from traditional Chinese landscape and classical Western painting.

Selected exhibitions (solo):

MAM Project 016: Ho Tzu Nyen, Mori Art Museum, Tokyo, 2011; Earth, Artspace, Sydney, 2011. Selected exhibitions and screenings (group): No Country, Guggenheim Museum, New York, 2013; 54th Venice Biennale, 2011; 6th Asia-Pacific Triennial, 2009; 2009 Cannes International Film Festival; 66th Venice International Film Festival, 2009;1st Singapore Biennale, 2006; 2006 Hong Kong International Film Festival; 3rd Fukuoka Asian Art Triennale, 2005; 26th São Paulo Biennial, 2004; 2004 Bangkok International Film Festival.

‘Ho’s work extends the composition and space of painting to heightened audio-visual-spatial environments ... The experience can be uneasy and agitating.’

Charlotte Huddleston, Director, St Paul St Gallery, AUT University, Auckland

The Cloud of Unknowing

2013
ST Paul St

installation with single channel HD video projection, 13-channel sound, smoke machines, floodlights, show control system
28:00min
courtesy of the artist


Venues
Foreigners Everywhere (Chinese and French), 2013

Foreigners Everywhere (Chinese and French), 2013

Foreigners Everywhere (Chinese), 2008

Foreigners Everywhere (Chinese), 2008

Foreigners Everywhere (Tibetan), 2010

Foreigners Everywhere (Tibetan), 2010

(formed 2004)
Lives and works in Paris, France

Claire Fontaine is a Paris-based collective, founded in 2004. After lifting her name from a popular brand of school notebooks, Claire Fontaine declared herself a ‘readymade artist’ and began to elaborate a version of neo-conceptual art that often looks like other people’s work. Working in neon, video, sculpture, painting and text, her practice can be described as an ongoing interrogation of the political impotence and the crisis of singularity which seem to define contemporary society today.

http://www.clairefontaine.ws/

Selected exhibitions (solo):

1493, Espace 1414, San Juan, 2013; Redemptions, CCA Wattis, San Fransisco, 2013; Carelessness causes fire, Audian Gallery, Vancouver, 2012; Breakfast starts at midnight, Index, The Swedish Contemporary Art Foundation, Stockholm, 2012; M-A-C-C-H-I-N-A-Z-I-O-N-I, Museion, Bolzano, 2012; P.IG.S., MUSAC, León, 2011; Economies, Museum of Contemporary Art, Miami, 2010; After Marx April, After Mao June, Aspen Art Museum, 2009. Selected exhibitions (group): When Attitudes Became Form Become Attitudes, CCA Wattis, San Fransisco, 2013; The Deep of the Modern, Manifesta 9, Genk, Limburg 2012 Unrest: Revolt Against Reason, apexart, New York, 2012; 9th Shanghai Biennale, 2012; Re-writing Worlds (Art and Agency), 4th Moscow Biennale, 2011; 12th Istanbul Biennial, 2011.

‘Not only are there foreigners everywhere, but we are foreigners everywhere.’

Linda Tyler, Director, Gus Fisher Gallery

Foreigners Everywhere (Chinese)

2008
Auckland Art Gallery

neon, framework, transformer, cables
215 x 1300 x 50 mm

Foreigners Everywhere (French)

2011
Auckland Art Gallery

neon, framework, transformer, cables
110 x 1720 x 50 mm

Foreigners Everywhere (Korean)

2013
Auckland Art Gallery

neon, framework, transformer, cables
148 x 1535 x 50 mm

Foreigners Everywhere (Hindi)

2013
Auckland Art Gallery

neon, framework, transformer, cables
185 x 2120 x 50 mm

Foreigners Everywhere (Samoan)

2013
Auckland Art Gallery

neon, framework, transformer, cables
110 x 1240 x 50 mm

Foreigners Everywhere (Māori)

2013
Auckland Art Gallery

neon, framework, transformer, cables
130 x 2292 x 50 mm
courtesy of the artist

Foreigners Everywhere (Māori)

2013
Gus Fisher Gallery

neon, framework, transformer, cables
130 x 2292 x 50 mm
courtesy of the artist


Claire Healy and Sean Cordeiro

Venue
dwell,2013

dwell,2013

dwell,2013

dwell,2013

Sean Cordeiro
Born 1974, Sydney, Australia
Claire Healy
Born 1971, Melbourne, Australia

 

Claire Healy and Sean Cordeiro met at the New South Wales College of Fine Arts in the 1990s. Avid travellers, their peripatetic lives inform much of their practice as they explore ideas of home and transience, and engage with issues such as real estate, permutations of space and modes of living. They are best known for transforming everyday objects into large-scale and provocative sculptures and installations. Through the presentation of the deconstructed and the reassembled Healy and Cordeiro literally unpack notions of domicide, and make us question our own materialistic tendencies and the impermanence of occupation.

http://www.claireandsean.com/

Selected exhibitions (solo):

Claire Healy & Sean Cordeiro, Museum of Contemporary Art Australia, Sydney, 2012; Are We There Yet? Corcoran Gallery of Art, Washington DC, 2011; Par Avion, Frey Norris Contemporary & Modern, San Francisco, 2011; Future Furnishings, Nature Morte Gallery, Berlin, 2012; The Ultimate Field Trip, Akiyoshidai International Artist Village, Yamaguchi, 2010; Prems, La BF15, Lyon, 2009. Selected exhibitions (group): Setouchi Art Festival, Setouchi, 2010; 53rd Venice Biennale, 2009; Optimism, Gallery of Modern Art | Queensland Art Gallery, Brisbane, 2008.

‘Enigmatic clues hint at a narrative – somewhat playful, somewhat uncomfortable...’

Beatrice Gralton, Curator Visual Arts, Carriageworks, Sydney

dwell

2013
Auckland Art Gallery

mixed media installation
dimensions variable
courtesy of the artists, Roslyn Oxley9 Gallery, Sydney and Gallery Wendi Norris, San Francisco.

 

 


Venues
test pattern [live set], 2008, photograph by Liz Hingley

test pattern [live set], 2008, photograph by Liz Hingley

A [for 6 silos]

A [for 6 silos]

Born 1966, Gifu, Japan
Lives and works in Paris, France

Ryoji Ikeda is one of Japan’s leading electronic composers and visual artists who successfully works across both visual and sonic media. His work involves elaborate orchestrations of sound, visuals and mathematical notions which explore the characteristics of sound and result in immersive live performances and installations.

http://www.ryojiikeda.com/

Alongside his musical pieces, Ikeda continues to work on long-term projects including test pattern, 2008–ongoing in which he developed a system that converts any type of data – text, sounds, photographs and movies – into barcode patterns and binary notation consisting of 0s and 1s.

Selected exhibitions:

Beam In Thine Own Eye, Museum of Old and New Art, Hobart, 2013, test pattern [no5], Carriageworks, Sydney, 2013; test pattern [ 100m version],Ruhr Trienniale, Duisburg, 2013; Ryoji Ikeda, DHC-ART, Montréal, 2012; The Transfinite, Park Avenue Armory, New York, 2011; datamatics, Museo de Arte, Bogota, Colombia. His performances datamatics [v.2], test pattern [live set] and superposition have been presented all over the world including Pompidou Centre, Paris, Tate Modern, London and Palazzo Grassi, Venice.

‘[Ikeda’s] projects ... are sensational, beautiful and challenging.’

Hou Hanru, Curator, 5th Auckland Triennial

A [for 6 silos]

2013
SIlo 6

site-specific six-channel sound installation
continuous loop
courtesy of the artist

test pattern [live set]

2013
Galatos

audiovisual concert
concept, composition: Ryoji Ikeda
computer graphics, programming: Tomonaga Tokuyama


Studio Mumbai (Bijoy Jain)

Copper House II, Chondi, Maharashtra, India, 2010

Copper House II, Chondi, Maharashtra, India, 2010

Palmyra House, Nangaon, Maharashtra, India, 2007

Palmyra House, Nangaon, Maharashtra, India, 2007

Palmyra House, Nangaon, Maharashtra, India, 2007

Palmyra House, Nangaon, Maharashtra, India, 2007

Born 1965, Mumbai, India
Lives and works in Mumbai, India

 

Bijoy Jain is an architect and founder of Studio Mumbai, a contemporary and award-winning architectural practice drawing on the traditional skills and expertise of India’s craftspeople. Creating a studio where skilled stonemasons, wood workers and other traditional trades do not simply execute his projects but are regarded as advisors and collaborators, Jain has enabled a rediscovery of traditional knowledge and the sustainable use of local resources.

Drawing upon the Indian landscape and regarding it as a resource, Studio Mumbai have created buildings as diverse as private residences, public spaces, research centres and rural retreats formed by local climatic conditions, materials and technologies.

‘An architectural practice almost unique in the world, Studio Mumbai redefines the construction process...’

Andrew Barrie


Venue
Just in time for too late, (2013)

Just in time for too late, (2013)

Just in time for too late, (2013)

Just in time for too late, (2013)

Born 1943, Grand Rapids, United States of America
Lives and works in San Francisco, United States of America

Emory Douglas created the visual identity for the Black Panther Party and his iconic images came to symbolise the struggles of the movement. As Minister of Culture for the "Black Panther Party" from 1967 until the 1980s, Douglas’ work, described as ‘Militant Chic’, featured in most issues of the newspaper The Black Panther. His work is characterised by strong graphic images of young African American men, women and children. He used the newspaper’s popularity to spur people to action, portraying the poor with empathy and as being unapologetic and ready for a fight.

http://www.emorydouglasart.com/

Selected exhibitions (solo):

Black Panther: The Revolutionary Art of Emory Douglas, Urbis, Manchester, 2008–9; Black Panther: The Revolutionary Art of Emory Douglas, MOCA Pacific Design Center, Los Angeles, 2007–8. Selected exhibitions (group): 16th Biennale of Sydney, 2008; The Black Panther Rank and File, Yerba Buena Center for the Arts, San Francisco, 2006.

‘The values of equality, racial economic justice and fairness are just as relevant today as they ever were.’

Nigel Borell, Kaiwhakahaere, Toi o Manukau, Auckland Council

Untitled

2013
Fresh Gallery Otara

Emory Douglas, Rigo 23, Wayne Youle
painted mural
2940 x 11300
Courtesy of the artists