Lisa Walker, keep an eye of something or two | Contemporary Hum (2024)

Curated by Karl Chitham and presented through a partnership between Te Tuhi, The Dowse and the Office for Contemporary Art Aotearoa (OCAA), Shannon Te Ao’s three-channel moving image and sound installation, Ia rā, ia rā (rere runga, rere raro) - Everyday (I fly high, I fly low)is Aotearoa New Zealand’s contribution to the 15th Gwangju BiennalePavilion.

The 2024 Gwangju Biennale Pavilion takes place alongside the 15th Gwangju Biennale curated exhibition, Pansori, a soundscape of the 21st century, by artistic director Nicolas Bourriard, which explores sound, visual narrative and the mapping of our complex contemporary world. For Pavilion, more than 30 international arts and culture organisations invited by the Gwangju Biennale Foundation present a diverse array of exhibitions at locations across the city of Gwangju, resonating with the theme of the main exhibition, while constructing distinctive exhibitions that offer perspectives from differentangles.

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Curated by Amelia Winata, this group exhibition presents works from eight Australian and international artists, each of whom pervert industrial and bureaucratic forms through grotesquery in their work. Specifically, the exhibition frames these processes through the metaphor of digestion. All the artworks begin with a more or less industrial material foundation that the artists then subvert through methods like disintegration, melting or poking holes. Inherent to And This Time the Well Is Aliveare larger themes of power andwealth.

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Six artists from Aotearoa New Zealand participate in the 2024 Busan Biennale, titled Seeing in the Dark: Abigail Aroha Jensen, Jasmine Togo-Brisby, John Vea, Layne Waerea, Sorawit Songsataya and Sriwhana Spong. The Biennale is led by Co-Artistic Directors Vera Mey, from Aotearoa, and PhilippePirotte.

With venues including the Busan Museum of Contemporary Art and the Busan Modern and Contemporary History Museum, the event features over 70 domestic and international artists exploring various spiritual and cultural realms. This edition, co-curated by Mey and Philippe Pirotte, aims to reimagine human existence amidst darkness and incorporates concepts like "pirate utopia" and "caliber". Unique exhibition spaces, such as the historic Bank of Korea building, and collaborations with cultural organisations promise an immersive experience, while programs like "pirate panel" and "pirate carnival" foster dialogue and artisticexpression.

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Established by HERALBONY, a Japanese art agency that challenges preconceptions of disability through art, The HERALBONY Art Prize aims to spotlight the talents of artists with disabilities from around the world and provide them with further opportunities tothrive.

Open throughout August and September this year, The HERALBONY Art Prize 2024 Exhibitionfeatures all 62 works from 58 awardees, and includes Tāmaki Makaurau-based artist Susan Te Kahurangi King, who has won the 2024 Judges’ Special Award (Christian BerstAward).

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Curated by I-Chien Chen, Multi Maintenance considers the working culture within contemporary art and the forces shaping it. Featured artists Andi Crist, Joseph Josué Mora, Kye Benjamin Stone, Liang-Yu Huang, Li-Ming Hu, and Willem De Haan reflectively examine artistic labour and the development of artistcareers.

To sustain an art practice, artists are often compelled to self-organise with exceptional flexibility. They frequently engage in multiple employments and work long hours without proper rates and insurance. Meanwhile, artists are perpetually ready to seize open calls and residency opportunities, shifting from one short-term project to another, advancing their careers through mobility andadaptability.

Li-Ming Hu performs on 9 August 2024 from 7pm.

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On the confusing and crucial permeability of architecture, Sites of Passage is an intergenerational exhibition on flows and configurations, reflecting on architecture as an extension of the human species compared to animals who live theirform.

As social and cultural beings in constant transformation, we employ built settings as tools to pass thresholds. Simultaneously, the human body scale default infuses such corporeal features of buildings, creating asymmetric borders for whom and what could pass. For biological life to survive, architecture requires a free passage between inside and outside, enabling a vital movement from protected to open air. In this exhibition, the sound of Konstnärshuset's rhythmic breathing organs (its ventilation system) guides us through scores and possible spatial orientations through the works of artists Kah Bee Chow, Mariana Manner, Matilda Tjäder w/ Mathias Tang, and RasmusMyrup.

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"I question the structure of patriarchal societies' representations. [The work] attempts to destruct old orders of representation and re-inscribe them with codes which embody reversal and posit spiritual freedom." - Vivian Lynn,1992

Beyond the Either/Or is an exhibition dedicated to a series of the same name initiated by Vivian Lynn in 1983, never before shown outside of Lynn's native Aotearoa New Zealand. The work comprises six diptychs: vertically paired framed graphite and acrylic drawings positioned beneath sculptural reliefs, cast on the forms of metal cyclone gates (also the central motif in Lynn's major 1982 installation G(u)arden Gates, collection of Te Papa Tongarewa, Museum of New Zealand). It was first exhibited as a set in 1989, and again in1992.

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Curated by Ricardo Greco and developed in dialogue with artists David Rickard and Mariateresa Sartori, AETHER/ETERE la presenza dell’assentebrings together recent works of different mediums, including installations, prints, sounds anddrawings.

These works explore the dichotomy between absence and presence, a concept that, in medieval times, was represented by the fifth element: aether. Aether represented the matter that filled space and voids, an ephemeral material that was not visible but was always present. This ancient element becomes a metaphor for a quest for knowledge that leads to questions about present experiences and how we perceive them. Indeed, humanity has consistently probed questions that are often unanswered, thus changing our vision and what webelieve.

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Featuring nine artists, this exhibition explores how time and sport intertwine, shaping performances and competitions and offers an immersion between dynamism andcontemplation.

Embroideries capture bodybuilders in free-falling, outsized bodies, while cut-out ping-pong balls float suspended, defying gravity. A ball seems to bounce on the glass of the greenhouse, inviting us to follow it indefinitely. A basketball hoop arranged in reverse symbolizes the reversal of a rule, while a giant embroidered suspended stopwatch and a motionless bow arrow underline the illusion of stopped time. A podium without a surface proves impassable except mentally… And History invites itself when a blue sail transports us to 1900 revisiting Phoebus, the first regatta sailing ship, while a photograph carries us towards an ancient utopia far from the grand narratives thatembellish.

By playing with time, the ultimate gauge of performance, between absurdity and reflection, history and myth, the artists offer us their views during the exhibition, and invite us to a deep reflection on the ephemeral and yet eternal nature of the OlympicGames.

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Stemming from a curatorial collaboration between Chris Rotsaert, Jonas Vandeghinste and Jonas Lescrauwaet, this group exhibition features a selection of 14 contemporary artists and a collective who, each in their own way and often implicitly and associatively, respond to what a beguinage once was and still brings abouttoday.

In de luwte van het hof features work by Angyvir Padilla, Celina Vleugels, Corry Vandermassen, Chris Rotsaert & maneuver/ BEGGA Collective, Esther Venrooy, Hannah Hoebeke, Ilke Gers, Ine Desmet, Kato Six, Lize Maekelberg, Merel Stolker, Nel Verbeke, Nienke Baeckelandt, Shervin/ e Sheikh Rezaei and ZeliBauwens.

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This exhibition explores the work of contemporary artist Brent Harris. Moving between figuration and abstraction, Harris deploys both humour and the grotesque to examine psychological subject matter and visualise his complex and contradictory feelings. Indeed, the exhibition title refers to Harris’ interest in sociologist Kurt H. Wolff’s notion of ‘surrender and catch’ as a process for self-analysis and as a method ofworking.

Addressing the experience of the body and desire, faith (and the question of what follows death), and childhood memories of porous familial relationships, Harris’ ambiguous forms derive from his use of the Surrealist technique of automatic drawing to access unconscious imagery. Working concurrently across painting, printmaking and drawing, Harris has developed a generative methodology, where each medium feeds the development of his art in unexpectedways.

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The NSW Visual Arts Fellowship (Emerging) award profiles the breadth and dynamism of emerging contemporary artists in New South Wales, Australia. Each year, a shortlist of finalists is selected by an independent judging panel and supported by a curatorium to develop work for a group exhibition. The six 2024 finalists are: Kalanjay Dhir, Remy Faint, Charlotte Haywood, Gillian Kayrooz, Kien Situ and TaliaSmith.

For The 2024 NSW VAF(E)exhibition, each shortlisted artist invites audiences to cross a threshold and encounter diverse contexts, cultures and sites, in an active negotiation of time and space. Things are in flux, undergoing transformation, levitating and in suspension, or becoming hybridised, inciting the notion that nothing is ever fixed. Through this lens, the artists urge us to interrogate our pasts, contemplate our present and speculate on our futures, in an attempt to understand who we are today and how we may connect with each othertomorrow.

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Francis Upritchard's Swamp Creature (2022) and Inhabited Stone (2024) are included in DAUWRAUW: A Bruegelian Landscape at the Castle Estate Marnis de Sainte Aldegonde inBornem.

Curated by Joost Declercq, the group exhibition is centred on the master engravings of Pieter Bruegel the Elder. Upritchard’s work draws on figurative sculpture, blending references from literature to ancient figures, and burial grounds to science fiction. Upritchard is one of seven artists who have been commissioned to create new artworks or reformulate existing artworks within the Castle'sgrounds.

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Curated by Henri Loyrette, Gauguin’s World: Tōna Iho, Tōna Ao presents a look at the enduring art of French Post-Impressionist Paul Gauguin. Featuring some of his most recognised masterpieces, many of which were created in the Pacific region, the exhibition offers new perspectives on Gauguin’s life and work, his artistic influences and networks, as well as his historical impact and contemporarylegacies.

Like other contemporary and historic artists, Gauguin’s life and art have increasingly and appropriately been debated in Australia and around the world. In today’s context, Gauguin’s interactions in Polynesia in the later part of the 19th century would not be accepted and are recognised as such. The National Gallery will explore Gauguin’s life, art and controversial legacy through talks, public programs, a podcast series and films. Also presented during the exhibition season will be a display of collection works by contemporary artists from the Pacific and furtherafield.

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Duty of Care: Part One is an international group show curated by Stephanie Berlangieri, Angela Goddard and Robert Leonard, which explores familial, institutional, and professional care; care and gender; care and race; care and medicine; artists as healers; and extreme care. In the art world, there’s a new emphasis on care, with a focus on gentle attentiveness and good works, and a fear of triggering hurt. In curatorial practice—and in culture more broadly—'care' has become a buzzword, and is being used to reset policy and practice. However, too often, the complexity and troublesomeness of care are smoothed over by liberal goodintentions.

Duty of Care features artists Artur Żmijewski, Benetton/Oliviero Toscani, Betty Muffler, Cassie Thornton, Dane Mitchell, Dani Marti, Florian Habicht, HOSSEI, Joshua Citarella, Julian Dashper, Kathy Barry, Leigh Ledare, Martin Creed, Michael Parekōwhai, Michael Stevenson, Mike Kelley, R.D. Laing, Tabita Rezaire/Amakaba and TeresaMargolles.

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Installed on the Ng Teng Fong Roof Garden of the Singapore's National Gallery is a new commission by Lisa Reihana. Made from over 114,000 shimmering discs reflecting the sun and an accompanying soundscape of a wind chime, GLISTEN is a kinetic sculpture emerging from Reihana’s longstanding research into Māori ancestral knowledge, materials andcostumes.

Drawing from Indigenous handwoven disciplines such as Southeast Asia’s Songket and Māori Tāniko weaving, Reihana innovatively integrates contemporary designs to craft a mural of playful, shimmering colours activated by its surroundings. This sculptural mural honours the traditions, labour and pivotal roles of Songket and Tāniko’s women weavers as makers, communicators, knowledge bearers and mediators prior to the Asia Pacific region’s first contact with Western culture. GLISTEN points towards the plurality of feminisms that existed in pre-colonial societies and continue to persist in the AsiaPacific.

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Orbiting body is an exhibition that explores the moving image through the works of five artists: Apichatpong Weerasethakul, Araya Rasdjarmrearnsook, Pratchaya Phinthong, Sathit Sattarasart and Sorawit Songsataya. Each artist utilises images to create an interval, a passage of perception that reflects the sense of distance—both physical and cognitive—between the viewer and the work. The interplay of these distances is what determines the movement of thoughts, feelings and bodies within the exhibitionspace.

Comprising installation, video, photography and sculpture, the exhibition invites us to take time and reflect on the process of visual perception, as it is shaped by movement, interpretation, and interactivity, as well as the assembly, dispersal and revitalisation ofimages.

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Curated by Katharina Klang, The Park as Lover is the fifth edition of the Lantz'scher Sculpture Park, a project of the Düsseldorf Art Commission. In the three-month exhibition, performance and event programme, we encounter Lantz'scher Park in Lohausen from the perspective of its non-human residents as an equal counterpart—aslovers.

Contrary to the Western anthropocentric logic of importing and cultivating parks which dictates boundaries such as nature/culture, animal/human, man/woman, The Park as Lover wants to look at symbiotic relationships and the creative abilities of all beings. What do the trees tell us? Is bird song more than a necessary technique? What can we learn from the self-organizing powers of microbes? At the heart of this inquiry is the notion of a comprehensive kinship of all species and the reversal of learned subject-objectattributions.

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Kate Newby’s exhibition anything, anythingaddresses the Klosterruine Berlin as a place of permanent change, drawing on the processual and allowing the outside world to become a part of it. Through subtle and expansive interventions into existing structures, she draws attention to often overlooked details in everyday life. In doing so, she gives preference to direct experience and establishes a relationship with the built space and its livedenvironment.

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Co-curated by Freyja Reynisdóttir and Wolfgang Hainke, this major exhibition consists of works created in various mediums that address, or are connected to whales in one way or another, made in the spirit of the Fluxus Movement and MarcelDuchamp.

Among the pieces exhibited in Stranded – W(h)ale a Remake Portfolio – More Than This, Even is a remake of Duchamp’s 1968 La Boîte-en-valise (Box in a Suitcase), as well as a life-size reprint of a 1669 painting by Franz Wulfhagen, one of Rembrandt’s pupils, which shows a strandedwhale.

Also on display are works by several Fluxus artists such as AY-O, Nam June Paik, Emmett Williams; younger, Fluxus-adjacent artists, including Boris Nieslony, Ann Noël, Jürgen O. Olbrich, Pavel Schmidt, Natalie Thomkins; and 20th century avant-garde artists Richard Hamilton, Allan Kaprow and DanielSpoerri.

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After being presented at the 59th Venice Biennale in 2022 and touring Sydney's Powerhouse Museum in 2023, Yuki Kihara’s Paradise Camp returns home to Sāmoa, opening on 1 June to coincide with Sāmoa’s 62nd Independencecelebration.

Paradise Camp is centred around a suite of twelve photographs which recast and “upcycle” select paintings by French post-impressionist painter Paul Gauguin (1848—1903) believed to have been inspired by Sāmoa. In addition, Kihara's works feature Fa’afafine and Fa’atama models – a third gender community unique to Sāmoan culture, who also make up part of the cast and crew of close to one hundred people, photographed on locations including rural villages, churches, plantations and heritage sites on Upolu Island. This iteration of Paradise Campalso features new works byKihara.

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Embracing the arts for systemic change, NaturArchy is an exhibition that probes issues of deep ecology, sustainability and the decolonisation of nature. It features a number of art and science works explore and query the entanglement of human and non-human, green technologies and new materials, nature and law, ecology and economy, ancient and newknowledge.

Among the works in NaturArchy, is a four-channel video installation by Berlin-based artist Jemma Woolmore, titled These Relations Are Forever, which brings together agricultural policy, toxicology, water quality research, environmental law, and art around the common theme of chemical pollution. Using the scientific practices of four women researchers as a thematic thread, Woolmore's work looks in particular at Endocrine Disrupting Chemicals (EDCs) and their increasingly frequent and lasting presence within our bodies and lives, via food, soil andwater.

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Curated by Maureen Mooren, head of design at the Nieuwe Instituut and professor at the Academy of Fine Arts (HGB), and Armand Mevis, graphic designer and head of Werkplaats Typografie, Forms of (ex-)Change invites graphic designers from the Netherlands and Germany to explore change in relation to themes of personal importance. While the exhibition is about exchange, it is also the result of exchange – between disciplines and practices, and of knowledge andculture.

Originally developed for the Leipzig Book Fair 2024, Forms of (ex-)Change is a collaboration between the Nieuwe Instituut and the Dutch graphic design programme at Werkplaats Typografie, the independent Leipzig bookshop MZIN, and the System Design class at the Academy of Fine Arts (HGB) inLeipzig.

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Spanning moving image, sound, sculptural intervention and performance, this group exhibition tests the limits of the ‘arena’— the setting where people come together to collectively witness and participate in public life. Works consider the social and structural architectures that bind these spaces, and by extension, the elastic nature of performance and reality, audience and participant. The same crowd never gathers twice invites audiences to consider their own presence and agency inside the gallery: their role as passive spectators versus the potential for a more active form ofengagement.

Yona Lee presents a new installation spanning Buxton’s Heritage Gallery. The artist’s steel-pipe sculptures are known for their playful, symphonic conjurings of public space and behaviours, which collapse and remix the usually-separated spheres of the home, the city andtransit.

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Caroline Earley and Kate Walker are part of a group of three artists and two scientists from Boise State University, Idaho, who present studio and research projects in the 2024 Personal Structures exhibition, looking at human relationships to landscapes and land use in the western United States during a time of climate crises and landdegradation.

Earley’s ceramic sculpture consists of interdependent biomorphic forms inspired by ideas of symbiosis; her work aiming to embody the complex interrelationships between plants and microscopic life within the soil food web, and its role in carbonsequestration/cycling.

Walker’s performance-based videos feature group actions in Idaho landscapes, and includes the work, Region 10, which features performers singing in front of a backdrop of 1950’s nuclear airplane engines in an expansive desert backdrop of grass and sagebrush.

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Kāpiti-based Mizuho Nishioka’s photographic presentation in Beyond Boundaries, the 2024 Personal Structures exhibition organised by the European Cultural Centre, forges a representation that involves multiple perspectives and interconnectedness, oscillating between subject and performance, where recording devices are liberated into the natural environment and allowed to interact throughout the duration of the recordingprocess.

Movement_17; Tasman Seaaims to navigate the landscape guided by the interplay between the sea's organic processes, its creatures, and static legislative boundaries. This intentional engagement allows the sea to shape its likeness, free from our attempts to stake claims or impose limitations. Nishioka's body of work embraces duality and paradox, exploring the tension between the disrupted, the natural, and the human-made, and highlights the complex interplay between these contrasting elements within the naturalenvironment.

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The 60th International Art Exhibition at La Biennale di Venezia is titled Stranieri Ovunque – Foreigners Everywhere and is curated by Adriano Pedrosa, Director of Museu de Arte de São Paulo. Drawing its name from a series of multilingual neon sculptures by the art collective Claire Fontaine, Stranieri Ovunque – Foreigners Everywherehas two points of focus: theNucleo Storico, which focuses on modernisms in the Global South, and the Nucleo Contemporaneo, which focuses on four subjects related to the notion of the "stranger": the queer artist, who has moved within different sexualities and genders, often being persecuted or outlawed; the outsider artist; the folk artist; and the indigenous artist, frequently treated as a foreigner in his or her ownland.

This year's International Exhibition includes the most Aotearoa artists to date: Brett Graham (Ngāti Koroki Kahukura, Tainui), Fred Graham (Ngāti Koroki Kahukura, Tainui), Mataaho Collective, Sandy Adsett (Ngāti Pahauwera) and Selwyn Wilson (Ngāti Manu, NgātiHine).

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Leading contemporary Māori artist Robert Jahnke presents Te Wepu MMXXIIIin Beyond Boundaries, the 2024 edition of the Personal Structures exhibition, organised by the European Cultural Centre.

A tribute to the Māori prophet Te Kooti Arikirangi Te Tūruki (1830–1893), Te Wepu MMXXIII repurposes symbols loaded with significance—the crescent moon, cross, mountain, bleeding heart, and star—alongside colours alluding to the Union Jack, to reinvigorate them as symbols of resistance within the neo-colonial present. Known for a practice that straddles design, illustration, animation, and sculpture, Jahnke's work is typically based on political issues that face Māori, the relationship between Māori and European colonisers, and the impact of Christianity on Māoriculture.

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As part of Beyond Boundaries, the 2024 Personal Structures exhibition organised by the European Cultural Centre, Te Whanganui-a-Tara Wellington-based artist Caitlin Devoy presents a new series of silicone sculptures and a short video work that combines humour with the erotic and explosive politics of the body. BODYOBJECTS pits laughter and parody against sexist and binary attitudes to gender, bodies, and value in artmaking.

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As part of Beyond Boundaries, the 2024 Personal Structures exhibition organised by the European Cultural Centre, Areez Katki presents a series of textile and earth-based works that reframe the practices and lineages of language and learning as rooted in care, play, and communion with one'sancestors.

This installation includes nine tiles made with kaolinite clay found in the artist's family's backyard in Aotearoa New Zealand to create a sensitive portrait of his late grandmother, together with 17 embroidered handkerchiefs that respond to the 17 Ha’s of the prophet Zarathushtra’s Gathas, the foundational hymns ofZoroastrianism.

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