All images (+7)
Due to the announcement on Tuesday 17 August regarding the change of Tāmaki Makaurau Auckland to Alert Level 4 from 11:59pm tonight, Artspace Aotearoa will temporarily close the gallery to the public as we assist the collective attempt to slow the spread of COVID-19 down. The team feels responsible for the safety of our community, therefore we feel it is necessary to close the gallery until further notice.
We have been preparing for this and have a wealth of experience within our team to make sure there will be continuous but alternative programming for our exhibition series When The Dust Settles, which was supposed to open on Wednesday 18 August, 2021. We would like to thank the artists, dealer galleries, Webbs auction house and supporters in the artistic community who made this possible.
Artspace Aotearoa is proud to commence the first instalment of When The Dust Settles, an ambitious and unconventional exhibition series and fundraiser taking place between 18 August — 19 October 2021.
When is the first of four phases to this programme. Read more about the artists included in When and their relationships to Artspace Aotearoa below:
Mark Adams (b. 1949, Christchurch) is one of Aotearoa New Zealand’s most distinguished photographers. Since the 1970’s, Adams has worked with large-format cameras to produce images of significant sites across Aotearoa New Zealand. His widely acclaimed photographs focus on places of cultural, ecological and historic significance. His practice operates in the bi-cultural space between Te Ao Māori and Te Ao Pākehā. His photographs have been exhibited at leading galleries and major biennials throughout Aotearoa New Zealand and the world including Auckland Art Gallery Toi o Tāmaki; Museum of New Zealand Te Papa Tongarewa; Christchurch Art Gallery Te Puna Waiwhetu; Govett Brewster Art Gallery and the Queensland Art Gallery. In 2018, Adams’ photographs were exhibited at the landmark exhibition Oceania at the Royal Academy, London.
Mark Adams is represented by Two Rooms, Tāmaki Makaurau Auckland.
Mark Adams at Artspace Aotearoa
Free New Zealand Art (group), 16 March – 16 April 2005, curated by Tobias Berger
Curiosity Killed The Gap (group), 21 November – 20 December 2003, curated by Tobias Berger
Billy Apple® (1935 – 2021) ONZM was awarded an ICON AWARD by the Arts Foundation of New Zealand in 2018. Beginning life as Barrie Bates, Billy Apple® created a new identity and brand in 1962. From this time Apple was at the forefront of Pop and Conceptual art across an incredible six-decade career. Since the early 1960s and his time at the Royal College of Art and his participation in the seminal 1964 exhibition American Supermarket at Bianchini Gallery in New York, Apple operated in the space between art, market and commercial dynamics and the complexities of the art object in the age of mass consumption and the dynamics of reproduction and image dissemination. Apple became a registered trademark in 2007, formalising his art brand status and his interest in intellectual property. Apple was the subject of a major career retrospective in 2015 at the Auckland Art Gallery Toi o Tāmaki entitled Billy Apple: The Artist Has to Live Like Everybody Else. His work is held in public gallery collections in Aotearoa New Zealand, Australia and Tate Britain, UK and the Solomon R. Guggenheim Museum, New York.
In recent years Apple has exhibited extensively in Aotearoa New Zealand, Berlin, Shanghai, London, Hong Kong and Rotterdam. In 2019, Apple created a unique collaboration with the Tūhoe artist and activist Tame Iti, situated in Ruatoki with the installation of his classic Basic Needs series translated into Te Reo Māori and installed at Te Rewarewa Pā. In 2020 Apple’s career trajectory was the subject of two important publications, The Mirror Steamed Over by Anthony Byrt and Billy Apple: Life/Work by Christina Barton. Apple had a long and fertile relationship with Artspace dating to the 1990s. His work was featured in numerous solo and group exhibitions.
Billy Apple® is represented by Starkwhite, Tāmaki Makaurau Auckland.
Billy Apple® at Artspace Aotearoa
Biographies of Transition: Too Busy To Think (group), 24 March – 28 April 2017
RGB(solo): Red Wall for Artspace, 2015, Green Wall, 2016, Blue Wall, 2017
SUCK (solo), 6 March – 20 March 2015, curated as part of POETRY IN MOTION, March – May 2015
Free New Zealand Art (group), 16 March – 16 April 2005
Tales of Gold (solo), 16 June – 3 July 2004, curated by Tobias Berger
35K (group), 15 June – 3 July 2004, curated by Tobias Berger
Money For Nothing (group), 10 May – 29 June 2003
Who Do I Think I Am, 13 – 30 October 1999, curated by Jim Barr, Mary Barr and Robert Leonard
Action Replay: Post Object Art, 7 October – 28 November 1998, a joint project with Govett-Brewster Art Gallery, Ngāmotu New Plymouth, with the support of Auckland Art Gallery, Tāmaki Makaurau Auckland
Self Portraits 1962-67, 6 August – 29 August 1997, curated by Wystan Curnow and staged at George Fraser Gallery
Billy Apple: Transactions, 17 March — 17 April 1987, staged at George Fraser Gallery
Tales of Gold: The Tale of Ray was published on the occasion of an exhibition of the same name in collaboration with Wystan Curnow, curated by Tobias Berger and exhibited at ARTSPACE from 16 June to 3 July 2004. It includes an essay by Wynstan Curnow and photographic documentation of the exhibition. A second edition was published by Billy Apple® in 2006.
Stella Brennan is an artist, writer and curator based in Tāmaki Makaurau Auckland. Her work has been shown in Aotearoa New Zealand, Australia, Asia, North America and Europe. Her videos have been exhibited in the Sydney and Liverpool Biennials and her installation Wet Social Sculpture, featuring whale song, psychedelic film and a fully operational spa pool, was a nominated finalist in the 2006 Walters Prize.
Stella curated the exhibitions Nostalgia for the Future (Artspace, Tāmaki Makaurau Auckland 1999), Dirty Pixels (Artspace , the Adam Art Gallery, the Dunedin Public Art Gallery and the Waikato Museum of Art and History, 2002-3), and co-curated Cloudland: Digital Art from Aotearoa New Zealand (The Substation Singapore, 2008). She has attended residencies in New York, Sydney, Kirikiriroa Hamilton and Ngāmotu New Plymouth. Stella has written essays for artists including Ann Veronica Janssens and Patricia Piccinini, as well as art criticism for magazines including Art Asia Pacific, Eyeline Magazine, The New Zealand Listener and Art New Zealand. Stella co-founded the Aotearoa Digital Arts discussion list. In 2008, she and Su Ballard edited the Aotearoa Digital Arts Reader, the first comprehensive text on digital arts practice in New Zealand.
Stella Brennan is represented by Trish Clark Gallery, Tāmaki Makaurau Auckland.
Stella Brennan at Artspace Aotearoa
Guy Ngan: Either Possible or Necessary (work for stairwell included in this retrospective for Guy Ngan), 7 June – 17 August 2019
Reaction, The Way Things Go! (group), curated by Richard Dale
Dirty Pixels (group), 12 August – 14 September 2002, subsequently toured to Adam Art Gallery, Dunedin Public Art Gallery and Waikato Museum of Art and History
Nostalgia for the Future (group), 5 November – 27 November 1999
Dirty Pixels was published on the occasion of an exhibition of the same name, curated by Stella Brennan and exhibited at Artspace from August 12 to September 14 2002. It was designed by Jo Clements, and includes texts by Stella Brennan and Chris Barker. Artspace also published the catalogue Nostalgia For The Future, which accompanied Brennan’s 1999 exhibition.
Philip Dadson (born 1946 in Ahuriri Napier, New Zealand) ONZM is a New Zealand musician and artist, who was a member of the foundation group for Scratch Orchestra (UK) and later, founder of Scratch Orchestra (NZ) and From Scratch (1974). His highly inventive trans-disciplinary approach encompasses experimental musical instruments and sonic objects, video/sound installation, music composition, graphic scores, drawing & graphics, sound sculptures and improv with invented instruments. Dadson has received many major awards and commissions including a Fulbright travel award to the USA, residencies in Antarctica, Delhi, Venice, San Francisco, and numerous International research, exhibition and performance grants. In 2001 he received a New Zealand Arts Foundation Laureate award and in 2003 an Antarctic Artist Fellowship. Dadson was appointed an Officer of the New Zealand Order of Merit (ONZM) in 2005.
Phil Dadson is represented by Trish Clark Gallery, Tāmaki Makaurau Auckland.
Phil Dadson at Artspace Aotearoa
961 Album Release (group performance) with Paul Winstanley and Tom Nunn, 11 December 2019
Conundrum Quartet: SoundCulture’99 (solo), March 1999
Action Replay: Post Object Art (group), 7 October – 28 November 1998, a joint project with Govett-Brewster Art Gallery, Ngāmotu New Plymouth, with the support of Auckland Art Gallery
The Fourth Window : An Archeology of Stones, 1995
Songs for Unsung Heroes (group performance) as part of Sound/ Watch, June 25 – July 28 1989
Groundplans / Soundtracks (solo), 1987
In 1999, Artspace supported the production of Dadson’s An Archaeology of Stones, an audio CD and interactive CD-ROM produced as part of The Fourth Window.
Over the past three decades, Gavin Hipkins has developed a practice in photography and moving image that frequently returns to the intersections of modernism and the post/ colonial nation-state by repurposing images and texts. His work addresses the histories of his chosen media as well as the ways in which images have shaped the contemporary world as transmitters and visual manifestations of ideology.
Hipkins received a Bachelor of Fine Arts from the Elam School of Fine Arts, Tāmaki Makaurau Auckland in 1992 and a Master of Fine Arts from the University of British Columbia, Vancouver in 2002. An extensive survey of his practice, Gavin Hipkins: The Domain, was exhibited at the Dowse Art Museum in 2017. He has exhibited extensively both internationally and in Aotearoa New Zealand. Hipkins represented New Zealand at the 2018 Asia Pacific Triennial, the 2002 Sao Paolo Biennale and the 1998 Biennale of Sydney. In 2006 he undertook a residency at the ISCP in New York and in 1998 he was selected as the inaugural New Zealand resident at Artspace Sydney. Hipkins’ first feature film Erewhon – based on Samuel Butler’s 1872 novel Erewhon, Or Over the Range – premiered in 2014 at the New Zealand International Film Festival and Edinburgh Art Festival.
Gavin Hipkins is represented by Michael Lett, Tāmaki Makaurau Auckland.
Gavin Hipkins at Artspace Aotearoa
The Habitat (solo), 8 March – 1 April 2000, subsequently toured to Adam Art Gallery, 13 May – 11 June 2000
The Tunnel (solo), 2 October – 31 October 1997
Folklore: The New Zealanders (group), 8 July – 1 August 1998, subsequently toured to Sarjeant Gallery, Wanganui 10 October – 22 November 1998
The Habitat was co-published by Artspace Aotearoa and Adam Art Gallery in 2000 on the occasion of Gipkins’ solo exhibition of the same name. Edited by Robert Leonard and Kelly Carmichael, the catalogue features a text by Paul Walker alongside photographic documentation of the exhibition. A catalogue to accompany Folklore: The New Zealanders was co-published with Sarjeant Gallery in 1998.
Jess Johnson was born in Tauranga, Aotearoa New Zealand in 1979. She lives and works in New York and Tāmaki Makaurau Auckland. The concept of world-building lies at the center of Jess Johnson’s work, which reflects her interests in science fiction, language, technology, and concepts of consciousness. Over several years, her drawings have documented an increasingly complex fictional world; they are meshworks of symbology, humanoid clones, messianic figures, and alien runes placed in architectural settings. Her drawing practice feeds into installations and collaborations in animation, music, fashion, Virtual Reality, and textile art. These additional mediums bring the world of her drawings into physical and virtual spaces, providing an immersive experience for audiences.
In May of 2018, Johnson and collaborator Simon Ward premiered TERMINUS, a major five-part virtual reality commission and solo exhibition at the National Gallery of Australia. Johnson and Ward’s installation and video work, Whol Why Wurld, was a finalist for New Zealand’s Walter’s Prize 2018. Johnson’s second solo exhibition in the United States, Panspermia, Sing Omega, opened at Jack Hanley Gallery in September 2019, and another solo show, Neon Meat Dream, her first in Japan, opened at Nanzuka Gallery in Tokyo in November 2019.
Jess Johnson is represented by Ivan Anthony, Tāmaki Makaurau Auckland.
Jess Johnson at Artspace Aotearoa
Knowing You, Knowing Me: New Artists Show (group), 10 July – 21 August 2010, curated by Emma Bugden
Dane Mitchell’s practice is concerned with the physical properties of the intangible and visible manifestations of other dimensions. His practice speculates on what is material and explores systems of knowledge or belief and relational aspects or experiences of these. Often dealing with the way things transform or transmit and the presence of material forces and the unseen, in his work invisible phenomena are transmuted into tangible forms as sculptural objects, images and sound, connecting the sensual and the cognisant, and teasing out the potential for objects and ideas to appear and disappear.
Dane Mitchell represented New Zealand at the 58th Venice Biennale. Mitchell’s work has been included in major exhibitions including, Venice Biennale (2019); Bangkok Biennale (2020); Biennale of Sydney (2016); Liverpool Biennial (2012); Gwangju Biennale (2012); Singapore Biennial (2011); Thailand Biennale (2018); Busan Biennale (2010) and 29th Graphic Arts Biennial Ljubljana (2011). In the recent past he has had solo exhibitions at public institutions including Mori Art Museum, Tokyo; Auckland Art Gallery Toi o Tāmaki, Tāmaki Makaurau Auckland; Christchurch Art Gallery Te Puna o Waiwhetū, Ōtautahi Christchurch; Institut D’Art Contemporain, Villeurbanne, amongst many others.
Dane Mitchell at Artspace Aotearoa
Radiant Matter III (solo), 05 July – 20 August 2011
Local Transit (group), 20 May – 1 July 2006, exhibited at Artists Space, New York, as part of a two-part exhibition created in collaboration with Artspace, Tāmaki Makaurau Auckland
Free New Zealand Art (group), 16 March – 16 April 2005
Money For Nothing (group), 10 May – 29 June 2003
Only The Lonely: New Artists Show 1999 (group), 9 June – 2 July 1999
Dane Mitchell’s work was nominated by Natasha Conland to be included in Speculation, a publication produced in 2007 as New Zealand’s contribution towards the 52nd Venice Biennale at a time when Government funding for New Zealand at Venice was under review. Speculation was edited by Brian Butler, then director of Artspace.
Sarah Smuts-Kennedy is an Aotearoa New Zealand born and based artist, and an MFA graduate of the Elam School of Fine Arts, University of Auckland 2012.
Sarah’s biodynamic, permaculture teaching garden, 45 minutes north of Auckland, functions as a central axis for her research. She was the McCahon House Artist in Residence September – December in 2016. Her works are housed in private and public collections in both Australia and Aotearoa New Zealand. Recent solo exhibitions include Energy in Quiescence at Sophie Gannon Gallery (2019), Light Language at Te Uru (2017), and Frequency of the Earth at Artspace Aotearoa (2017). Her social sculptural commission For the Love of Bees 2016 – ongoing has triggered a resurgence of regenerative organic urban farms and community compost hubs across Aotearoa New Zealand. She continues to do visioning, environmental advocacy and educational work for this platform.
A solo exhibition of works by Sarah Smuts-Kennedy, Life Drawing - Joy Field, is opening at Sumer, Tauranga on 29 September and will run until 6 November.
Sarah Smuts-Kennedy at Artspace Aotearoa
Frequency of the Earth (solo), 18 May – 8 July 2017
Frequency of the Earth was a solo exhibition by Sarah Smuts-Kennedy exhibited within the framework of Singular Pluralities ∞ Plural Singularities, an initiative established in 2015 that presented multiple solo exhibitions simultaneously in different parts of the gallery. Frequency of the Earth occurred alongside the exhibitions Coconuts That Grew From Concrete by Yuki Kihara and te huka o te tai by Shannon Te Ao.