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      • Welcome to the Adam Art Gallery’s archive website. Please visit our updated website at adamartgallery.nz for current information and exhibitions dated back to 2010. Or stay on this site for the exhibition archive pre-2010.

    • Public Programme October-December 2022
      • Exhibition Opening & ReceptionTe Pātaka Toi Adam Art Gallery 6.00pm, Friday 21 OctoberJoin us to celebrate the opening of the final exhibitions for 2022, Megan Dunn: The Mermaid Chronicles and Lucien Rizos: Everything Exhibition Tour Te Pātaka Toi Adam Art Gallery 12.00pm, Saturday 29 October Join curator Robert Leonard and artist Lucien Rizos for a tour of the current […]

      • Megan Dunn: The Mermaid Chronicles with works by Andrew Brusso, Olivia Erlanger, Julia Holden, Alexis Hunter, Suzanne Husky, Brett Stanley, Lena Maria Thüring, and featuring Annette Kellerman, MeduSirena, Hannah Mermaid, Merman Jax, and Julie Atlas Muz  21 October – 18 December 2022   The Mermaid Chronicles explores writer Megan Dunn’s longstanding fascination for mermaids and the world of […]

      • Megan Dunn: The Mermaid Chronicles with works by Andrew Brusso, Olivia Erlanger, Julia Holden, Alexis Hunter, Suzanne Husky, Brett Stanley, Lena Maria Thüring, and featuring Annette Kellerman, MeduSirena, Hannah Mermaid, Merman Jax, and Julie Atlas Muz  21 October – 18 December 2022   The Mermaid Chronicles explores writer Megan Dunn’s longstanding fascination for mermaids and the world of […]

      • Megan Dunn: The Mermaid Chronicles with works by Andrew Brusso, Olivia Erlanger, Julia Holden, Alexis Hunter, Suzanne Husky, Brett Stanley, Lena Maria Thüring, and featuring Annette Kellerman, MeduSirena, Hannah Mermaid, Merman Jax, and Julie Atlas Muz  21 October – 18 December 2022  

    • Public Programme July-Sept 2022
      • Public Programme pdf Preview TourTe Pātaka Toi Adam Art Gallery5pm, Tuesday 12 JulyJoin artists Kathy Barry and Sarah Smuts-Kennedy, curator Christina Barton and gallerist Anna Miles for a preview tour of Energy Work and Delirium Crossing. Joy Field ImmersionTe Pātaka Toi Adam Art Gallery12pm-5pm, FridaysNo booking requiredVisitors are invited to bring along a yoga mat, […]

      • Energy Work: Kathy Barry/Sarah Smuts-Kennedy13 July – 25 September 2022           Energy Work brings together two artists, Kathy Barry and Sarah Smuts-Kennedy, who give visual form to intuited energy fields that exceed the human sensorium. By allowing the notion that there are forces beyond our common experience that connect us to the […]

    • Upcoming Exhibitions
      • Lucien Rizos: EverythingCurated by Robert Leonard 22 October – 18 December 2022 Lucien Rizos is a Wellington-based photographer and film-maker who describes himself as operating on the fringes of the art world. He has recently completed the marathon task of documenting the personal possessions of his uncle, Gerald O’Brien (1924–2017) who was the NZ Labour Party […]

    • PUBLIC PROGRAMME April – May 2022
      • Tēnei Ao Tūroa – This Enduring WorldMark Adams, Natalie Robertson, Chris Corson-Scott09.04.2022 – 26.06.2022 Reading PicturesLunchtime talk seriesTe Pātaka Toi Adam Art Gallery12pm, WednesdaysOver the course of Adam Art Gallery’s current exhibition Tēnei Ao Tūroa – This Enduring World we have paired a speaker with an art work, inviting them to offer their responses by […]

      • Tēnei Ao Tūroa – This Enduring WorldMark Adams, Natalie Robertson, Chris Corson-Scott09.04.2022 – 26.06.2022 Te Pataka Toi Adam Art Gallery’s latest exhibitionfeatures three distinct bodies of work by three photographic artists: Mark Adams, Natalie Robertson (Ngāti Porou) and Chris Corson-Scott. They have been brought together by Adam Art Gallery Director, Christina Barton, because the three […]

    • Tēnei Ao Tūroa – This Enduring World
      • Tēnei Ao Tūroa – This Enduring WorldMark Adams, Natalie Robertson, Chris Corson-Scott09.04.2022 – 26.06.2022 Te Pātaka Toi Adam Art Gallery’s exhibition featured three distinct bodies of work by three photographic artists: Mark Adams, Natalie Robertson (Ngāti Porou) and Chris Corson-Scott. They were brought together by Adam Art Gallery Director, Christina Barton, because the three artists […]

      • Tēnei Ao Tūroa: This Enduring WorldMark Adams, Natalie Robertson, Chris Corson-ScottMark Adams, Natalie Robertson, Chris Corson-Scott Te Pātaka Toi Adam Art Gallery9 April – 26 June 2022 Curated by Christina Barton

    • Public Programme November 2021-March 2022
      • 2.00pm Saturday 20 NovemberConversation around Listening Stones Jumping RocksTe Pātaka Toi Adam Art GalleryOn the opening weekend of the Adam Art Gallery’s new exhibitions, join curators Susan Ballard, Associate Professor in Art History at Te Herenga Waka–Victoria University of Wellington, and Adam Art Gallery’s Collection Curator Sophie Thorn for a conversation with artists Raewyn Martyn, […]

      • Listening Stones Jumping RocksThe Machine Stops: The Allegorical Architectural Project20 November 2021 – 27 March 2022Summer closedown 18 December 2021 – 10 January 2022 Listening Stones Jumping RocksCurated by Susan Ballard and Sophie ThornWith works by Len Lye, Peter Peryer, Phil Dadson, Shona Rapira-Davies, Paul Johns, Anne Noble, Rachel Shearer, Janine Randerson, Dane Mitchell, Sriwhana Spong, Raewyn […]

      • Listening Stones Jumping RocksThe Machine Stops: The Allegorical Architectural Project20 November 2021 – 27 March 2022Summer closedown 18 December 2021 – 10 January 2022 Listening Stones Jumping RocksCurated by Susan Ballard and Sophie ThornWith works by Len Lye, Peter Peryer, Phil Dadson, Shona Rapira-Davies, Paul Johns, Anne Noble, Rachel Shearer, Janine Randerson, Dane Mitchell, Sriwhana Spong, Raewyn […]

    • Listening Stones Jumping Rocks / The Machine Stops
      • Listening Stones Jumping RocksThe Machine Stops: The Allegorical Architectural Project20 November 2021 – 27 March 2022Summer closedown 18 December 2021 – 17 January 2022 Listening Stones Jumping RocksCurated by Susan Ballard and Sophie ThornWith works by Len Lye, Peter Peryer, Phil Dadson, Shona Rapira-Davies, Paul Johns, Anne Noble, Rachel Shearer, Janine Randerson, Dane Mitchell, Sriwhana Spong, Raewyn […]

      • Image ProcessorsArtists in the Medium – A Short History 1968–2020 Te Pātaka Toi Adam Art Gallery14 September – 7 November 2021 Curated by Christina Barton Featuring works by Aldo Tambellini, Richard Serra, Dara Birnbaum, Martha Rosler with Paper Tiger TV, Harun Farocki, Lisa Reihana, Megan Dunn, Ryan Trecartin and Lizzie Fitch, Wynne Greenwood and K8 Hardy, Josephine Meckseper, Mike Heynes, Arthur Jafa, and Matthew Griffin Image Processors surveys a history of artists’ moving-image works that take the mass media as their target. Working back in time from Australian artist Matthew Griffin’s compilation of 133 short videos, Unchained Malady, 2020 – which irreverently repurposes imagery from online news and social media– the exhibition presents a range of works that likewise appropriate found footage, restage familiar genres or scrutinise the mechanisms of the information and entertainment industries. Shaped by artist and theorist Judith Barry’s insight that ‘It is only by producing images that the subject of mass culture begins to feel some measure of control over the alienation produced by this condition” (1986), Image Processors provides a compelling bridge that links the critical aspirations of an artistic avant-garde to the manipulations and blandishments of quotidian entertainment. In addition to the artists and estates, who we gratefully acknowledge, for their assistance in bringing this exhibition together we thank: Christopher Swasbrook, Elevation Capital; Mark Williams, Circuit Artist Film and Video Aotearoa New Zealand; Ryan Moore, Fine Arts, Sydney; Emmanuel Lefrant, Light Cone, Paris; Emily Martin and Tom Colley, Video Data Bank at the School of the Art Institute of Chicago; Karl McCool, Electronic Arts Intermix, New York; Chloe Waddington, Timothy Taylor Gallery, New York; Gavin Brown, Gladstone Gallery, New York; Jane Sutherland; Kara Vander Weg, Gagosian, New York; and Katie Trainor, Circulating Film and Video Library, MoMA, New York. Matthew Griffin, still from Unchained Malady, 2020, 133 short videos presented on a large screen, 54:46 mins, colour/sound, private collection, courtesy the artist and Fine Arts, Sydney Matthew Griffin (born 1976) lives and works in Sydney. He is an Australian artist working across sculpture, photography, video and installation. He completed a BFA at the Victorian College of the Arts in Melbourne in 1998. His work has been exhibited most recently at the Australian Centre for the Moving Image (ACMI, 2021), Melbourne; and at Australian Centre for Contemporary Art, Melbourne (2013 & 2009); Artspace, Sydney (2013); Hamish McKay Gallery, Wellington (2011); Hayward Gallery, London (2008); Museum of Contemporary Art Australia, Sydney (2008); The Physics Room, Christchurch (2007); and on social media platforms including Instagram and eBay. He is represented by Fine Arts, Sydney and you can follow him on Instagram @contemporaryary. Arthur Jafa, Love Is the Message, the Message Is Death, 2016, digital video projection, 7:25 mins, colour/sound, courtesy of the artist and Gladstone Gallery, New York Arthur Jafa was born in Tupelo, Mississippi in 1960. He studied architecture and film at Howard University in Washington D.C. He is an artist making sculpture, video and installation, who has also worked as a cinematographer for filmmakers such as Julie Dash, Spike Lee and Stanley Kubrick, and has made music videos and TV advertisements. Since showing with Gavin Brown and now with Gladstone Gallery, Jafa has exhibited widely, including solo exhibitions at the Museum of Contemporary Art (MOCA) in Los Angeles (2017); the Serpentine Galleries in London (2017), and the Institute of Contemporary Art in Boston (2018). The White Album, which was first shown at the Venice Biennale in 2019, was included in the Biennale of Sydney in 2020. A major retrospective of his work is currently on display at the Louisiana Museum of Modern Art in Denmark. Mike Heynes, still from News of the Uruguay Round, 2016, digital video projection, 2 mins, colour/silent, courtesy of the artist Mike Heynes (born 1971, New Zealand) is a Wellington-based artist with a deep interest in and knowledge of film history and studio-based production. Known for his low-tech remakes that are crude but inventive pastiches of a wide array of film and TV genres, he demonstrates a broad skill-set in model-making, animation, robotics and other home-made special effects. Heynes has a BA in Film Studies from Te Herenga Waka Victoria University of Wellington (1997), an MFA from Whiti o Rehua School of Art, Massey University (2013), and he has just completed work for his PhD, also from Massey University. News of the Uruguay Round was first shown at Enjoy Contemporary Art Space in 2016 and again at the Auckland Art Fair in 2019. You can see more of his work on the Circuit Artist Film and Video Aotearoa New Zealand website. Josephine Meckseper, still from 0% Down, 2008, digital video, 6 mins, black and white/sound, courtesy of the artist and Timothy Taylor, London and New York Josephine Meckseper (born 1964, Germany/USA) is known for her explorations of the paradoxes of consumer culture, through sculpture, installation, publications and films. She studied at the Hochschule der Künste, Berlin between 1986 and 1990, and completed an MFA at the California Institute of the Arts in 1992. She describes her experience studying at CalArts in the early 1990s as “formative”, not only for the school’s strongly political and conceptual pedagogy, but also because her studies coincided with the LA riots sparked by the acquittal of police for the savage beating of African American Rodney King (in April 1992). Meckseper’s work has been included in two Whitney Biennials (2006 and 2010); the Sharjah Biennial (2011); the Taipei Biennial (2014); and the National Gallery of Victoria Triennial (2017–18). In 2007 a major retrospective of her work was organised by the Kunstmuseum Stuttgart. Meckseper’s large-scale public project, Manhattan Oil Project, was commissioned by the Art Production Fund and installed in a lot adjacent to Times Square in New York, in 2012. In 2015 her works were featured in Storylines, Solomon R. Guggenheim Museum, New York; and America Is Hard to See, Whitney Museum of American Art, New York. She is represented by Timothy Taylor, London and New York. Megan Dunn, still from Obsession, 1998, video transferred to digital, 2:15 mins, colour/sound, courtesy of the artist and Circuit Artist Film and Video Aotearoa New Zealand Megan Dunn (born 1974, New Zealand) had a brief but important career as a video artist in the 1990s. She graduated with a BFA from the Elam School of Fine Arts at the University of Auckland in 1998. At the same time she was completing her degree she established and co-directed the artist-run initiative Fiat Lux, a space in Auckland that operated between 1996 and 2000. In 2001 she left for London, and in 2006 she completed a Masters in Creative Writing at the University of East Anglia. Her writing has appeared in numerous publications including Art News, Circuit, The New Zealand Listener and The Pantograph Punch. Her book Tinderbox was published in 2017, and her memoir, Things I Learned at Art School has just been published by Penguin Books (NZ). She currently works at City Gallery, Wellington, as the Public Programmes Manager. Lisa Reihana, still from Wog Features, 1990, single channel SD 4:3 video, 7:50 mins, colour/sound, courtesy of the artist Lisa Reihana (born 1964, New Zealand, Ngāpuhi, Ngati Hine, Ngaituteauru) is a leading figure in the recent history of contemporary art in Aotearoa New Zealand. She is known for her largescale video installations and photographs that figure her imaginative work as a creative director overseeing costume, body adornment, choreography, sound design, camerawork and post-production, and which address Te Ao Māori both before and after colonisation. She graduated with a BFA from the Elam School of Fine Arts, Auckland University in 1987, and from the Unitec Institute of Technology in 2014 with a Masters in Design. Reihana represented New Zealand at the Venice Biennale in 2017 with the large-scale video installation in Pursuit of Venus [infected] (2015–17), which has since been shown around the world and received widespread critical acclaim. She has had solo exhibitions at the Museum of New Zealand Te Papa Tongarewa, Wellington (2008), Govett-Brewster Art Gallery, New Plymouth (2007) and Museo Laboratoria di Arte Contemporanea, Rome (2007), and has been included in major international group exhibitions including, most recently, Toi Tū Toi Ora at Auckland Art Gallery Toi o Tāmaki (2020-21); the Biennale of Sydney (2020), and Oceania at the Royal Academy, London (2018).  In 2014 Reihana was awarded an Arts Laureate Award by the Arts Foundation of New Zealand, in 2015 she was awarded the Te Tohu Toi Ke Te Waka Toi Māori Arts Innovation Award from Creative New Zealand, and in 2018 she was made a member of the New Zealand Order of Merit. Ryan Trecartin and Lizzie Fitch, still from Wayne’s World, 2003, digital video, 8 mins, colour/sound, courtesy of the artists and Electronic Arts Intermix (EAI), New York Ryan Trecartin (born 1981, USA) and Lizzie Fitch (born 1981, USA) have been working together since the early 2000s. They are known for their non-linear films and immersive installations, in which they and their friends perform and play out a host of hyper-active characters. They met as students at the Rhode Island School of Design and Wayne’s World is one of their earliest collaborations. They have exhibited in group exhibitions and biennales all over the world since 2006. Recent major installations include Whether Line, Fondazione Prada, Milan (2019) and Any Ever, which toured from The Power Plant, Toronto, to MoCA, LA; MoMA PS1, New York; Istanbul Modern, Istanbul; MCA, Miami, and Musée d’Art Moderne de la Ville de Paris, Paris (2010–11). They live and work in Athens Ohio. Trecartin and Fitch are represented by Sprüth Magers, Berlin and Regen Projects, Los Angeles. Wynne Greenwood and K8 Hardy, still from New Report Artist Unknown, 2005–6, digital video, 16:30 mins, colour/sound, courtesy of the artists and Video Data Bank at the School of the Art Institute of Chicago Wynne Greenwood (born 1977, USA) has an MFA from the Milton Avery Graduate School for the Arts, Bard College (2004). From 1999 to 2006 she created and performed as the multimedia art-band Tracy + The Plastics, which blurred the distinctions between contemporary art and music, playing all three parts: lead singer, Tracy, and her backup singers Nikki Romanos and Cola. After this project, Greenwood shifted her focus to installation and object-based work, and has recently returned to making music and video works. Her work has been exhibited at the New Museum, New York; Reed College, Portland; Fanta Spazio, Milan; Crush Repeat, Seattle; the Whitney Biennial, NYC; The Kitchen, NYC; Susanne Vielmetter Los Angeles Projects, LA; the Henry Art Gallery, University of Washington, Seattle; and Soloway, Brooklyn. K8 Hardy (born 1977, USA) is a video and performance artist, fashion stylist and photographer, who explores issues of race, class, economics and gender in fashion and advertising. She has a BA in Film and Women’s Studies from Smith College and an MFA from the Milton Avery Graduate School for the Arts at Bard College. Her work is included in the collections of the Whitney Museum of American Art, the Solomon R. Guggenheim Museum and the Museum of Modern Art, New York. She has exhibited and performed at the Whitney Museum of American Art, MoMA PS1, New York, Artists Space, New York, the Tate Modern, London, and Gerlie Sonja Junkers, Munich. Harun Farocki, still from An Image, 1983, 16mm film transferred to digital video, 25 mins, colour/sound, courtesy of the artist’s estate and Video Data Bank at the School of the Art Institute of Chicago Harun Farocki (1944 – 2014) is a German filmmaker who was born in 1944 in Czechoslovakia to an Indian father and a German mother. He studied at the German Film and Television Academy in Berlin from 1966 to 1968, where he was politicised by opposition to the Vietnam War and the politics of the Red Army Faction. Based in Germany for most of his career, he is known for his political essay films that re-use imagery and footage from an array of sources, as well as “fly on the wall” cinematography. Directing more than 100 films and staging several multi-screen installations, he analysed the powers of the image and openly confronted subjects such as war, revolutionary uprisings, and capitalist exploitation. He also worked as a critic, editor (Filmkritik magazine, 1974–1984), theorist and curator. From 1993 to 1999, Farocki taught at the University of California, Berkeley, and was a Professor at the Academy of Art, Vienna from 2006 to 2011. In 2014, to acknowledge his death at the age of 70, Adam Art Gallery screened three of his films in a one-night programme curated by Laura Preston in partnership with Goethe-Institut New Zealand. Since then, Farocki’s contribution has been widely celebrated with retrospectives at The Neuer Berliner Kunstverein (Harun Farocki: Mit anderen Mitteln – By Other Means, 2017), Centre Pompidou (Harun Farocki Retrospective, 2017) and The National Museum of Modern and Contemporary Art, Korea (Harun Farocki Retrospective, 2018). Martha Rosler, with Paper Tiger Television, still from Martha Rosler Reads Vogue: Wishing, Dreaming, Winning, Spending, 1982, video transferred to digital, 25:22 mins, colour/sound, courtesy of the artist and Video Data Bank at the School of the Art Institute of Chicago Martha Rosler (born 1943, USA) is determinedly political artist who uses photography, video, text, performance and installation to expose and challenge the processes by which meaning is made, enforced, de- and re-constructed. Her work in all its forms is addressed to the powerful systems that control everyday life and perpetuate social and economic inequity. She has also published several books of photographs, text and commentary on public space, ranging from airports and roads to housing, homelessness and gentrification. Her work has been the subject of a major travelling retrospective, Positions in the Life World (1998-2000), shown in Birmingham, Vienna, Lyon/Villeurbanne, Barcelona, Rotterdam and New York, as well as a number of solo exhibitions around the world. A restaging of her exhibitions from the 1970s was held at the Museum of Modern Art, New York, in 2012 (the Meta-Monumental Garage Sale). In 2018 the Jewish Museum in New York presented Martha Rosler: Irrespective, a survey exhibition showcasing her five-decades’ long practice from the 1960s to the present. A collection of Rosler’s writings, Decoys and Disruptions: Selected Writings, 1975–2001, was published by MIT Press in 2004 and she regularly contributes to Artforum, e-flux journal and Texte zur Kunst. Rosler still lives and works in Brooklyn, New York. Paper Tiger Television was founded by Dee Dee Halleck in 1981 in Brooklyn, New York. It is a non-profit video collective dedicated to raising media literacy and challenging corporate control over mainstream media.  Still operating today, it continues to produce material for public access media as well as providing a library of tapes addressed to a variety of social justice causes and training for non-professionals to learn the necessary skills of media activism. Dara Birnbaum, still from Technology/Transformation: Wonder Woman, 1978/79, video transferred to digital, 5:50 mins, colour/sound, courtesy of the artist, Marian Goodman Gallery, New York and Paris, and Video Data Bank at the School of the Art Institute of Chicago Dara Birnbaum (born 1946, USA) is a video and installation artist whose remixes of mainstream television and other mass media are critical contributions to the history of video art and feminist art history. She has a BA in Architecture from the Carnegie Mellon University in Pittsburgh (1969) and a BFA in painting from the San Francisco Art Institute (1973). Her work has been widely exhibited at MoMA PS1, New York (2019); National Portrait Gallery, London (2018); Cleveland Museum of Art, Ohio (2018); South London Gallery, UK (2011); major retrospectives at the Serralves Foundation, Porto (2010) and S.M.A.K. Stedelijk Museum voor Actuele Kunst, Ghent (2009); Center for Contemporary Art, CCA Kitakyushu (2009); Museum of Modern Art, New York (2008); Kunsthalle Wien, Vienna (2006); and The Jewish Museum, New York (2003). She has been included in several group and survey exhibitions, such as documenta 7, 8, and 9; WACK! Art and the Feminist Revolution, MoCA, Los Angeles (2007), and The Pictures Generation, 1974–1994, Metropolitan Museum of Art, New York (2009). In 2016 she was recognized and honoured for her work by The Kitchen, New York, and she has received numerous awards including: The Rockefeller Foundation Bellagio Center Arts Residency (2011); a Pollock-Krasner Foundation Grant (2011); and a United States Artists Fellowship (2010). She was the first woman in video to receive the prestigious Maya Deren Award by the American Film Institute, in 1987. Dara Birnbaum lives and works in New York where she teaches at the School of Visual Art. She is represented by Marian Goodman Gallery, New York and Paris. Richard Serra (born 1938, USA) is best known for his large minimalist sculptures, though he has worked in performance, video art, printmaking and drawing. Considered one of the most significant artists of his generation, his site-specific sculptures for architectural, urban and landscape settings can be found across the globe, including New Zealand (Te Tuhirangi Contour, 1991/2001, located at Gibbs Farm, Auckland). He graduated with a BA in English Literature at the University of California Santa Barbara in 1961, where he also studied art while supporting himself by working in steel mills, which largely influenced his later sculptures. He then completed an MFA at Yale University from 1961 to 1964. He began showing with Leo Castelli in 1968. Serra’s works have been included in biennales, at documenta, and in major solo exhibitions in the USA and Europe.  He is a recipient of the J. Paul Getty Medal (2018) and he has also been honoured by Republic of France (2015); Architectural League of New York (2014); Spain (2008); Federal Republic of Germany (2002); and the Venice Biennale (2001). Richard Serra is represented by Gagosian, New York. Aldo Tambellini, still from Black TV, 1968–69, 16mm film transferred to 4K single channel digital video, 10 mins, black and white/sound, courtesy of Aldo Tambellini Art Foundation and Light Cone, Paris Aldo Tambellini (1930–2020) was an Italian-American artist and a pioneer of electronic intermedia. His experimental works in television and video art in the early 1960s were coupled with radical political ideas. These led him away from conventional media and contexts, to content that addressed the social, cultural and political upheavals of the era, and forms that synthesised visual art, poetry, music and dance into immersive installations he termed “electromedia”, that were staged in the streets, churches and theatres of New York’s East Village. A distinctive feature of his practice was his exclusive commitment to the colour black, which he argued, in a manifesto written in 1967, was a primal state or condition from which consciousness expands to encompass what he called a “New Reality”. Between 1976 and 1984, Tambellini was a fellow at the Center for Advanced Visual Studies at the Massachusetts Institute of Technology, where he experimented with his students in alternative forms of documentary, collaborative film-making and live broadcast. Largely forgotten by the art world through the 1990s, Tambellini’s work has enjoyed a revival recently. His work was revisited at the Tate Modern in 2012 (Restaging Black) and included in the 2015 Venice Biennale. In 2017, a retrospective of his work was held at the ZKM Center for Art and Media Karlsruhe. Tambellini died aged 90 in 2020.

      • Image ProcessorsArtists in the Medium – A Short History 1968–2020 Te Pātaka Toi Adam Art Gallery14 September – 7 November 2021 Curated by Christina Barton Featuring works by Aldo Tambellini, Richard Serra, Dara Birnbaum, Martha Rosler with Paper Tiger TV, Harun Farocki, Lisa Reihana, Megan Dunn, Ryan Trecartin and Lizzie Fitch, Wynne Greenwood and K8 […]

    • Image Processors
      •                     Image ProcessorsArtists in the Medium – A Short History 1968–2020 Te Pātaka Toi Adam Art Gallery14 September – 7 November 2021 Curated by Christina Barton Featuring works by Aldo Tambellini, Richard Serra, Dara Birnbaum, Martha Rosler with Paper Tiger TV, Harun Farocki, Lisa Reihana, Megan […]

      •   UPCOMING: Image Processors Artists in the Medium – A Short History 1968–2020 Featuring works by Aldo Tambellini, Richard Serra, Dara Birnbaum, Martha Rosler with Paper Tiger TV, Harun Farocki, Lisa Reihana, Megan Dunn, Ryan Trecartin, Wynne Greenwood and K8 Hardy, Josephine Meckseper, Mike Heynes, Arthur Jafa, and Matthew Griffin, curated by Christina Barton. Opening date to be announced – 7 November 2021 Matthew Griffin, Keytar, 2020, digital still from Unchained Malady, 2020, 133 videos on a big-screen television, private collection, courtesy of the artist and Fine Arts, Sydney. Image Processors surveys a history of artists’ moving-image works that take the mass media as their target. Several of the works selected for the exhibition hold key places in the history of video art, yet they have never been brought together in Aotearoa New Zealand previously.Working back in time from Australian artist Matthew Griffin’s compilation of 133 short videos, Unchained Malady, 2020 – which irreverently repurposes imagery from internet news sites and social media feeds – the exhibition presents a range of works that likewise appropriate found footage, restage familiar formats or scrutinise the mechanisms of the information and entertainment industries. These include American artist Arthur Jafa’s hugely influential Love Is the Message, The Message Is Death (2016), Lisa Reihana’s breakout Wog Features (1990), Dara Birnbaum’s Technology/ Transformation: Wonder Woman (1978–79), and Italian-American ‘electromedia’ pioneer Aldo Tambellini’s Black TV (1968-69), amongst others. Shaped by artist and theorist Judith Barry’s insight that ‘It is only by producing images that the subject of mass culture begins to feel some measure of control over the alienation produced by this condition” (1986), Image Processors provides a compelling bridge that links the critical aspirations of an artistic avant-garde to the manipulations and blandishments of quotidian entertainment.

      • UPCOMING: Image ProcessorsArtists in the Medium – A Short History 1968–2020 Featuring works by Aldo Tambellini, Richard Serra, Dara Birnbaum, Martha Rosler with Paper Tiger TV, Harun Farocki, Lisa Reihana, Megan Dunn, Ryan Trecartin and Lizzie Fitch, Wynne Greenwood and K8 Hardy, Josephine Meckseper, Mike Heynes, Arthur Jafa, and Matthew Griffin, curated by Christina Barton. Opening date to be announced – 7 November 2021 Matthew Griffin, Keytar, 2020, digital still from Unchained Malady, 2020, 133 videos on a big-screen television, private collection, courtesy of the artist and Fine Arts, Sydney. Image Processors surveys a history of artists’ moving-image works that take the mass media as their target. Several of the works selected for the exhibition hold key places in the history of video art, yet they have never been brought together in Aotearoa New Zealand previously.Working back in time from Australian artist Matthew Griffin’s compilation of 133 short videos, Unchained Malady, 2020 – which irreverently repurposes imagery from internet news sites and social media feeds – the exhibition presents a range of works that likewise appropriate found footage, restage familiar formats or scrutinise the mechanisms of the information and entertainment industries. These include American artist Arthur Jafa’s hugely influential Love Is the Message, The Message Is Death (2016), Lisa Reihana’s breakout Wog Features (1990), Dara Birnbaum’s Technology/ Transformation: Wonder Woman (1978–79), and Italian-American ‘electromedia’ pioneer Aldo Tambellini’s Black TV (1968-69), amongst others. Shaped by artist and theorist Judith Barry’s insight that ‘It is only by producing images that the subject of mass culture begins to feel some measure of control over the alienation produced by this condition” (1986), Image Processors provides a compelling bridge that links the critical aspirations of an artistic avant-garde to the manipulations and blandishments of quotidian entertainment.

      • UPCOMING: Listening Stones Jumping RocksThe Machine Stops: The Allegorical Architectural Project20 November 2021 – 27 March 2022Summer closedown 18 December 2021 – 10 January 2022 Listening Stones Jumping RocksCurated by Susan Ballard and Sophie Thorn With works by Len Lye, Peter Peryer, Phil Dadson, Shona Rapira-Davies, Paul Johns, Anne Noble, Rachel Shearer, Janine Randerson, Dane Mitchell, Sriwhana […]

      • CROSSINGS   Longer than I can remember, 2020, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker." width="70" height="70" srcset="https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/02_2021-06-21_CROSSINGS_TW-011_web-70x70.jpg 70w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/02_2021-06-21_CROSSINGS_TW-011_web-300x300.jpg 300w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/02_2021-06-21_CROSSINGS_TW-011_web-100x100.jpg 100w" sizes="(max-width: 70px) 100vw, 70px" /> Threshold, 1983/1996, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker." width="70" height="70" srcset="https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/03_2021-06-21_CROSSINGS_TW-029_web-70x70.jpg 70w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/03_2021-06-21_CROSSINGS_TW-029_web-300x300.jpg 300w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/03_2021-06-21_CROSSINGS_TW-029_web-100x100.jpg 100w" sizes="(max-width: 70px) 100vw, 70px" /> Threshold, 1983/1996, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker." width="70" height="70" srcset="https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/05_2021-06-21_CROSSINGS_TW-149_web-70x70.jpg 70w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/05_2021-06-21_CROSSINGS_TW-149_web-300x300.jpg 300w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/05_2021-06-21_CROSSINGS_TW-149_web-100x100.jpg 100w" sizes="(max-width: 70px) 100vw, 70px" /> Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker." width="70" height="70" srcset="https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/06_2021-06-21_CROSSINGS_TW-033_web-70x70.jpg 70w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/06_2021-06-21_CROSSINGS_TW-033_web-300x300.jpg 300w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/06_2021-06-21_CROSSINGS_TW-033_web-100x100.jpg 100w" sizes="(max-width: 70px) 100vw, 70px" /> Here and Now series, 2010–20; and Sonya Lacey, Obstructions, 2020. Downstairs: Emma McIntyre, The cove, 2020. Installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker." width="70" height="70" srcset="https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/07_2021-06-21_CROSSINGS_TW-037_web-70x70.jpg 70w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/07_2021-06-21_CROSSINGS_TW-037_web-300x300.jpg 300w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/07_2021-06-21_CROSSINGS_TW-037_web-100x100.jpg 100w" sizes="(max-width: 70px) 100vw, 70px" /> Here and Now series, 2010–20, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker." width="70" height="70" srcset="https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/08_2021-06-21_CROSSINGS_TW-047_web-70x70.jpg 70w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/08_2021-06-21_CROSSINGS_TW-047_web-300x300.jpg 300w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/08_2021-06-21_CROSSINGS_TW-047_web-100x100.jpg 100w" sizes="(max-width: 70px) 100vw, 70px" /> Sunday Star Times, 22.04.2018 – 15.07.2018, Grey Lynn; and Wairarapa Times-Age, 21.4.2018 – 24.12.2018, Featherston, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker." width="70" height="70" srcset="https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/09_2021-06-21_CROSSINGS_TW-039_web-70x70.jpg 70w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/09_2021-06-21_CROSSINGS_TW-039_web-300x300.jpg 300w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/09_2021-06-21_CROSSINGS_TW-039_web-100x100.jpg 100w" sizes="(max-width: 70px) 100vw, 70px" /> Obstructions, 2020, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker." width="70" height="70" srcset="https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/10_2021-06-21_CROSSINGS_TW-041_web-70x70.jpg 70w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/10_2021-06-21_CROSSINGS_TW-041_web-300x300.jpg 300w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/10_2021-06-21_CROSSINGS_TW-041_web-100x100.jpg 100w" sizes="(max-width: 70px) 100vw, 70px" /> Dwelling: Being in Time and Place, 2018, Moonlit Night, 2020, Waiting for Spring, 2020-2021, Sunrise Repaints the Picture of Rebirth 2021, installation view of Crossings (a group show about intimacies and " width="70" height="70" srcset="https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/11_2021-06-21_CROSSINGS_TW-068_web-70x70.jpg 70w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/11_2021-06-21_CROSSINGS_TW-068_web-300x300.jpg 300w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/11_2021-06-21_CROSSINGS_TW-068_web-100x100.jpg 100w" sizes="(max-width: 70px) 100vw, 70px" /> Dwelling: Being in Time and Place, 2018, Moonlit Night, 2020, Waiting for Spring, 2020-2021, Sunrise Repaints the Picture of Rebirth 2021, installation view of Crossings (a group show about intimacies and " width="70" height="70" srcset="https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/12_2021-06-21_CROSSINGS_TW-071_web-70x70.jpg 70w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/12_2021-06-21_CROSSINGS_TW-071_web-300x300.jpg 300w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/12_2021-06-21_CROSSINGS_TW-071_web-100x100.jpg 100w" sizes="(max-width: 70px) 100vw, 70px" /> Glazed bunch, 2018, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker." width="70" height="70" srcset="https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/13_2021-06-21_CROSSINGS_TW-072_web-70x70.jpg 70w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/13_2021-06-21_CROSSINGS_TW-072_web-300x300.jpg 300w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/13_2021-06-21_CROSSINGS_TW-072_web-100x100.jpg 100w" sizes="(max-width: 70px) 100vw, 70px" /> Dark moon, 2017, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker." width="70" height="70" srcset="https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/14_2021-06-21_CROSSINGS_TW-073_web-70x70.jpg 70w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/14_2021-06-21_CROSSINGS_TW-073_web-300x300.jpg 300w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/14_2021-06-21_CROSSINGS_TW-073_web-100x100.jpg 100w" sizes="(max-width: 70px) 100vw, 70px" /> On Distance, 2020, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker." width="70" height="70" srcset="https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/15_2021-06-21_CROSSINGS_TW-074_web-70x70.jpg 70w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/15_2021-06-21_CROSSINGS_TW-074_web-300x300.jpg 300w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/15_2021-06-21_CROSSINGS_TW-074_web-100x100.jpg 100w" sizes="(max-width: 70px) 100vw, 70px" /> On Distance, 2020, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker." width="70" height="70" srcset="https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/16_2021-06-21_CROSSINGS_TW-075_web-70x70.jpg 70w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/16_2021-06-21_CROSSINGS_TW-075_web-300x300.jpg 300w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/16_2021-06-21_CROSSINGS_TW-075_web-100x100.jpg 100w" sizes="(max-width: 70px) 100vw, 70px" /> On Distance, 2020, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker." width="70" height="70" srcset="https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/17_2021-06-21_CROSSINGS_TW-077_web-70x70.jpg 70w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/17_2021-06-21_CROSSINGS_TW-077_web-300x300.jpg 300w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/17_2021-06-21_CROSSINGS_TW-077_web-100x100.jpg 100w" sizes="(max-width: 70px) 100vw, 70px" /> Havarie, 2016, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker." width="70" height="70" srcset="https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/18_2021-06-21_CROSSINGS_TW-093_web-70x70.jpg 70w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/18_2021-06-21_CROSSINGS_TW-093_web-300x300.jpg 300w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/18_2021-06-21_CROSSINGS_TW-093_web-100x100.jpg 100w" sizes="(max-width: 70px) 100vw, 70px" /> Havarie, 2016, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker." width="70" height="70" srcset="https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/19_2021-06-21_CROSSINGS_TW-089_web-70x70.jpg 70w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/19_2021-06-21_CROSSINGS_TW-089_web-300x300.jpg 300w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/19_2021-06-21_CROSSINGS_TW-089_web-100x100.jpg 100w" sizes="(max-width: 70px) 100vw, 70px" /> Havarie, 2016, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker." width="70" height="70" srcset="https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/20_2021-06-21_CROSSINGS_TW-096_web-70x70.jpg 70w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/20_2021-06-21_CROSSINGS_TW-096_web-300x300.jpg 300w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/20_2021-06-21_CROSSINGS_TW-096_web-100x100.jpg 100w" sizes="(max-width: 70px) 100vw, 70px" /> Clearings, 2019, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker." width="70" height="70" srcset="https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/21_2021-06-21_CROSSINGS_TW-101_web-70x70.jpg 70w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/21_2021-06-21_CROSSINGS_TW-101_web-300x300.jpg 300w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/21_2021-06-21_CROSSINGS_TW-101_web-100x100.jpg 100w" sizes="(max-width: 70px) 100vw, 70px" /> Clearings (detail), 2019, installation view of Crossings, Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker." width="70" height="70" srcset="https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/22_2021-06-21_CROSSINGS_TW-108_web-70x70.jpg 70w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/22_2021-06-21_CROSSINGS_TW-108_web-300x300.jpg 300w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/22_2021-06-21_CROSSINGS_TW-108_web-100x100.jpg 100w" sizes="(max-width: 70px) 100vw, 70px" /> Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker." width="70" height="70" srcset="https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/23_2021-06-21_CROSSINGS_TW-118_web-70x70.jpg 70w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/23_2021-06-21_CROSSINGS_TW-118_web-300x300.jpg 300w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/23_2021-06-21_CROSSINGS_TW-118_web-100x100.jpg 100w" sizes="(max-width: 70px) 100vw, 70px" /> Crisis meeting, 2017, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker." width="70" height="70" srcset="https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/24_2021-06-21_CROSSINGS_TW-121_web-70x70.jpg 70w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/24_2021-06-21_CROSSINGS_TW-121_web-300x300.jpg 300w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/24_2021-06-21_CROSSINGS_TW-121_web-100x100.jpg 100w" sizes="(max-width: 70px) 100vw, 70px" /> Crisis meeting (detail), 2017, installation view of Crossings, Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker." width="70" height="70" srcset="https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/25_2021-06-21_CROSSINGS_TW-124_web-70x70.jpg 70w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/25_2021-06-21_CROSSINGS_TW-124_web-300x300.jpg 300w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/25_2021-06-21_CROSSINGS_TW-124_web-100x100.jpg 100w" sizes="(max-width: 70px) 100vw, 70px" /> Swan song, 1995-6; Emma McIntyre, The cove, 2020, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker." width="70" height="70" srcset="https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/26_2021-06-21_CROSSINGS_TW-126_web-70x70.jpg 70w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/26_2021-06-21_CROSSINGS_TW-126_web-300x300.jpg 300w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/26_2021-06-21_CROSSINGS_TW-126_web-100x100.jpg 100w" sizes="(max-width: 70px) 100vw, 70px" /> Swan song (detail), 1995-6, installation view of Crossings, Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker." width="70" height="70" srcset="https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/27_2021-06-21_CROSSINGS_TW-132_web-70x70.jpg 70w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/27_2021-06-21_CROSSINGS_TW-132_web-300x300.jpg 300w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/27_2021-06-21_CROSSINGS_TW-132_web-100x100.jpg 100w" sizes="(max-width: 70px) 100vw, 70px" /> Veils, 2020; and The cove, 2020, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker." width="70" height="70" srcset="https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/28_2021-06-21_CROSSINGS_TW-144_web-70x70.jpg 70w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/28_2021-06-21_CROSSINGS_TW-144_web-300x300.jpg 300w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/28_2021-06-21_CROSSINGS_TW-144_web-100x100.jpg 100w" sizes="(max-width: 70px) 100vw, 70px" /> The cove, 2020; and Love in a time of iridescence, 2020, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker." width="70" height="70" srcset="https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/29_2021-06-21_CROSSINGS_TW-143_web-70x70.jpg 70w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/29_2021-06-21_CROSSINGS_TW-143_web-300x300.jpg 300w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/29_2021-06-21_CROSSINGS_TW-143_web-100x100.jpg 100w" sizes="(max-width: 70px) 100vw, 70px" /> Again, Grandmother, Grey Street, 2019-21, a PDF available online as part of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Image courtesy of the artist. " width="70" height="70" srcset="https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/30_AgainGrangmotherGreySt_Full_2-70x70.jpg 70w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/30_AgainGrangmotherGreySt_Full_2-300x300.jpg 300w, https://www.adamartgallery.org.nz/wp-content/uploads/2017/08/30_AgainGrangmotherGreySt_Full_2-100x100.jpg 100w" sizes="(max-width: 70px) 100vw, 70px" />                           Crossings (a group show about intimacies and distances) Turumeke Harrington Yolunda Hickman Sonya Lacey Rozana Lee Grant Lingard Vivian Lynn Allan McDonald Emma McIntyre Next Spring Layla Rudneva-Mackay Richard Shepherd James Tapsell-Kururangi …caesuras serve as techniques for modifying subjectivity, activating a process that disrupts perception and feeling and can ultimately generate a transformation, a new way of becoming. Paul Preciado, Artforum, 2020 A collective pause, a moment to turn inwards – Crossings began with a reflection on the disruptions of 2020. As we shared the experiences of a global pandemic, of shifting political landscapes and transformative action, 2020 was also a time of interiority, of modified subjectivities and heightened anxieties as global lockdowns forced us to turn inwards. Together we withdrew from the world; our most intimate relationships were confined to our bubbles or existed only on screen. Crossings is a group show sparked by these intimacies and distances. It brings together a range of artists and works that register the polarities of inside and outside, closeness and distance, health and illness and the impacts of larger external forces on our collective subjectivities. But it is not a show about the pandemic. The artists selected work in a variety of media, are of different generations, have different life experiences and cultural backgrounds. Few of the works were made during or about lockdown. Instead, the show explores how objects, images, and materials carry meanings that are opaque, at the edge of conscious thought, that suggest rather than proclaim. They niggle at the edge of knowing, to articulate the promise and fear of a threshold state. The works in the exhibition include meditations on public and private spaces and our movements between them; on the body in states of illness, pain, pleasure, reproduction and death; on mobility and change in the face of political and economic turmoil, and on the inevitable impact of an unseen threat that has changed everything. They ask: how can these intimate experiences, fraught relationships, larger forces and their attendant effects be communicated in an art work? Crossings includes moving image work from current Walters Prize finalist Sonya Lacey and the first New Zealand screening of Philip Scheffner and Merle Kröger’s filmwork, Havarie, 2016; installations by Next Spring, Grant Lingard, Turumeke Harrington, Yolunda Hickman and Rozana Lee; an artist book by Vivian Lynn; paintings by Emma McIntyre and Layla Rudneva-Mackay; photographic series by Allan McDonald and Richard Shepherd. Again, Grandmother, Grey Street, 2019-2021, an illustrated text by James Tapsell Kururangi can be accessed here (contains graphic content). This is the artist’s contribution to Crossings, and it is on his request that this is only accessible as a PDF via the Gallery’s website.   Crossings is generously supported by the Chartwell Trust.   Read Magic Eye written by Ashleigh Young pdf. This text was written for the exhibition Crossings and read by the author at the opening on 18 June 2021. View a schedule of public programme events associated with Crossings on our calendar webpage. Listen to Laundry day, a podcast series of unfolding conversations between artists in Crossings, online here rss.com/podcasts/adamartgallerytepatakatoi/ Documentation of the exhibition pdf. Crossings media release pdf.   The artists Turumeke Harrington has a background in industrial design and visual arts, graduating with a Bachelor of Fine Arts with Honours from Ilam School of Fine Arts at the University of Canterbury in 2018. She is currently completing her MFA at Toi Rauwhārangi College of Creative Arts, Massey University, for which she received the inaugural Collin Post Memorial Scholarship in 2021. Solo exhibitions of her work include Whai Whakapapa Te Tuatahi (Toi Tū Studio One, Auckland, 2017); Turumeke Harrington (Sumer Contemporary Art, Tauranga, 2019); Hey māmā come play with me (The Physics Room, Christchurch, 2019); Stuck in customs (RM Gallery, Auckland, 2020); Mahoranuiatea Looking out in every direction (Objectspace, Auckland, 2020), and Gentle Ribbing (Toi Pōneke, Wellington, 2020). She and curator Grace Ryder co-produced the exhibition Help yourself at Enjoy Contemporary Art Space, Wellington, in May 2021. Harrington lives in Te Whanganui-a-Tara, Wellington. Yolunda Hickman is an Auckland-based artist. She graduated with a Doctorate of Fine Arts from Elam School of Fine Arts, University of Auckland, in 2020. In 2016 she undertook a residency at The Banff Centre for Arts and Creativity, Canada, and was part of the 2019 RM Gallery Summer Residency in Auckland. Solo exhibition projects include Passed, Repeating Last (Five Walls, Melbourne, 2016); Shoaling (Blue Oyster Art Project Space, Dunedin, 2020); Signal Forest (4 Plinths, Wellington Sculpture Trust, Wellington 2020) and Zombies Everywhere (Sumer Contemporary Art, Tauranga, 2020). Hickman is currently the acting Director for the Master of Fine Arts programme at Whitecliffe College of Arts and Design, Auckland. Sonya Lacey was born in Hastings. She graduated with a Master of Fine Arts from the Elam School of Fine Arts, University of Auckland, in 2007. A founding member of the alternative space Newcall Gallery in Auckland, she has exhibited in public and artist-run galleries throughout New Zealand. She taught Graphic Design at the Whitecliffe College of Arts and Design in Auckland and is currently the Dunedin Public Art Gallery artist in residence for 2021. She has held residencies at The Banff Centre for Arts and Creativity, Canada, 2011; Seoul Artspace, Geumcheon, South Korea, 2012, and NTU Centre for Contemporary Art in Singapore, 2017. She is a nominee for the 2020 Walters Prize at Auckland Art Gallery Toi o Tāmaki for her exhibition, Weekend, 2018, a four-channel moving-image and mixed-media installation, presented at Dowse Art Museum, Wellington in 2018–19. She has recently shifted from Wellington to Tauranga and is represented by Robert Heald, Wellington. Rozana Lee is of Indonesian-Chinese heritage. She moved to New Zealand in 2010. She holds a Bachelor of Visual Arts from Auckland University of Technology and a MFA from Elam School of Fine Arts at University of Auckland, graduating in  2018. Recent exhibitions include Two Oceans at Once (ST PAUL St, Auckland, 2019); Reconfigure(d) (Making Space, Guangzhou, 2019); Future Flowering (play_station, Wellington, 2020);  Projects 2020: Space as Substance (Auckland Art Fair, 2020); Home is Anywhere in the World (Meanwhile, Wellington, 2020), and Te Wheke: Pathways Across Oceania (Christchurch Art Gallery, Christchurch, 2020–22). Lee was a finalist in several art awards, including the Wallace Art Awards in 2018 and 2019, and the Parkin Drawing Prize in 2016 and 2019. She has undertaken artist residencies at INSTINC, Singapore, in 2016, and Making Space, Guangzhou, China, in 2019. Lee lives in Auckland. Grant Lingard was born in Blackball on the West Coast of the South Island and studied at Ilam School of Fine Arts at the University of Canterbury, graduating in 1984. His practice evolved over his short career into a simple language of sculptural forms that combined everyday materials like carved soap, tar and feathers, and men’s underwear, to explore his experience as a gay man in New Zealand. His practice gained a special urgency after his HIV-positive diagnosis, and his untimely death in 1995 marks him as one of the first wave of victims of this illness. He enjoyed attention in the mid-1990s for his important statements concerning his sexuality as it rubbed against the tropes of ‘Kiwi’ masculinity, notably with his inclusion in Art Now: The First Biennial Review of Contemporary Art at Te Papa Tongarewa Museum of New Zealand in Wellington in 1994, and a string of projects that grew out of his artist-residency at Ilam that same year and in the wake of his death in 1995. Lingard’s work has lately experienced a new wave of interest from a younger generation of artists, curators and writers. His works have been included in: Implicated and Immune (Michael Lett, Auckland, 2015); Sleeping Arrangements (Dowse Art Museum, 2018), and True Love: A Tribute to Grant Lingard (Ilam Campus Gallery, 2021). A website dedicated to his work and memory was established by Jeremiah Boniface on the strength of his Art History Honours’ research undertaken at Te Herenga Waka Victoria University of Wellington. Vivian Lynn studied at Canterbury University College School of Art graduating with a Diploma of Fine Art in 1952 and Auckland Teachers’ College, graduating with a Diploma in Teaching in 1953. She undertook further study in printmaking on a research trip to the USA in 1972. She had a long-standing career as a lecturer at the Wellington Polytechnic School of Design (which was amalgamated with Victoria University and then Massey University) teaching drawing between 1974 and her retirement in 1999. Though never aligning herself with the Women’s Art Movement, Lynn was instrumental in coordinating the Women’s Art Archive (1983–84), which is now held at Te Papa. Plagued with long periods of serious illness, Lynn still exhibited in solo and group exhibitions from the late 1950s and was included in several survey exhibitions including Anxious Images (Auckland City Art Gallery, 1984); Content/Context (National Art Gallery, Wellington, 1986), and Alter Image: Negotiating Feminism and Representation in Recent New Zealand Art 1973–1993 (City Gallery Wellington, 1993). A major retrospective exhibition I, HERE, NOW Vivian Lynn was staged by the Adam Art Gallery in 2008–9. Since then, her work has enjoyed renewed attention. Two of her installations from the 1980s and 1990s were recently included in the 13th Gwangju Biennale Minds Rising, Spirits Tuning, Gwangju, South Korea, in 2021, and she is now represented by Southard Reid, London. Lynn died at her home in Wellington in 2018. Allan McDonald was born in Lower Hutt. He has been working with photography since the 1960s. He graduated with a Master of Fine Arts from RMIT University, Melbourne, Australia, in 1998. He has produced a number of photobooks including Carbon Empire, which won the 2017 New Zealand Photo Book of the Year award. His work is held in public collections across New Zealand and he has taken part in numerous group exhibitions, ranging from The Active Eye (Manawatu Art Gallery, Palmerston North, 1975) to Freedom Farmers: New Zealand Artists Growing Ideas (Auckland Art Gallery Toi o Tāmaki, 2013-14). McDonald is a lecturer in the School of Creative Industries at Unitec in Auckland. He is represented by Anna Miles Gallery, Auckland. Emma McIntyre was born in Auckland. She graduated with a Bachelor of Visual Art from Auckland University of Technology in 2011, and a MFA from Elam School of Fine Arts, University of Auckland, in 2016. Solo exhibitions include: Pink Square Sways (Hopkinson Mossman, Auckland, 2017); Rose on Red (Hopkinson Mossman, Wellington, 2018); Heat (Mossman, Wellington, 2020), and Pour plenty on the worlds (Chris Sharp Gallery, Los Angeles, 2021). In 2019 she was awarded a Fulbright General Graduate Award to study at Art Center College of Design, Pasadena, CA, and she will graduate this US summer. Next Spring is an occasional series of texts commissioned, edited and published in book form by Berlin-based New Zealander Laura Preston. Each issue is an essay of art criticism focused on a moving-image work, published both in English and the language of place. On Distance, an essay by Berlin-based art writer Boaz Levin, written in that city and published in German and English, is the third in the series (the previous publications derived from Paris and Athens respectively). Boaz Levin was born in Jerusalem and currently lives in Berlin. He studied at the Bezalel Academy of Arts and Design and the Berlin University of the Arts. Together with Hito Steyerl and Vera Tollmann, he co-founded the Research Center for Proxy Politics, and his work has recently been exhibited at the Center for Contemporary Art in Tel Aviv; Human Resources in Los Angeles, and FIDMarseille in Marseille. Since October 2016, Levin has been a PhD candidate as part of the Cultures of Critique research training group at Leuphana University, Lüneburg. Laura Preston was born in Auckland. She has a Masters in Art History from the University of Auckland. She held a range of curatorial positions in New Zealand, including Adam Art Gallery Curator (2008–12) before leaving to work and study in Europe. She has been a guest curator at Portikus, Frankfurt am Main, and an editor for documenta14. She initiated Next Spring during a residency in Paris and whilst acting as the Adam’s Curator-at-large (2013–15). She is currently living in Berlin and completing a PhD with the Institute of Art Theory and Cultural Studies, Academy of Fine Arts Vienna. Philip Scheffner is a German video and film maker and a sound artist. With author screenwriter and filmmaker Merle Kröger, he founded the film production company Pong in 2001. Their films have been shown in numerous festivals and in January 2021 Arsenal Cinema in Berlin undertook a retrospective of their work. They are based in Berlin. Layla Rudneva-Mackay graduated with a Masters of Fine Arts from the Elam School of Fine Arts, University of Auckland, in 2006. Her practice has progressed through sculpture, photography and painting, united by an exploration of colour, tone and shape through carefully considered compositions, but also evolving as a consequence of managing various serious health conditions. Her paintings in Crossings were included in ACC bcc Bananas, at Starkwhite in Auckland in July 2020, and she has exhibited there regularly since 2009. Solo shows include: 6 French Street, New Plymouth (Te Tuhi Billboards, Auckland, 2003) and Your words in my mind become mine. Your words are mine now (Enjoy Public Art Gallery, Wellington, 2007). Group exhibitions include: Ready to Roll (City Gallery, Wellington, 2010);  Julian Dashper (1960-2009): It is Life (Minus Space, Brooklyn, New York, 2010); Reverie (Dowse Art Museum, Lower Hutt, 2014); and Ice Cream Salad (Melanie Roger Gallery, Auckland, 2019). Rudneva-Mackay lives and works in Auckland. She is represented by Starkwhite, Auckland. Richard Shepherd was born in Johannesburg, South Africa. He moved to Auckland, New Zealand in 1994. He holds a Bachelor of Arts in Communication Studies from Otago University (2004); a Diploma of Photography, a Postgraduate Diploma in Fine Arts, and a Master of Fine Arts from Massey University, Wellington (2011). His video work On Borrowed Sand was exhibited at City Gallery Wellington’s Square2 space in 2011 and the photo series Romance was exhibited in the Courtenay Place Lightboxes in 2016. His work is in the Wellington City Council Collection. Shepherd is currently undertaking a PhD in Film through Victoria University of Wellington and living in Whanganui.  James Tapsell-Kururangi graduated from Toi Rauwhārangi College of Creative Arts, Massey University, with a Bachelor of Design in 2017, and a Master of Fine Arts in 2019. He is the inaugural 2020–21 Curatorial Intern at Te Tuhi Centre for the Arts in Tāmaki Makaurau Auckland, where he is responsible for the programme at Papatūnga, the independent art space operating from the platform of the Parnell Station. His work was included in the group show How to live together at ST PAUL St Gallery, Auckland, 2019, and his first solo exhibition, He waiata aroha, was recently staged at Enjoy Contemporary Art Space, Wellington, in 2021. His writing has been published in Lieu Journal, Pantograph Punch and in As Needed, As Possible, an online publication edited by Sophie Davis and Simon Gennard published on the Enjoy website.

    • CROSSINGS
      • Longer than I can remember, 2020, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker.” width=”70″ height=”70″> Threshold, 1983/1996, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker.” width=”70″ height=”70″> Threshold, 1983/1996, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker.” width=”70″ height=”70″> Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker.” width=”70″ height=”70″> Here and Now series, 2010–20; and Sonya Lacey, Obstructions, 2020. Downstairs: Emma McIntyre, The cove, 2020. Installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker.” width=”70″ height=”70″> Here and Now series, 2010–20, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker.” width=”70″ height=”70″> Sunday Star Times, 22.04.2018 – 15.07.2018, Grey Lynn; and Wairarapa Times-Age, 21.4.2018 – 24.12.2018, Featherston, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker.” width=”70″ height=”70″> Obstructions, 2020, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker.” width=”70″ height=”70″> Dwelling: Being in Time and Place, 2018, Moonlit Night, 2020, Waiting for Spring, 2020-2021, Sunrise Repaints the Picture of Rebirth 2021, installation view of Crossings (a group show about intimacies and ” width=”70″ height=”70″> Dwelling: Being in Time and Place, 2018, Moonlit Night, 2020, Waiting for Spring, 2020-2021, Sunrise Repaints the Picture of Rebirth 2021, installation view of Crossings (a group show about intimacies and ” width=”70″ height=”70″> Glazed bunch, 2018, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker.” width=”70″ height=”70″> Dark moon, 2017, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker.” width=”70″ height=”70″> On Distance, 2020, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker.” width=”70″ height=”70″> On Distance, 2020, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker.” width=”70″ height=”70″> On Distance, 2020, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker.” width=”70″ height=”70″> Havarie, 2016, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker.” width=”70″ height=”70″> Havarie, 2016, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker.” width=”70″ height=”70″> Havarie, 2016, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker.” width=”70″ height=”70″> Clearings, 2019, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker.” width=”70″ height=”70″> Clearings (detail), 2019, installation view of Crossings, Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker.” width=”70″ height=”70″> Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker.” width=”70″ height=”70″> Crisis meeting, 2017, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker.” width=”70″ height=”70″> Crisis meeting (detail), 2017, installation view of Crossings, Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker.” width=”70″ height=”70″> Swan song, 1995-6; Emma McIntyre, The cove, 2020, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker.” width=”70″ height=”70″> Swan song (detail), 1995-6, installation view of Crossings, Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker.” width=”70″ height=”70″> Veils, 2020; and The cove, 2020, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker.” width=”70″ height=”70″> The cove, 2020; and Love in a time of iridescence, 2020, installation view of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Photo by Ted Whitaker.” width=”70″ height=”70″> Again, Grandmother, Grey Street, 2019-21, a PDF available online as part of Crossings (a group show about intimacies and distances), Adam Art Gallery Te Pātaka Toi, Wellington, 2021. Image courtesy of the artist. ” width=”70″ height=”70″> Crossings(a group show about intimacies and distances) Turumeke HarringtonYolunda HickmanSonya LaceyRozana LeeGrant LingardVivian LynnAllan McDonaldEmma McIntyreNext SpringLayla Rudneva-MackayRichard ShepherdJames Tapsell-Kururangi …caesuras serve as techniques for modifying subjectivity, activating a process that disrupts perception and feeling and can ultimately generate a transformation, a new way of becoming. Paul Preciado, Artforum, 2020 A collective pause, a moment to turn inwards – Crossings began with a reflection on the disruptions of 2020. As we shared the experiences of a global pandemic, of shifting political landscapes and transformative action, 2020 was also a time of interiority, of modified subjectivities and heightened anxieties as global lockdowns forced us to turn inwards. Together we withdrew from the world; our most intimate relationships were confined to our bubbles or existed only on screen. Crossings was a group show sparked by these intimacies and distances. It brought together a range of artists and works that registered the polarities of inside and outside, closeness and distance, health and illness and the impacts of larger external forces on our collective subjectivities. But it was not a show about the pandemic. The artists selected worked in a variety of media, were of different generations, had different life experiences and cultural backgrounds. Few of the works were made during or about lockdown. Instead, the show explored how objects, images, and materials carry meanings that are opaque, at the edge of conscious thought, that suggest rather than proclaim. They niggled at the edge of knowing, to articulate the promise and fear of a threshold state. The works in the exhibition included meditations on public and private spaces and our movements between them; on the body in states of illness, pain, pleasure, reproduction and death; on mobility and change in the face of political and economic turmoil, and on the inevitable impact of an unseen threat that has changed everything. They asked: how can these intimate experiences, fraught relationships, larger forces and their attendant effects be communicated in an art work? Crossings included moving image work from current Walters Prize finalist Sonya Lacey and the first New Zealand screening of Philip Scheffner and Merle Kröger’s filmwork, Havarie, 2016; installations by Next Spring, Grant Lingard, Turumeke Harrington, Yolunda Hickman and Rozana Lee; an artist book by Vivian Lynn; paintings by Emma McIntyre and Layla Rudneva-Mackay; photographic series by Allan McDonald and Richard Shepherd. Again, Grandmother, Grey Street, 2019-2021, an illustrated text by James Tapsell Kururangi can be accessed here (contains graphic content). This is the artist’s contribution to Crossings, and it was on his request that this is only accessible as a PDF via the Gallery’s website. Crossings was generously supported by the Chartwell Trust. Documentation of the exhibition pdf featuring images and wall texts exploring the works as presented in the Gallery. Listen to Laundry day, a podcast series of unfolding conversations between artists in Crossings, online here rss.com/podcasts/adamartgallerytepatakatoi/ Read Magic Eye written by Ashleigh Young pdf. This text was written for the exhibition Crossings and read by the author at the opening on 18 June 2021. View a schedule of public programme events associated with Crossings on our calendar webpage. Crossings media release pdf. The artists Turumeke Harrington has a background in industrial design and visual arts, graduating with a Bachelor of Fine Arts with Honours from Ilam School of Fine Arts at the University of Canterbury in 2018. She is currently completing her MFA at Toi Rauwhārangi College of Creative Arts, Massey University, for which she received the inaugural Collin Post Memorial Scholarship in 2021. Solo exhibitions of her work include Whai Whakapapa Te Tuatahi (Toi Tū Studio One, Auckland, 2017); Turumeke Harrington (Sumer Contemporary Art, Tauranga, 2019); Hey māmā come play with me (The Physics Room, Christchurch, 2019); Stuck in customs (RM Gallery, Auckland, 2020); Mahoranuiatea Looking out in every direction (Objectspace, Auckland, 2020), and Gentle Ribbing (Toi Pōneke, Wellington, 2020). She and curator Grace Ryder co-produced the exhibition Help yourself at Enjoy Contemporary Art Space, Wellington, in May 2021. Harrington lives in Te Whanganui-a-Tara, Wellington. Yolunda Hickman is an Auckland-based artist. She graduated with a Doctorate of Fine Arts from Elam School of Fine Arts, University of Auckland, in 2020. In 2016 she undertook a residency at The Banff Centre for Arts and Creativity, Canada, and was part of the 2019 RM Gallery Summer Residency in Auckland. Solo exhibition projects include Passed, Repeating Last (Five Walls, Melbourne, 2016); Shoaling (Blue Oyster Art Project Space, Dunedin, 2020); Signal Forest (4 Plinths, Wellington Sculpture Trust, Wellington 2020) and Zombies Everywhere (Sumer Contemporary Art, Tauranga, 2020). Hickman is currently the acting Director for the Master of Fine Arts programme at Whitecliffe College of Arts and Design, Auckland. Sonya Lacey was born in Hastings. She graduated with a Master of Fine Arts from the Elam School of Fine Arts, University of Auckland, in 2007. A founding member of the alternative space Newcall Gallery in Auckland, she has exhibited in public and artist-run galleries throughout New Zealand. She taught Graphic Design at the Whitecliffe College of Arts and Design in Auckland and is currently the Dunedin Public Art Gallery artist in residence for 2021. She has held residencies at The Banff Centre for Arts and Creativity, Canada, 2011; Seoul Artspace, Geumcheon, South Korea, 2012, and NTU Centre for Contemporary Art in Singapore, 2017. She is a nominee for the 2020 Walters Prize at Auckland Art Gallery Toi o Tāmaki for her exhibition, Weekend, 2018, a four-channel moving-image and mixed-media installation, presented at Dowse Art Museum, Wellington in 2018–19. She has recently shifted from Wellington to Tauranga and is represented by Robert Heald, Wellington. Rozana Lee is of Indonesian-Chinese heritage. She moved to New Zealand in 2010. She holds a Bachelor of Visual Arts from Auckland University of Technology and a MFA from Elam School of Fine Arts at University of Auckland, graduating in  2018. Recent exhibitions include Two Oceans at Once (ST PAUL St, Auckland, 2019); Reconfigure(d) (Making Space, Guangzhou, 2019); Future Flowering (play_station, Wellington, 2020);  Projects 2020: Space as Substance (Auckland Art Fair, 2020); Home is Anywhere in the World (Meanwhile, Wellington, 2020), and Te Wheke: Pathways Across Oceania (Christchurch Art Gallery, Christchurch, 2020–22). Lee was a finalist in several art awards, including the Wallace Art Awards in 2018 and 2019, and the Parkin Drawing Prize in 2016 and 2019. She has undertaken artist residencies at INSTINC, Singapore, in 2016, and Making Space, Guangzhou, China, in 2019. Lee lives in Auckland. Grant Lingard was born in Blackball on the West Coast of the South Island and studied at Ilam School of Fine Arts at the University of Canterbury, graduating in 1984. His practice evolved over his short career into a simple language of sculptural forms that combined everyday materials like carved soap, tar and feathers, and men’s underwear, to explore his experience as a gay man in New Zealand. His practice gained a special urgency after his HIV-positive diagnosis, and his untimely death in 1995 marks him as one of the first wave of victims of this illness. He enjoyed attention in the mid-1990s for his important statements concerning his sexuality as it rubbed against the tropes of ‘Kiwi’ masculinity, notably with his inclusion in Art Now: The First Biennial Review of Contemporary Art at Te Papa Tongarewa Museum of New Zealand in Wellington in 1994, and a string of projects that grew out of his artist-residency at Ilam that same year and in the wake of his death in 1995. Lingard’s work has lately experienced a new wave of interest from a younger generation of artists, curators and writers. His works have been included in: Implicated and Immune (Michael Lett, Auckland, 2015); Sleeping Arrangements (Dowse Art Museum, 2018), and True Love: A Tribute to Grant Lingard (Ilam Campus Gallery, 2021). A website dedicated to his work and memory was established by Jeremiah Boniface on the strength of his Art History Honours’ research undertaken at Te Herenga Waka Victoria University of Wellington. Vivian Lynn studied at Canterbury University College School of Art graduating with a Diploma of Fine Art in 1952 and Auckland Teachers’ College, graduating with a Diploma in Teaching in 1953. She undertook further study in printmaking on a research trip to the USA in 1972. She had a long-standing career as a lecturer at the Wellington Polytechnic School of Design (which was amalgamated with Victoria University and then Massey University) teaching drawing between 1974 and her retirement in 1999. Though never aligning herself with the Women’s Art Movement, Lynn was instrumental in coordinating the Women’s Art Archive (1983–84), which is now held at Te Papa. Plagued with long periods of serious illness, Lynn still exhibited in solo and group exhibitions from the late 1950s and was included in several survey exhibitions including Anxious Images (Auckland City Art Gallery, 1984); Content/Context (National Art Gallery, Wellington, 1986), and Alter Image: Negotiating Feminism and Representation in Recent New Zealand Art 1973–1993 (City Gallery Wellington, 1993). A major retrospective exhibition I, HERE, NOW Vivian Lynn was staged by the Adam Art Gallery in 2008–9. Since then, her work has enjoyed renewed attention. Two of her installations from the 1980s and 1990s were recently included in the 13th Gwangju Biennale Minds Rising, Spirits Tuning, Gwangju, South Korea, in 2021, and she is now represented by Southard Reid, London. Lynn died at her home in Wellington in 2018. Allan McDonald was born in Lower Hutt. He has been working with photography since the 1960s. He graduated with a Master of Fine Arts from RMIT University, Melbourne, Australia, in 1998. He has produced a number of photobooks including Carbon Empire, which won the 2017 New Zealand Photo Book of the Year award. His work is held in public collections across New Zealand and he has taken part in numerous group exhibitions, ranging from The Active Eye (Manawatu Art Gallery, Palmerston North, 1975) to Freedom Farmers: New Zealand Artists Growing Ideas (Auckland Art Gallery Toi o Tāmaki, 2013-14). McDonald is a lecturer in the School of Creative Industries at Unitec in Auckland. He is represented by Anna Miles Gallery, Auckland. Emma McIntyre was born in Auckland. She graduated with a Bachelor of Visual Art from Auckland University of Technology in 2011, and a MFA from Elam School of Fine Arts, University of Auckland, in 2016. Solo exhibitions include: Pink Square Sways (Hopkinson Mossman, Auckland, 2017); Rose on Red (Hopkinson Mossman, Wellington, 2018); Heat (Mossman, Wellington, 2020), and Pour plenty on the worlds (Chris Sharp Gallery, Los Angeles, 2021). In 2019 she was awarded a Fulbright General Graduate Award to study at Art Center College of Design, Pasadena, CA, and she will graduate this US summer. Next Spring is an occasional series of texts commissioned, edited and published in book form by Berlin-based New Zealander Laura Preston. Each issue is an essay of art criticism focused on a moving-image work, published both in English and the language of place. On Distance, an essay by Berlin-based art writer Boaz Levin, written in that city and published in German and English, is the third in the series (the previous publications derived from Paris and Athens respectively). Boaz Levin was born in Jerusalem and currently lives in Berlin. He studied at the Bezalel Academy of Arts and Design and the Berlin University of the Arts. Together with Hito Steyerl and Vera Tollmann, he co-founded the Research Center for Proxy Politics, and his work has recently been exhibited at the Center for Contemporary Art in Tel Aviv; Human Resources in Los Angeles, and FIDMarseille in Marseille. Since October 2016, Levin has been a PhD candidate as part of the Cultures of Critique research training group at Leuphana University, Lüneburg. Laura Preston was born in Auckland. She has a Masters in Art History from the University of Auckland. She held a range of curatorial positions in New Zealand, including Adam Art Gallery Curator (2008–12) before leaving to work and study in Europe. She has been a guest curator at Portikus, Frankfurt am Main, and an editor for documenta14. She initiated Next Spring during a residency in Paris and whilst acting as the Adam’s Curator-at-large (2013–15). She is currently living in Berlin and completing a PhD with the Institute of Art Theory and Cultural Studies, Academy of Fine Arts Vienna. Philip Scheffner is a German video and film maker and a sound artist. With author screenwriter and filmmaker Merle Kröger, he founded the film production company Pong in 2001. Their films have been shown in numerous festivals and in January 2021 Arsenal Cinema in Berlin undertook a retrospective of their work. They are based in Berlin. Layla Rudneva-Mackay graduated with a Masters of Fine Arts from the Elam School of Fine Arts, University of Auckland, in 2006. Her practice has progressed through sculpture, photography and painting, united by an exploration of colour, tone and shape through carefully considered compositions, but also evolving as a consequence of managing various serious health conditions. Her paintings in Crossings were included in ACC bcc Bananas, at Starkwhite in Auckland in July 2020, and she has exhibited there regularly since 2009. Solo shows include: 6 French Street, New Plymouth (Te Tuhi Billboards, Auckland, 2003) and Your words in my mind become mine. Your words are mine now (Enjoy Public Art Gallery, Wellington, 2007). Group exhibitions include: Ready to Roll (City Gallery, Wellington, 2010);  Julian Dashper (1960-2009): It is Life (Minus Space, Brooklyn, New York, 2010); Reverie (Dowse Art Museum, Lower Hutt, 2014); and Ice Cream Salad (Melanie Roger Gallery, Auckland, 2019). Rudneva-Mackay lives and works in Auckland. She is represented by Starkwhite, Auckland. Richard Shepherd was born in Johannesburg, South Africa. He moved to Auckland, New Zealand in 1994. He holds a Bachelor of Arts in Communication Studies from Otago University (2004); a Diploma of Photography, a Postgraduate Diploma in Fine Arts, and a Master of Fine Arts from Massey University, Wellington (2011). His video work On Borrowed Sand was exhibited at City Gallery Wellington’s Square2 space in 2011 and the photo series Romance was exhibited in the Courtenay Place Lightboxes in 2016. His work is in the Wellington City Council Collection. Shepherd is currently undertaking a PhD in Film through Victoria University of Wellington and living in Whanganui.  James Tapsell-Kururangi graduated from Toi Rauwhārangi College of Creative Arts, Massey University, with a Bachelor of Design in 2017, and a Master of Fine Arts in 2019. He is the inaugural 2020–21 Curatorial Intern at Te Tuhi Centre for the Arts in Tāmaki Makaurau Auckland, where he is responsible for the programme at Papatūnga, the independent art space operating from the platform of the Parnell Station. His work was included in the group show How to live together at ST PAUL St Gallery, Auckland, 2019, and his first solo exhibition, He waiata aroha, was recently staged at Enjoy Contemporary Art Space, Wellington, in 2021. His writing has been published in Lieu Journal, Pantograph Punch and in As Needed, As Possible, an online publication edited by Sophie Davis and Simon Gennard published on the Enjoy website.

      • Image Processors: Artists in the Medium – A Short History 1968–2020 Curated by Christina Barton 4 September – 7 November 2021 It is only by producing images that the subject of mass culture begins to feel some measure of control over the alienation produced by this condition. Judith Barry, ‘Willful Amnesia’, 1986

      • Again.Grandmother. Grey Street, 2019-2021, an illustrated text by James Tapsell Kururangi can be accessed here. This is the artist’s contribution to Crossings, and it is on his request that this is only accessible as a PDF via the Gallery’s website.

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