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01/06/2024

‘Giovanni Intra: Side Effects’ examines the inner workings of Giovanni Intra (1968-2002) as he traversed the social impacts of modern medical theory upon society. During the 1990s, Intra formed an observational critique of Western medicine, identifying it as a substitute for religious phenomena. Intra considered art and science to be contaminants of each other, as opposing protagonists, reactive to new technological and social advances. He identified the significance of photography and its role in medical science, particularly in pathology, the study of disease and injury. The works in ‘Side Effects’ acknowledge these psychoanalytical realisations of Intra’s, proposing reconsideration and relevancy in a present-day context.

The exhibition continues at Dunedin Public Art Gallery through 25 August.
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Images:
Giovanni Intra, ‘Unrequited Passion Cycle - I: Free Barabbas’, 1993, archival reproduction. Courtesy of the Giovanni Intra Estate and Auckland Art Gallery Toi o Tamaki

Giovanni Intra, ‘No More Hospitals’, 1995, acrylic on paper. Collection Dunedin Public Art Gallery. Given 2006 by Jim Barr and Mary Barr. Courtesy of the Giovanni Intra Estate

Giovanni Intra, ‘Unrequited Passion Cycle - IX: Not To Be Attempted Without Parental Supervision’, 1993, C-Type colour photograph. Giovanni Intra Archive, E H McCormick Research Library, Auckland Art Gallery Toi o Tamaki

Giovanni Intra, ‘Unrequited Passion Cycle - XII: Best After 33AD’, 1993, C-type colour photograph. Collection Dunedin Public Art Gallery

30/05/2024

Dunedin-based artist Simon Richardson has today been announced as a finalist in Australasia’s prestigious portraiture awards, the Archibald Prize, with a painting of renowned New Zealand photographer Fiona Pardington.

Richardson is one of just 10 New Zealand artists to be shortlisted for the Archibald Awards in its more than 100-year history, while only one Kiwi has ever won an associated prize:
Auckland-based Martin Ball, who took out the Packing Room Prize in 2008. Richardson was one of 57 finalists announced today from more than 1000 entries received.

The egg tempera painting features Fiona Pardington (Ngai Tahu, Ngäti Mämoe and Ngäti Kahungunu) MNZM, Chevalier Ordre des Arts et des Lettres, reclining on a couch with her dog Minerva. Richardson has also painted Huia on the painting frame, referencing the celebrated artist’s still life photos of the now extinct native New Zealand bird.

Read more via our linkin.bio

29/05/2024

Peter Stichbury, Promethean Problems, continues at Michael Lett through 15 June

27/05/2024

Over the past five years Paul Maseyk has been deep-diving into the still life genre of painting in Aotearoa New Zealand; in particular – looking to works depicting the humble jug.

‘Jugs in New Zealand Painting’ is on view through 13 October at The Dowse Art Museum in Pōneke and combines two of Maseyk’s loves – paintings and jugs. Maseyk has made over 60 jugs modelled from the jugs seen in New Zealand paintings that he’s found by sifting through collections, magazines, and across the internet. Jugs in New Zealand Painting brings together some of these paintings from collections around Aotearoa.

The paintings span a wide art-historical canon, from Colin McCahon to Joanna Margaret Paul; Frances Hodgkins to Francis Upritchard; Edith Collier to Milan Mrkusich. Maseyk operates like a time-traveller, plucking the jugs from the works they were painted into like the pottery version of photocopying, a playful game of spot the clay doppelgänger. According to Maseyk: “I like to imagine it that I have made a facsimile of the jug the artist had in his or her studio at the time they were creating their work.”

Paul Maseyk (b. 1974) lives and works in Ngāmotu New Plymouth. After completing his Diploma of Ceramic Design and Production in at Whanganui’s Polytechnic in 1997, Maseyk has since been awarded the Archie Bray Foundation of Ceramic Arts residency in Montana and the Medalta International Artist Residency in Alberta, Canada. He has worked alongside Barry Brickell OBE (1935-2016) at Driving Creek and Ross Mitchell-Anyon ONZM (1958-2022). Maseyk’s work is held in numerous collections both nationally and internationally.

25/05/2024

‘Come with me I need you now’ is on view at Kim Meredith Gallery through 22 June, featuring artists Fleur Wickes, Gareth Price and Kirk Lafferty.

23/05/2024

Andy Leleiai’uao’s exhibition ‘Area 51’ is on view at Bergman Gallery in Rarotonga 28 May – 27 July.

According to the artist, “Archipelago Area 51 is an alternative reality that disregards time and space. These villages are inhabited with extraterrestrial and human sentiments who have created their own culture and history. They are impossible collectivist and joyful societies that revel in the simplicities of their existence.”

22/05/2024

Lolani Dalosa‘s ‘Character Studies’ renders two inverse sets of high-contrast blue and white silhouettes, one at each of the billboard locations. Each of the billboard scenes plays on one-liners; idioms like “hung out to dry”; archetypes like the “snotty nose neighbourhood kid”.

Character Studies continues Dalosa’s interest in cultural iconography, featuring recognisable characters and objects from his visual lexicon.

The exhibition is part of the Te Tuhi billboards project by Papatūnga.

Read more via our linkin.bio

16/05/2024

Ahsin Ahsin’s Exhibition Turbo Croc 2.0 continues at City Gallery Wellington Te Whare Toi through 30 June.

Drawing from 80s and 90s sci-fi films and skate culture, Ahsin’s paintings are boundary pushing manifestations of big street NRG. Characters and motifs show up in his work like makers stamps —inscriptions that shapeshift through painted surfaces and city streets. His practice now contains an entourage of characters that includes robo croc, black figure croc and flamboyant & thicc croc.

Turbo Croc 2.0 showcases a new mural work that reunites the band of ‘crocs’. This sits alongside a collection of new paintings that stand as reimagined universes. These works are a return to Ahsin’s interest in the vase form and its ability to hold stories. This show embodies a ‘more is more’ mindset with each amphora, a portal into a neo-pop hyper-space. Turbo Croc 2.0 is a graphic celebration of Ahsin’s current practice, honouring how it has morphed over the years.

Ahsin Ahsin is an artist from the islands of Aitu and Aitutaki. He has completed major mural works as part of Boon street-art festival and Street Prints Mauao. Ahsin has exhibited largely throughout Aotearoa in Kirikiriroa, Auckland and Melbourne. He has an extensive list of commission work and has participated in international art initiatives including a series in India & Belgium.

16/05/2024

On view through 8 June: ‘Augur of Mercury’, an exhibition by Alex Laurie and Sophia Laurie at Grace.

“While Alex’s work lingers in the coincidence of pattern and action within nature, behaviours such as orbit, radiation, bifurcation, slipping into the demotic, present in games, present in the kitchen, Sophia’s wax pictures exist at the other end of the sign-seeking cycle, where inanimate subjects lack any coincidence as they appear petrified, killed, mimesis delivering yearned-for stasis.@ — gallery statement

13/05/2024

Emily Hartley-Skudder’s exhibtion ‘Splash Club’ continues until this Saturday 18 May at Hocken Library.

The exhibition combines Hartley-Skudders’s own works with a curated selection by other artists, traversing installation, readymade sculpture and painting to set the stage for both a celebration and critique of cleanliness and beauty rituals in camp luxury. Unveiling her clamshell-themed stockpile, Hartley-Skudder offers up a playful femme antidote to relic-like Gentlemen’s Clubs.

01/05/2024

Frances Hodgkins, Pleasure Garden, 1932, is one of the works currently included in ‘Pleasure Garden: Unheard Stories from the Collection’ at Christchurch Art Gallery Te Puna o Waiwhetū, on view through 21 July 2024

“You say in yr last [letter] that I will not tag on to Colonial life after staying away so long – you surely don’t expect & want me to settle down into a Maiden Aunt do you & throw up career & ambition & lose the precious ground I have gained – you are much too dear and unselfish for that I am sure. I am coming out merely to see you & Sis & the children, to be with you for a while & then to return to my work like any man of business. To make you happy I must be happy myself. I want to see you badly & feel I must come soon at no matter what sacrifice. But do realise Mother that it’s on this side of the world that my work and future career lie. I grieve sometimes that you do not understand this more.” – Frances Hodgkins, excerpt from a letter to her mother, Rachel Hodgkins, 1911

01/05/2024

Currently on view at Coastal Signs: ‘Thump’, a solo exhibition by Aotearoa-born Los Angeles based artist Fiona Connor.

Thump is, curiously, something of a time warp in that it brings together both very new and very old works by the artist, and transforms the space of the presentation into a working and teaching environment.

The new exhibition, the artist’s first solo at Coastal Signs, evolves from Drawing something under itself, Connor’s major exhibition at Kunstverein für die Rheinlande und Westfalen, Düsseldorf in 2023. Thump comprises a new series based on drawing boards sourced from classrooms, a set of coat hooks quoted from various public bathroom stalls around Southern California, and a painting of the cover of a school exercise book produced by the artist in 2003, her final year at Elam School of Fine Arts. The gallery walls are subtly scuffed, and several pairs of shoes (cast in bronze) sit casually at the entrance to the gallery.

01/05/2024

Upcoming at Gow Langsford Onehunga — a solo exhibition of new work by John P**e

“For nine months I rode my bike each day through the canopy forest from Liku to Alofi [around 15 kilometres]. Through rain or shine, winds, storm, or calm. The road is bordered with plantations, forests, tracks into the interior. Big blue skies and clouds, shadows of trees stretch across the makatea (limestone) road. Returning to Liku every evening, the sun is warm on my back. These paintings and drawings are about that particular time.”

‘Haia’ brings together a body of recent paintings and drawings by John P**e. With bursts of bright colour, painterly suggestions of water, vast tropical vegetation and silhouetted human figures, the works presented in Haia further the rich artistic vision that has made P**e a widely celebrated artist in Aotearoa and beyond.

This body of work was created by P**e over a nine-month period in Niue. In January 2023, he was offered a studio by the Niue Government in a space located in the historical Fale Fono parliament building in Sialekula, Alofi. P**e states, “The studio faces the ocean on the west side of the capital, Alofi. When I paint, I hear only the ocean. Sialekula, the name of the land the Fale fono is built on, means ‘red gardenia’.

The exhibition runs 11 May through 8 June 2024.

28/04/2024

Upcoming at Tim Melville — a survey exhibition by Russ Flatt.

After returning to Aotearoa New Zealand from New York, where he had been working as a fashion photographer, Russ Flatt (Ngāti Kahungunu) completed a PGDip FA at Auckland University’s Elam School of Fine Arts.

He graduated in 2013 having won the University’s Post-graduate Photography Prize.

Flatt’s work addresses notions of identity and belonging - including q***r and Māori identities – and his early works evoke a re-imagined past as a means to understand and recognise the present.

Opening 1 May

27/04/2024

Brett Graham is one of five ngā toi Māori artists featured in the International Exhibition at the Venice Biennale curated by Adriano Pedrosa and titled ‘Stranieri Ovunque - Foreigners Everywhere’.

Graham’s work ‘Wasteland’ continues themes from his recent exhibition ‘Tai Moana Tai Tangata’ and is also an homage to the conceptual ideas in his father’s (Fred Graham) sculptures from the 70s.

‘Wasteland’ looks to nature and expresses a Te Ao Māori/indigenous proximity to the natural world, and responds to the rapid depletion of natural resources since the onset of colonisation: “Colonial foundation mythologies privilege pastoral lands over wetlands. Traditional indigenous food sources such as eels were replaced by cattle and sheep, and wetlands described as ‘wastelands’.”

The ‘wagon’ form covered with eels tilts back on two wheels, with two protruding carved totara shafts. The form comes from the pātaka or carved storage house. Usually fixed on stilts and elaborately carved, the pātaka took pride of place in the village displaying the tribe’s wealth and resources.

Placing a pātaka on wheels alludes to the forced migrations of Māori because of the colonial process, people were evicted from their lands. Similarly the migratory pathways of eels to spawn in the Pacific Ocean and then return have also been interrupted.

25/04/2024

Luke Willis Thompson’s ‘Mouvement des Malades’ is a Coastal Signs x Michael Lett project, on view at Lett’s 3 East Street gallery through 18 May.

‘Mouvement des Malades’ is part of a wider and ongoing exploration by the artist into potential correlations between psychosis and decolonial thought. The central work, a three-channel moving image, remembers the Fijian church of the artist’s childhood.

17/04/2024

Mataaho Collective is one of five ngā toi Māori artists featured in the International Exhibition curated by Adriano Pedrosa and titled Stranieri Ovunque - Foreigners Everywhere.

Click here to read Jon Bywater’s essay on the work from our Winter 2023 issue °198 — https://artnews.co.nz/as-though-it-were-a-spiderweb/

15/04/2024

New Tāmaki Makaurau gallery Grace recently announced representation of Christian Dimick.

Dimick is known for his chalky canvases and drawings that resemble sketches by children. He graduated with a BFA (First class Honours) from Massey University, Wellington, in 2022. Since then he has shown in numerous group and solo exhibitions in both Aotearoa and Australia, including at Kaukau and Paper Anniversary.

19/03/2024

‘Lucken’s Wing’ is Denis O’Connor’s tribute to backyard tinkerers and jacks-of-all-trades, included in this year’s Perpetual Guardian Sculpture on the Gulf on Waiheke Island.

A meticulously restored, custom-painted Harley Pocket-Rocket bicycle rests on a launch pad—a four-metre-long carpenter’s slate pencil, whose tip points up, out, and over the gulf, towards Hauturu/Little Barrier Island, like a stunt ramp or rocket launcher. The work recalls a vibrant culture of amateur motoring on Waiheke Island, where, until the 1990s, one would often see jerry-built handcarts and tandem or trailer contraptions making their way around the Island. Earlier, in the 1930s and 1940s, the island was host to the Waiheke TT Races, where motorbike riders would race around Onetangi Loop Road (then paved only with shingle). O’Connor commemorates these anonymous dreamers withoutdegrees or industrial resources, who sketched their dream vehicles on the back of envelopes and realised them using hand tools and scavenged materials—on nothing but a ‘wing and a prayer’, as the text on one side of the pencil reads.

Denis O’Connor (b.1947) is a long-time Waiheke Island resident and aSculpture on the Gulf regular. He studied at Wellington Polytechnic School of Design in the mid-1960s and, a decade later, spent time in California studying contemporary ceramic sculpture. He works with stone and ceramics, found objects and text.Antipodean and Irish literary histories have informed his work, allowing him to explore his own biography, heritage, and cultural identity.

Perpetual Guardian Sculpture on the Gulf celebrates its 20th year anniversary this year. The exhibition continues from 24 February to 1 April 2024 on Waiheke Island.

19/03/2024

All over the world, wherever we go, generic stainless-steel handrails and barriers are there to aid us, impede us, and control us. They’re so ubiquitous, they’re invisible. We don’t give them a second thought.

Yona Lee’s sculpture ‘Fountain in Transit’—included in Perpetual Guardian Sculpture on the Gulf on Waiheke Island—instantly draws our attention to the handrails it is made from. Her installations and sculptures often combine mazes of tubing with random flurries of everyday fixtures and fittings—mop heads and mailboxes, bus seats and beds, phone chargers and umbrellas—as if making a mockery of their utility. ‘Fountain in Transit’ combines bathroom fixtures—including a shower head, drain, and shower curtain—with a street lamp, a bench, bus handles, and a clock, prompting us to imagine a scenario in which these might come together.

Yona Lee (b.1986) lives in Tāmaki Makaurau/Auckland. She completed her MFA there, at Elam School of Fine Arts, in 2010. She worksinstallation, using stainless-steel tubing to create elaborate, site-responsive circuitries that invite us to interact with the various everyday items she incorporates into the structures: bus seats and beds, clocks and café seating, showers and shower curtains. She began making these works following a residency in Seoul, where she began thinking about public transport infrastructure and the patterns of behaviour and mass mobility it informs. More recently, she has been working at a smaller scale, creating sculptural units for public sculpture contexts or private commissions. Herrecent projects include solo exhibitions at Te Uru, Tāmaki Makaurau/Auckland, in 2017; Art Gallery of New South Wales, Sydney, in 2018; City Gallery, Wellington, in. 2018; and Auckland Art Gallerym in 2022. Her work also featured in the 2016 Changwon Sculpture Biennale, 2019 Lyon Biennale, and 2020 Busan Biennale.

Perpetual Guardian Sculpture on the Gulf celebrates its 20th year anniversary this year. The exhibition continues from 24 February to 1 April 2024 on Waiheke Island.

18/03/2024

Join Philip Clarke, ONZM, tomorrow night (Tuesday 19 March) from 6–8pm at Webb’s Mt Eden gallery, for a talk to launch the latest Works of Art catalogue.

Alongside artisan gin cocktails and canapés, Clarke will be discussing his personal standouts from the collection, which includes artworks by Teuane Tibbo, Pauline Yearbury, Ralph Hotere, Bill Hammond, Rita Angus, Grahame Sydney, and many more.

Entry is free — please RSVP to [email protected] to confirm attendance.

07/03/2024

Current opportunities for artists on our website now:

• Development Fund for Artists and Practitioners

• Foundation North Asian Artists’ Fund

• Aniva Artist Residency

• CoCA’s 2025 exhibition programme

• Librarian, Discovery and Access

• Michèle Whitecliffe Art Writing Prize

• play_station Film Festival .space

• The Evan Webb Award for Len Lye Research

Images:
Sophia Smolenski, printed emails & power drill belonging to the artist, 2023. Installation view, Sophia Smolenski: Offering It Up, Te Pātaka Toi Adam Art Gallery, Te Herenga Waka—Victoria University of Wellington, 2023. Photo: Ted Whitaker
Abhi Chinniah, Samatva Vol.1, 2020, digital archival inks on matte paper. Courtesy of the artist and Bergman Gallery
Manu Vea, Koe Tau’atāina o e Leitī | The Freedom/Emancipation of the Leitī, 2023. Installation view, Pātaka Art + Museum
Megan Brady, Where light and footsteps fold. Installation view, outside wall. Photo: John Collie
Photo credit: David St George. Courtesy of Auckland Art Gallery Toi o Tāmaki
Latai Taumoepeau, Ocean Island Mine, 2015–ongoing (performance views, 21 July 2023, Sydney, Australia), live performance, ice, shovels. Photo: Ruth Ha
Sabina Rizos-Shaw & Max Fleury, Star-Crossed (still), 2023
Len Lye, The Birth of the Robot, 1936. Courtesy of Shell Global and the Len Lye Foundation. From material preserved and made available by Ngā Taonga Sound & Vision

02/03/2024

Final day to view ‘The Chair: a story of design and making in Aotearoa’ at Objectspace in Tāmaki Makaurau

“110 chairs, 170 years, 83 designers and makers, 14 of them unknown.

The premise of this exhibition is simple. One object type – the chair — explored from the earliest documented period of local production through to today.

This is not the definitive history of chair design and making in Aotearoa. Instead, it is a story of ad hoc research and discovery that begins and ends with an evocative whalebone chair that resides today in Auckland Museum. Found in Russell in 1944, the chair dates to the 1800s. It was a product of necessity: made from a whale vertebra, with three bones inserted for legs, by a whaler needing something to sit on.

The exhibition charts a jagged course from those corporeal whale bones. One chair leads to another, each chosen because they point us to stories that warrant telling and, in many cases, risked going untold.

Key moments come and go — the Arts and Crafts period of the late 1800s; modernism; the local Studio Furniture movement in the 1980s and 90s — while particular themes persist. Pragmatism can be seen in the design of chairs in Aotearoa at every turn; so too can the impact of access (or lack of it) to local manufacturing, materials and global trade.

Adaptation is an unwavering thread throughout The Chair. An object has ancestry, nothing is entirely new, nothing is its own island. By moving through the chairs in this exhibition we find connections and inspiration between the works; we see the lines they throw to the past, and to design and craft beyond our shores. Adaptation can throw up tensions. While it shares territory with copying and appropriation, it also offers a path to iterative change and innovation. It is how a design culture emerges over time: how we find a unique voice.

The 1800s whalebone chair is not in this exhibition — it is too fragile to be loaned. Instead, a one-to-one replica is in its place. Made with the benefit of contemporary three-dimensional printing technologies, the 2023 model is both one of the oldest and newest chairs on display.”

27/02/2024

WIN a DOUBLE PASS to Bic Runga this Saturday 2 March, in Hamilton Kirikiriroa. Thanks to and we have two tickets to this epic live performance to give away, where Bic will be joined by a phenomenal live band and supported by award-winning Georgia Lines.

Simply follow , , and and tag who you want to take to this epic event. Winner drawn 9am Friday 1 March via Instagram.

27/02/2024

Since he took on the mantle of Minister for Arts, Culture and Heritage, Hon Paul Goldsmith has expressed his reticence to declare an official arts strategy, questioning the compatibility of top-down decision making and creativity, preferring to “let a thousand flowers bloom,” as he said recently in an interview with The Post.

It’s a position that has been met with impatience by many. Flowers can’t bloom without water, and with all the talk around ‘overspending’ leading into the election, the industry is understandably nervous and seeking clarity. They’re also seeking strong leadership on existing public funding mechanisms and innovation on potential alternatives. We spoke to the new Minister about his vision for the sector and his assessment of the concerns and ideas coming from within it. (Spoiler: he remained ever the cagey gardener.)

Read more via the linkin.bio

27/02/2024

“We tend to forget that we are part of nature. We are all guests on our planet just like other creatures. Every year a great number of creatures become extinct forever due to our actions. I tried to include various aspects from the nature that surrounds us—animals, plants, and human beings. They are randomly mixed, creating a mosaic of nature.”

‘Flora & Fauna’ is a selection of artworks by London-based artist Zadok Ben-David, presented by Gow Langsford.

The intricately painted stainless steel artworks provide a compelling view of the artist’s practice, showcasing the technical and conceptual finesse that has underpinned his global success. ‘Flora & Fauna’ is Ben-David’s first exhibition in New Zealand.

26/02/2024

Taylor J. Wagstaff’s exhibition ‘input coverage’ continues at Coastal Signs through 3 March.

As always, Wagstaff’s subject matter is carefully chosen for both its legibility as a cultural sign, and for it usefulness in the artist’s ongoing critique of value and taste. Like the fashion images and tattoos from Wagstaff’s previous paintings, the laptops and their stickers are tools of identity formation and display. While the personal brand of each user is specific to their device, the jumble of symbols—characters from the Simpsons, Pokémon, a Mona Lisa dj-ing, aliens, self-help slogans, coder in-jokes—give an overall impression of young people who are vaguely counter-cultural and very online.

25/02/2024

‘Out of Karekare’ highlights artists who have participated in the Karekare House Residency, which offers creatives from various disciplines a tranquil environment in which to develop their practices, pursue new ideas, and foster creative conversations with the local community and wider general public.

The exhibition includes Josephine Jelicich, Claudia Kogachi, Brendon Leung (courtesy of Trish Clark Gallery), Alexis Neal (courtesy of FHE Galleries), Kalisolaite ʻUhila (courtesy of Michael Lett), and Tira Walsh (courtesy of Two Rooms).

The works variously references the coastal landscape, light and moods, the legends informing the land, the relationship to place, and the beauty yet sheer immensity of nature. The outcomes of their residencies show six very different responses that nevertheless combine underlying similarities and complementary themes.

‘Out of Karekare’ continues at Season in Tāmaki Makaurau through to 3 March

.jelicich.furniture .leung

25/02/2024

Ella Sutherland’s solo exhibition ‘Still Life with Argot’ continues at Sumer through 2 March.

An artist, designer, and academic, Sutherland’s practice possesses a deep engagement with the archive. Her research, broad and discursive, connects the archaic and modern with the present. Recent bodies of work feature far ranging subjects, including modern politics, economics, meteorology, print technology, among many others. And such references, as wide as they might be, are always situated in relation to a set of key subjects, nay luminaries, which inform or reflect her own identity as a q***r woman.

In her ostensibly abstract works, Sutherland uses borrowed text and images. Obfuscated, they serve principally as compositional devices for the artist, yet a spectral presence remains. Playfully, they interrogate the presentation and dissemination of information; and pull apart the formal, material, and technological conditions of language. Or the artist herself would have it, they “consider the possibilities and the vulnerabilities of communication.”

.nz

21/02/2024

54 years ago today, Govett-Brewster Art Gallery opened their doors in Ngâmotu New Plymouth. It was the first public gallery in Aotearoa dedicated to contemporary art.

In Issue 200, Gregory Burke reflects on the gallery’s first Director John Maynard, and the iconic inaugural installation ‘Real Time’ by Leon Narbey.

Read online now via the linkin.bio

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The practice of Neke Moa (Whare ā Papaīra, Ngāti Kahungunu ki Ahuriri, Kāi Tahu, Ngāti Porou, Ngāti Tūwharetoa) seeks to promote hauora by deepening connections between tāngata, tohunga and atua. Her work centres on adornment and object-making, drawing heavily on materials found in the taiao and on customary and contemporary processes. She has exhibited throughout the Moana Oceania region and internationally, participating in such projects as HANDSHAKE (2010–22), Wunderrūma (2014–16) and the 2016 and 2024 Festivals of Pacific Arts and Culture. In 2023, she was awarded a prestigious Herbert Hofmann Prize at Munich Jewellery Week. Works by Moa are held in the collections of important institutions, including Auckland Art Gallery Toi o Tāmaki, the Dowse Art Museum, and the Museum of New Zealand Te Papa Tongarewa. She is based in Ōtaki Beach, where many of her rauemi are gathered. Neke Moa’s exhibition ‘Ngā tirohanga whānui a Parehuia’ is on view at Objectspace until 19 May Moa is represented by Season in Tāmaki Makaurau @nekemoa @objectspace @seasonaotearoa

Art News Issue °201 Featuring — Somewhat Eternal JUSTINE YOUSSEF and CHI TRAN discuss enacting belief in alternate futures Bucket Stacks and Rolling Rocks A MIKE HEWSON alphabet by JUSTIN PATON Youth Worship HENRIETTA HARRIS’s Dipped in Time, by CONNIE BROWN He Whare Ātaaahua JADE TOWNSEND in conversation with MELANIE TANGAERE BALDWIN Mother of Tongpop Kingdom TELLY TUITA speaks to LEAFA WILSON about the ever-expanding Tongpop Omniverse columns on Hansa Studios, RALPH HOTERE’s Taranaki Gate Stations, and Set Dressing curated by Simon Gennard and reviews on SELINA ERSHADI AND JAMES TAPSELL-KURUANGI, WAYNE BARRAR, LI-MING HU, RICHARD LEWER, ISABELLA LOUDON, POLLY BORLAND, WU TSANG

“My personages are just going about their lives, having a go. If you see them as abject or ‘bad’, that is wholly your issue. It may be surprising, but there are many factors at play when making work: art history, personal history, and sometimes it’s about trying to move the work in a certain direction, and always struggling with materials and eradicating meaning. And always trying hard not to illustrate theory.” — Ronnie van Hout Read our full interview with van Hout on the website, where we speak to the artist about doubles, ‘bad’ dads and his new work at Melbourne Art Fair, exhibited with Darren Knight Gallery. @paulfosterpilot @darrenknightgallery @melbourneartfair

Fifteen artists at Melbourne Art Fair Visit Art News Aotearoa at our stand, located at the fair entrance opposite the ticket desk

Holly Schroder (@schroder_holly) opens Misshapen tonight at @astorbristed — a large-scale, immersive light installation on the gallery’s exterior that will be on view daily from 10am – 4pm until Monday 5 June