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Ouauq PRIVATE IUMATAMUT TUMATAITI ouauq PRIVATE IUMATAMUT TUMATAITI The 2nd Auckland Triennial AOTEAROA NEW ZEALAND 2004 MARK ADAMS (NZ) / LAURIE ANDERSON (USA) / TIONG ANG (NETHERLANDS) / JOHN! BARBOUR (AUSTRALIA) / POLLY BORLAND! ||( UK / AUSTRALIA) / LOUISA BUFARDECI (AUSTRALIA) / MUTLU £ERKEZ (AUSTRALIA) /[ CHRIS CUNNINGHAM (UK) / MARGARET DAWSON! || (N Z) / ET AL. (NZ) / KATHLEEN HERBERT ||( UK) / JENNY HOLZER (USA) / LONNIE! jjHUTCHINSON (NZ) / ILYA & EMILIA KABAKOV! I(USSR/USA) / KAO CHUNG-LI (TAIWAN) / EMIKO ! KASAHARA (JAPAN) / WILLIAM KENTRIDGE: (REPUBLIC OF SOUTH AFRICA) / JAKOB! IIk OLDING (DENMARK) / LAUREN LYSAGHT (NZ) /] EMILY MAFILE'0 (NZ) / THANDO MAMA ||( REPUBLIC OF SOUTH AFRICA) / SEN ZEN I MARASELA (REPUBLIC OF SOUTH AFRICA) /| TERESA MARGOLLES (MEXICO) / ANDREW IlMCLEOD (NZ) / JULIA MORISON (NZ) / CALLUM! MORTON (AUSTRALIA) / FIONA PARDINGTON! ||( NZ) / NEIL PARDINGTON (NZ) / ROBERT! •PULI E (AUSTRALIA) / LISA REIHANA (NZ) /j CATHERINE ROGERS (AUSTRALIA) / SANGEETA SANDRASEGAR (AUSTRALIA) / AVA SEYMOUR^ (NZ) / LORNA SIMPSON (USA) / SEAN SNYDER: [[(GERMANY / USA) / KATHY TEMIN (AUSTRALIA) /| HULLEAH J . TSINHNAHJ INNIE (USA) / J ANEi lift LOUISE WILSON (UK) / YUAN GOANG-MINGj : (TAIWAN) PUBLIC 3 T A v m q TUMATANUI ITIATAMUT EXHIBITION CURATORS: NGAHIRAKA MASON EWEN MCDONALD i The 2nd Auckland Triennial AOTEAROA NEW ZEALAND 20 MARCH - 30 MAY 2004 THE AUCKLAND ART GA L L E R Y_T H E UNIVERSITY OF AUCKLAND'S GUS FISHER GALLERY_GE0RGE FRASER GALLERY_ARTSPACE JENNY GIBBS GRAEME EDWARDS SUE FISHER give HARRIET FRIEDLANDER ART T R U S T ISimpson Grierson * r i z NOEL LANE AN D AM A N D A GIBBS GEORGINA AND JOLYON RALSTON The 2nd Auckland Triennial could not have been realised without the assistance and cooperation of: ~~| CULTURAL AGENCIES ASIA 2000 museums • • BRITISH COUNCIL FOUNDATION # # Ne w Zealand aotearoa OF NEW ZEALAND The Japan Foundation EMBASSY OF MEXICAN ARTS THE UNITED STATES VICTORIA Danish Arts Council Embassy The Piece 16 Be OF AMERICA ^GLf^ S inG A P O R E CORBANS C it y L if e A AIRLII1ES J / f o TtTiyen^ SAATCHI & SAATCHI ICOLOUR MONTANA A STAR ALUAMCB MEMBB* I THE AUCKLAND ART GALLERY TOI 0 TAMAKI IS PROVIDED BY *W ► AUCKLAND CITY PUBLIC/ PRIVATE TUMATANUI / TUMATAITI _ 6 . FOREWORD: CHRIS SAINES _ 7 . SOME NOTES TOWARDS AN OPENING: NGAHIRAKA MASON 8 EWEN MCDONALD _1 2 . BEING THERE: TOBIAS BERGER _1 5 . _71 . _1 35. MARK ADAMS KAO CHUNG-LI CATHERINE ROGERS CONTENTS _1 9 . _75. _1 39. LAURIE ANDERSON EMIKO KASAHARA SANGEETA SANDRASEGAR _23. _ 7 9 . _1 43. TIONG ANG WILLIAM KENTRIDGE AVA SEYMOUR _27. _ 8 3 . -.147. JOHN BARBOUR JAKOB KOLDING LORNA SIMPSON _31 . _ 8 7 . _1 51 . POLLY BORLAND LAUREN LYSAGHT SEAN SNYDER _35. _91 . _1 55. LOUISA BUFARDECI EMILY MAFILE'O KATHY TEMIN _39. _95 . _1 59. MUTLU QERKEZ THANDO MAMA HULLEAH J. TSINHNAHJINNIE _43 . _ 9 9 . _1 63. CHRIS CUNNINGHAM SENZENI MARASELA JANE 8 LOUISE WILSON _47. _1 03 . _1 67. MARGARET DAWSON TERESA MARGOLLES YUAN GOANG-MING _51 . _1 07. ET AL. ANDREW MCLEOD _5 5 . _1 11 . _1 73. KATHLEEN HERBERT JULIA MO RI SON ACKNOWLEDGEMENTS _ 5 9 . _115. JENNY HOLZER CALLUM MORTON _6 3. _1 19. LONNIE HUTCHINSON FIONA PARDINGTON _6 7. _1 23. ILYA 8 EMILIA KABAKOV NEIL PARDINGTON _1 27. ROBERT PULIE _1 31 . LISA REIHANA pin the curatorial proposition. The triennial DIRECTOR'S endeavours to show some of the world's newest work alongside our own, but does so in a way that crystallises the FOREWORD contemporary art experience around one of contemporary life's most public and potent of issues. Where the first triennial lit upon the idea of paradise - lost and found, utopian and distopian - the second closes in on the idea of privacy - asking what privacy means in a world of daily boundary crossing between what is considered private and what is not. The 39 artists' projects that comprise PUBLIC/PRIVATE: TUMATANUI/ TUMATAITI were chosen for the powerful We first planned a triennial exhibition for their signal contribution to an way their work echoes imperatives and in 1999, when the gallery determined to enormously challenging undertaking. compulsions around this central premise. establish a three yearly exhibition com ­ They combine to create a hugely evocative Principal sponsor Simpson Grierson, prising New Zealand and international and stimulating encounter with cross- whose association with the gallery spans contemporary art. In March 2001 The 1st cultural and cross-media practices that fifteen years, have shifted their focus to Auckland Triennial: Bright Paradise was focus on an increasingly germane issue. our contemporary programme. I thank launched across three venues. The project These projects instigate debate as a crucial chairman Rob Fisher, along with David was a direct response to the success of part of the work, and they highlight the Graham and Glenda Macdonald, for their other similar events in the region and the significant role that visual artists play in nothing-short-of-remarkable confidence then conspicuous lack of any comparable elucidating contemporary social issues. in this project. They have been joined by ongoing contemporary art event here. We They also introduce new work to this Creative New Zealand and the Sue Fisher wanted to put Auckland on the map as country, as they send messages offshore and Chartwell Trusts, each of which has the staging ground for a major multi- about the cultural condition here. The 1st supported the triennial from its inception. venue exhibition that would evolve into a Auckland Triennial began down that path in I thank the CNZ Arts Board, and trust world-class contemporary art event for the 2001 and the second triennial enlarges chairs Sue Fisher and Rob Gardiner, for city. Not one, of course, with the evident and accelerates that dialogue in 2004. their generosity. I am delighted also to history and scale of a Venice or Sydney acknowledge those Patrons of the biennale, but a project that would over Not just the speculative ambition but also triennial whose individual support has time forge its own independent level and the physical reach of this project are now enabled us substantially to push out identity. The 2nd Auckland Triennial, which much developed, partly manifest in the the reach of the project. Among them we are proud to again stage with our extended partnership support lent to us I very gratefully include Jenny Gibbs, exhibition partners at Artspace and by The University of Auckland and by Graeme Edwards, Harriet Friedlander, The University of Auckland, does much Artspace. I acknowledge their numerous Noel Lane and Amanda Gibbs, and to further that aim. strands of engagement with this project, Georgina and Jolyon Ralston. My especially those which have come through Such projects, once fixed in the calendar, sincere thanks to them, and to the Dr John Hood, vice chancellor, Mary- enhance and promote the life and many local and international cultural Louise Browne, acting director of The presence of contemporary art and art agencies and support sponsors who have Gus Fisher and George Fraser galleries, practice in the presenting city as well as made numerous singular differences in the broader cultural landscape. And and Dr Deidre Brown of the school of to this triennial. importantly too, they gain an historical architecture. The Artspace board has and critical m ass that is entirely their been as generous through chair Francesca Lastly, I reserve my own and the gallery's own. Which is why the broader intent of Rudkin and the close involvement of warmest thanks for the artists whose the Auckland triennial is to establish director Tobias Berger. The gallery is projects comprise PUBLIC/ PRIVATE. links and dialogues between national greatly indebted to its triennial partners I thank them and their gallerists and contemporary visual art and culture and as it is to the project's co-curators, Ewen other lenders for making their work the wider world. Precisely because of its McDonald and Ngahiraka Mason. If it available and, in very many instances, scale, this triennial does something that belongs to anyone, the conceptual shape for working to realise it here in Auckland. few such larger projects succeed in doing, and critical inflection of PUBLIC/PRIVATE Your contribution to this triennial is greatly and that is to gather a body of works is theirs. They have thanked numerous valued by us all. around a lucid and defining theme, others associated with our enterprise, CHRIS SAINES to give the visitor a more immediately elsewhere in this publication, but I wish DIRECTOR apparent sense of the ideas which under­ particularly to thank Ewen and Ngahiraka AUCKLAND ART GALLERY TOI 0 TAMAKI terms. This blurring is the pivot upon which (the first operational American Global SOME NOTES the exhibition balances and, considering Positioning System launched in 1989], in the many challenges confronting us today, terms of location and identity we are all what the selected projects reveal is a belief under surveillance. It's now a fact of life TOWARDS AN that art-making remains a vibrant and that we must sensitise ourselves to the challenging alternative to the information accelerated emergence of a controlled OPENING received by other means. Society is society - an Orwellian nightmare from indebted to artists and the many idiosyn­ which it will become increasingly difficult PUBLIC cratic ways they encapsulate powerful, to escape. And it's not only orbiting (1 ] of, relating to, or concerning the people as a whole poignant and disturbing ideas. satellites: according to our reading, (2) open or accessible to all humans can't help looking at and watch­ PRIVACY Private practice/ public metaphor is one ing over each other. (1) The condition of being private or withdrawn; seclusion way of describing how individual voices (2) the condition of being secret; secrecy can come to speak for others - for those Laurie Anderson once admitted in an who may not yet have found the means COLLINS DICTIONARY OF THE ENGLISH LANGUAGE interview to being a 'spy on the human COLLINS, LONDON AND GLASGOW to describe and come to terms with a condition'.
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