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Pierre Huyghe: The Artist as Director Ocula Conversation Pierre Huyghe: The Artist as Director

Pierre Huyghe is a producer of spectacular and memorable enigmas, with works that function more like mirages than as objects. Abyssal Plain (2015–ongoing), his contribution to the 2015 Istanbul Biennial, curated by Carolyn Christov-Bakargiev, was installed on the seabed of the Marmara Sea, some 20 metres below the surface of the water and close to...

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MoMA Expansion: Once the Modern, Always the Modern Ocula Report MoMA Expansion: Once the Modern, Always the Modern 29 Nov 2019 : Mohammad Salemy for Ocula

In the early decades of its existence, New York's Museum of Modern Art (MoMA), founded in 1929, transformed from a philanthropic project modestly housed in a few rooms of the Heckscher Building on the corner of Fifth Avenue and 57th Street, to an alleged operating node in the United States' cultural struggle during the cold war, and one of the...

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Hans Hartung and Art Informel: Exhibition Walkthrough Ocula Insight | Video
Sponsored Content | Mazzoleni Gallery
Hans Hartung and Art Informel: Exhibition Walkthrough 15 October 2019

Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...

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Mark Adams

b. 1949, New Zealand

Mark Adams is one of New Zealand’s foremost documentary photographers. His work on Samoan Tattau, Maori-Pakeha interactions in and around Rotorua, and the documentation of Cook’s landing sites reflect his engagement with our postcolonial Pacific history.

“His work is an engagement with the deep artful, bloody and inextricably complicated histories of colonialism in the Pacific”. Nicholas Thomas, in Cook’s Sites

Mark Adams travels to the places where Cook landed in the South Pacific, instilling a haunting sense of presence to these sites, Adams photographically commemorates the instant of encounter, defining it as a moment of discovery, violence and mutual reciprocity. For this series Mark also focuses on key historic sites illustrated by painters William Hodges and John Webber who accompanied Cook on his voyages. His portrayal allows us to look out from these paintings and reassess the history of these culturally loaded locations. As Adams has often said, he likes to invert the colonial gaze, highlighting the complications of representation.

Mark Adams' Land of Memories series is also concerned with the layers of meaning inscribed into the landscape by our culture. Taken with signature long exposures, they appear painterly and ghostly, emphasising the temporal nature of the images and the fluidity of meaning associated with these places.

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Featured Artworks

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19.2.1997. Mangungu Wesleyan Mission Hokianga. Treat Site Series. by Mark Adams contemporary artwork
Mark Adams19.2.1997. Mangungu Wesleyan Mission Hokianga. Treat Site Series., c. 1997 Silver bromide photograph
20 x 24 inches
Page Galleries
28.11.1995. Johann Reinhold Forster collection, Pitt Rivers Museum, Oxford by Mark Adams contemporary artwork
Mark Adams28.11.1995. Johann Reinhold Forster collection, Pitt Rivers Museum, Oxford, 2015 silver bromide hand prints enlarged from 10 x 8 inch Kodak TMX400 negatives, 2 prints,
60 x 51 cm
Two Rooms
25.5.1995. Astronomers Point. Totara stumps and regenerating forest. Tamatea-Dusky Sound. After Russell Duncan by Mark Adams contemporary artwork
Mark Adams25.5.1995. Astronomers Point. Totara stumps and regenerating forest. Tamatea-Dusky Sound. After Russell Duncan, 2017 silver bromide hand prints enlarged from 10 x 8 inch Kodak TMX400 negatives, 3 prints,
60 x 51 cm
Two Rooms
19.5.1995. Northeast Point, Indian Island; Site of first contact. Tamatea- Dusky Sound by Mark Adams contemporary artwork
Mark Adams19.5.1995. Northeast Point, Indian Island; Site of first contact. Tamatea- Dusky Sound, 2017 silver bromide hand prints enlarged from 10 x 8 inch Kodak TMX400 negatives, 3 prints,
60 x 51 cm
Two Rooms
12.12.1995. Motuara Island. Totaranui-Queen Charlotte Sound. After Russell Duncan by Mark Adams contemporary artwork
Mark Adams12.12.1995. Motuara Island. Totaranui-Queen Charlotte Sound. After Russell Duncan, 2017 silver bromide hand print enlarged from 10 x 8 inch Kodak TMX400 negatives,
60 x 51 cm
Two Rooms
25.5.1995. The Observatory. Astronomers Point. Totara stumps and regenerating forest. Tamatea-Dusky Sound. After Russell Duncan by Mark Adams contemporary artwork
Mark Adams25.5.1995. The Observatory. Astronomers Point. Totara stumps and regenerating forest. Tamatea-Dusky Sound. After Russell Duncan, 2017 silver bromide hand prints enlarged from 10 x 8 inch Kodak TMX400 negatives, 3 prints,
60 x 51 cm
Two Rooms
14.5.1995. Cascade Cove, Tauwhare, Rock shelter and Midden excavation. Tamatea-Dusky Sound by Mark Adams contemporary artwork
Mark Adams14.5.1995. Cascade Cove, Tauwhare, Rock shelter and Midden excavation. Tamatea-Dusky Sound, 2017 silver bromide hand prints enlarged from 10 x 8 inch Kodak TMX400 negatives, 3 prints,
60 x 51 cm
Two Rooms

Recent Exhibitions

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Contemporary art exhibition, Mark Adams, Areta Wilkinson, Repatriation at Two Rooms, Auckland
Closed
20 September–20 October 2018 Mark Adams, Areta Wilkinson Repatriation Two Rooms, Auckland
Contemporary art exhibition, Group Exhibition, Landscape 2017 at Page Galleries, Wellington
Closed
6–31 July 2017 Group Exhibition Landscape 2017 Page Galleries, Wellington
Contemporary art exhibition, Mark Adams, Views from Astronomer's Point at Two Rooms, Auckland
Closed
2 June–8 July 2017 Mark Adams Views from Astronomer's Point Two Rooms, Auckland

Represented By

In Related Press

The surprising links between Brexit and Oceania art exhibition Related Press The surprising links between Brexit and Oceania art exhibition New Zealand Herald : 20 October 2018

The Telegraph described it as an "ambitious and astonishing exhibition" while Guardian art critic Jonathan Jones declared he didn't just like the art but wanted to live in the world it portrays. He also speculated that modernist masters like Picasso were more influenced by Oceanic art than we might have previously realised.The opening...

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