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‘An Opera for Animals’ at Rockbund Art Museum Ocula Report ‘An Opera for Animals’ at Rockbund Art Museum 19 Jul 2019 : Penny Liu for Ocula

An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...

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Mandy El-Sayegh: Productive Ambiguity Ocula Conversation Mandy El-Sayegh: Productive Ambiguity

Moving across installation, painting, drawing, and writing, Malaysia-born and London-based artist Mandy El-Sayegh explores the political, social, and economic complexities of humanity, using a mosaic of information—from advertising slogans and pornographic imagery to newspaper articles—that she subjects to processes of layering,...

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Get Up, Stand Up Now: Generations of Black Creative Pioneers at Somerset House Ocula Report Get Up, Stand Up Now: Generations of Black Creative Pioneers at Somerset House 5 Jul 2019 : Jareh Das for Ocula

Get Up Stand Up Now: Generations of Black Creative Pioneers at Somerset House in London (12 June–15 September 2019) surveys more than half a century of black creativity in Britain and beyond across the fields of art, film, photography, music, design, fashion, and literature.Curated by Zak Ové, works by approximately 100 intergenerational black...

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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 Blackie Gallery
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 Blackie Gallery, Wellington
Closed
6–31 July 2017 Group Exhibition Landscape 2017 Page Blackie Gallery, 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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