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Chris Huen Sin Kan: Painting Again and Again Latest Ocula Conversation Chris Huen Sin Kan: Painting Again and Again By Stephanie Bailey, Hong Kong

Chris Huen Sin Kan's paintings accumulate everyday moments into records of the physical world, a collection of which are now on view in Simon Lee Gallery's online exhibition, Puzzled Daydreams .

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Sydney Biennale Connects Here with Everywhere Latest Ocula Report Sydney Biennale Connects Here with Everywhere By Soo-Min Shim, Sydney

'This year's Biennale of Sydney seems like a corrective,' writes Soo-Min Shim, 'prioritising autonomy in an international exhibition format that has all too often omitted or sidelined First Nations artists.'

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Andrew Luk at de Sarthe: Abstracting Entropy Ocula Insight Andrew Luk at de Sarthe: Abstracting Entropy By Elliat Albrecht, Hong Kong

Originally intended for Art Basel in Hong Kong, Andrew Luk's new sculpture, on view at de Sarthe, reflects on the ways that human brutality is acted out on nature.

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HomePage Artists

b. 1968, New Zealand

Michael Parekowhai Biography

Michael Parekowhai is an Auckland-based sculptor, photographer and installation artist of Māori (Ngā Ariki Kaiputahi, Ngāti Whakarongo) and Pakeha descent, highly regarded for his daring culturally thematic explorations, Pop (but conceptualist) accessibility, impeccable industrial finish and robust physical presence.

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He is skilled at coming up with clever ideas presented in a form that engages with his audience visually (and emotionally) and which is ambitious in its studio production. The range of his interests—though usually community-oriented—startles with its unpredictability, extending from children's education, parlour games, music forms, introduced wildlife and cultural appropriation, to nuances and ambiguities of spoken language, recognisable art historical motifs and historical personages. When he links these assorted and often unrelated disciplines up, various spatial juxtapositions and ideational sandwiches are used with wit to bring vibrant resonances to his sculpture.

A good example of Parekowhai's art is his weatherboard state house sculpture, The Lighthouse (2017), which is positioned on Queen's Wharf in downtown Auckland. State houses are loathed by some New Zealanders and aesthetically adored by others for their 'basic' form. As a state-sponsored variety of cheap housing, the state house has come to be seen by many New Zealanders as a symbol of the political and social debate surrounding Auckland's housing crises, which saw the rise of forced evictions to make way for multi-dwelling apartments.

Parekowhai's provocative sculpture is a life-sized, two-storied dwelling with an outside staircase and balcony so that its upper and lower windows and porches can be peered into. It has no first floor but all the inner wall and ceiling surfaces are painted in glossy white. Inside is a giant stainless steel figure of Captain Cook sitting nervously on a table fixed to a tripod positioned in front of the fireplace. On different timers and strategically positioned around the walls—and straddling across windows on both levels—are hundreds of pieces of coloured neon tubing. As a constantly moving spidery network, these flashing glowing lines can be interpreted in several ways. Some seem to be parts of coastline from maps made around the Pacific. Others could refer to constellations in the southern night sky.

This spectacularly political work represents Parekowhai's particular knack for using art to open up space for a debate on government and corporate actions drawing attention to the communities they impact.

Educated at Elam School of Fine Arts, University of Auckland, Parekowhai gained his BFA in 1990 and a MFA in 2000. A Professor now at Auckland University, he teaches at Elam. He has been exhibiting nationally and internationally for almost three decades, being a prolific solo presenter (usually with Michael Lett Gallery), one who has participated for example in Cultural Safety, City Galley Wellington and Frankfurter Kunstverin (1995); the Asia Pacific Triennial (2006-7); the Gwangju Biennale (2004); Sydney Biennale (2002); Headlands, MCA; Sydney (2002); and many major art fairs such as Art Basel (2006, 2007), LISTE (2007), and Hong Kong/Basel Art Fair (2016).

Parekowhai's many achievements include becoming an Arts Foundation Laureate in 2001; representing New Zealand (as sole artist) in the Venice Biennale with On First Looking Into Chapman's Homer in 2011; having a major survey of his work (The Promised Land) at GOMA in Brisbane in 2015, and installing the public sculpture (The Lighthouse) on the Auckland City waterfront in 2017. A major volume cataloguing Michael's practice was published by Michael Lett, Auckland in 2007 and the artist's work has been covered by numerous significant international art periodicals. He was the New Zealand representative artist at the 54th Venice Biennale, exhibiting the sculptural installation On First Looking Into Chapman's Homer.

Parekowhai's works are found in all the major New Zealand municipal and national collections, and in overseas institutions too, such as the Queensland Art Gallery. Because of the range of his cultural references, he is one of Aotearoa/New Zealand's most often discussed sculptors.

John Hurrell | Ocula | 2019

Michael Parekowhai Featured Artworks

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Mimi III by Michael Parekowhai contemporary artwork
Michael ParekowhaiMimi III, 2018Bronze, two elements
Michael Lett Enquire about this work
La Tour by Michael Parekowhai contemporary artwork
Michael ParekowhaiLa Tour, 2008Bronze
67 x 47 x 47 cm
Michael Lett Enquire about this work
von Trapp by Michael Parekowhai contemporary artwork
Michael Parekowhaivon Trapp, 2017Bronze
11 x 63 x 9.5 cm
Michael Lett Enquire about this work
Over the Rainbow by Michael Parekowhai contemporary artwork
Michael ParekowhaiOver the Rainbow, 2015fibreglass & automotive paint, unique colour
420 x 170 x 105 cm
Jonathan Smart Gallery Enquire about this work
Over the Rainbow by Michael Parekowhai contemporary artwork
Michael ParekowhaiOver the Rainbow, 2015fibreglass & automotive paint, unique colour
420 x 170 x 105 cm
Jonathan Smart Gallery Enquire about this work
Kapa Haka (Maquette) by Michael Parekowhai contemporary artwork
Michael ParekowhaiKapa Haka (Maquette), 2014fibreglass & automotive paint
410 x 125 cm
Jonathan Smart Gallery Enquire about this work
Do you feel the way I do? by Michael Parekowhai contemporary artwork
Michael ParekowhaiDo you feel the way I do?, 2015Aluminium, automotive paint, oak, brass
88 x 243 x 67 cm
Michael Lett Enquire about this work
Happy Anniversary by Michael Parekowhai contemporary artwork
Michael ParekowhaiHappy Anniversary, 2013Individually crafted solid silver
Variable dimensions
Jonathan Smart Gallery Enquire about this work

Michael Parekowhai Recent Exhibitions

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Contemporary art exhibition, Michael Parekowhai, Stand By Me at Michael Lett, Auckland
Closed
5–22 December 2018 Michael Parekowhai Stand By Me Michael Lett, Auckland
Contemporary art exhibition, Michael Parekowhai, When We Dream at Roslyn Oxley9 Gallery, Sydney
Closed
10 September–13 October 2018 Michael Parekowhai When We Dream Roslyn Oxley9 Gallery, Sydney
Contemporary art exhibition, Group Exhibition, Rock 'n' Roll, 30 years on ... at Jonathan Smart Gallery, Christchurch
Closed
5 June–7 July 2018 Group Exhibition Rock 'n' Roll, 30 years on ... Jonathan Smart Gallery, Christchurch

Michael Parekowhai Represented By

Michael Parekowhai In Ocula Magazine

Maud Page Ocula Conversation Maud Page By Kate Brettkelly-Chalmers, Brisbane

Maud Page is Deputy Director, Collection and Exhibitions at the Queensland Art Gallery | Gallery of Modern Art. Her position oversees all aspects of the Gallery’s curatorial activities, and is directly responsible for the management and development of the Gallery’s collections and exhibitions. She has been instrumental in the...

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Michael Parekowhai In Related Press

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

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...

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Anonymous donor gives $500,000 to complete Auckland's 'Lighthouse' sculpture Related Press Anonymous donor gives $500,000 to complete Auckland's 'Lighthouse' sculpture 1 September 2018, New Zealand Herald

An anonymous arts donor wrote a cheque for $500,000 to complete the Lighthouse sculpture on Auckland's Queens Wharf when construction costs went through the roof.

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Te Papa's new art gallery Toi Art labelled a 'phenomenal creative success' Related Press Te Papa's new art gallery Toi Art labelled a 'phenomenal creative success' 16 March 2018, stuff

Te Papa's biggest change since opening 20 years ago has been revealed for the first time. Its new gallery space Toi Art is the equivalent of 15 tennis courts in size. It has increased the national museum's floor space for art by 35 per cent.

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In pictures: Encounters at Art Basel in Hong Kong Related Press In pictures: Encounters at Art Basel in Hong Kong 24 March 2017, The Art Newspaper

Space is paramount in the Encounters section of Art Basel in Hong Kong, where each large-scale installation occupies up to 100 square metres. But time is equally important to Alexie Glass-Kantor, the curator of Encounters for the third year running.

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