Ryan Gander, The End, 2020. Animatronics, Auckland Art Gallery Toi o Tāmaki, purchased with assistance of the Lyndsay Garland Trust, 2021. Image © Ryan Gander; Courtesy Lisson Gallery.
Photo Credit
Goshka Macuga, From Gondwana to Endangered, Who is the Devil Now?, 2020, woven tapestry (3D), wool, cotton and synthetic fibres, Auckland Art Gallery Toi o Tāmaki, gift of the Friends of the Auckland Art Gallery, 2020
Photo Credit
Drawn from the Gallery’s contemporary collection, this exhibition contemplates how artists respond to history and the world we inhabit. Portals & Omens: New Work from the Collection tracks artistic practice from home and across the globe with concepts of history and dystopia–an opulent and troubled culture of nature, time and language. Many of the works were made or acquired for the collection during the Covid-19 pandemic and, like Ryan Gander’s small mouse and Berlinde De Bruyckere’s archangel, ask that art reveals a common spirit or the importance of imaginary spaces.
Drawn from the Gallery’s contemporary collection, this exhibition contemplates how artists respond to history and the world we inhabit. Portals & Omens: New Work from the Collection tracks artistic practice from home and across the globe with concepts of history and dystopia–an opulent and troubled culture of nature, time and language. Many of the works were made or acquired for the collection during the Covid-19 pandemic and, like Ryan Gander’s small mouse and Berlinde De Bruyckere’s archangel, ask that art reveals a common spirit or the importance of imaginary spaces.
