June 30, 2022

Art Review: The Intersectional Experiences of Fa’afafine – Yuki Kihara on Representing New Zealand at the 59th Venice Biennale

ArtReview sent a questionnaire to artists and curators exhibiting in and curating the various national pavilions of the 2022 Venice Biennale, the responses to which will be published daily in the leadup to and during the Venice Biennale, which runs […]
June 30, 2022

Idealog: The future of art – digitising and use of AI in ‘Paradise Camp’

An exhibition showcasing a cultural story of Samoa’s third gender, Fa’afafine by Yuki Kihara, is coming alive thanks to artificial intelligence (AI) technology developed in New Zealand. Interdisciplinary artist of Japanese and Samoan descent Yuki Kihara is representing New Zealand […]
June 30, 2022

The Spinoff: Paradise Camp

Sharon Lam goes in search of Yuki Kihara’s Paradise Camp, the New Zealand pavilion at the 2022 Venice Biennale. While there is deep literature behind it – the entire body of work was first inspired by an essay written by […]
June 30, 2022

University of Melbourne: Enterprise Professor Natalie King on curating ‘Paradise Camp’ for the Venice Biennale

The New Zealand pavilion at the 59th International Art Exhibition – La Biennale di Venezia recently opened with artist Yuki Kihara’s ensemble exhibition, Paradise Camp, curated by Natalie King, Enterprise Professor at the University of Melbourne. Yuki Kihara is the […]
June 30, 2022

Arts Monthly Australasia: Paradise Camp

‘Paradise Camp’ is a fa‘afafine and fa‘atane pavilion, vivacious and unwavering in its generous platforming of our ways of knowing and being …” Have you seen Art Monthly Australasia’s stunning cover story for the Winter issue? Featuring the work of […]
June 30, 2022

Metro: Reclaiming Paradise

When Australian curator Natalie King first approached Yuki Kihara to propose a project for the New Zealand pavilion at the 2022 Biennale di Venezia (Venice Biennale), Kihara declined. The biennale is the world’s premier art exhibition. Founded in 1895, it […]