DANE MITCHELL

THE IMPONDERABLES

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Dane Mitchell's exhibition ‘The Imponderables’ explores loss, containment, and future-contingent propositions by way of an island that is not, and a place that does not.

Continuing Mitchell's long-standing interest in the evanescent nature of loss, absence, and the porous boundaries between natural and artificial worlds, The Imponderables offers a perspective on our relationship with matter and the environment and estranging attempts to protect the future from our present selves.

Mitchell's exhibition orbits Svalbard, a remote, stateless Arctic archipelago: a proto-heterotopia where birth and death are prohibited; an un-country that both reflects and upends; and a disappearing natural habitat for the polar bear, locally held captive in the manufactured facsimile of their Arctic home in Sea World on the Gold Coast, just 75km from the gallery.

The project includes a series of letter-works — a form the artist first employed in his work in the late 1990s — alongside new sculptures and photographic work, including high-resolution detailed scans of the doors to the Global Seed Vault — a doomsday vault buried in the side of a mountain in Svalbard — using a flatbed scanner to produce images of the threshold between our incendiary present and a buried future.

Through the innovative use of technology, pseudo-pharmacology, performative gestures, sharp reflection, and vanished and entrapped materials, Mitchell's work draws connections between the containment of nature in zoos and museums to the Global Seed Vault's paradoxical status as both a hopeful safeguard and an apocalyptic proposition.

The Imponderables contends with legacies of preserving, apprehending and comprehending the world whilst reflecting on Svalbard as a place both on a precipice and in purgatory. It invites viewers to consider the complex interplay between preservation and loss, legibility and illegibility, and our place in a rapidly evolving present and future.

Dane Mitchell was Aotearoa New Zealand’s representative at the 58th Venice Biennale. He has presented solo exhibitions at Mori Art Museum, Tokyo, Japan; daadgalerie, Berlin, Germany; Institut D’Art Contemporain, Lyon, France; Te Papa, Wellington, New Zealand; Auckland Art Gallery Toi o Tāmaki, Auckland, New Zealand; Govett-Brewster, New Plymouth, New Zealand; Gertrude Contemporary, Melbourne, Australia; SAM Sound Art Museum, Beijing, China; Adam Art Gallery, Wellington, New Zealand; RaebervonStenglin, Zurich, Switzerland; Christopher Grimes Gallery, Los Angeles, United States; Artspace, Auckland, New Zealand; A Gentil Carioca, Rio de Janeiro, Brazil, Galerie West, Den Haag, The Netherlands amongst many others.

He has participated in many international biennales, including Venice Biennale (2019); Biennale of Sydney (2016); Liverpool Biennial (2012); Bangkok Biennale (2020); Gwangju Biennale (2012); Singapore Biennale (2011); Thailand Biennale (2018); Ljubljana Biennale (2011), Busan Biennale (2010), Sao Paulo Biennale (2004),  Klontal Triennale (2014), Rio Biennial (2015) and Tarra Warra Biennial (2008).  

Recent curated exhibitions include those at Institut D’Art Contemporain, Lyon (2024); Ludwig Museum, Budapest (2022); Tai Kwun Contemporary, Hong Kong (2022); University of Queensland Museum of Art, Brisbane (2023); Skulpturen Köln, Köln (permanent); Auckland Art Gallery Toi o Tāmaki, Auckland (2024); Dunedin Public Art Gallery, Dunedin (2024), Te Uru, Auckland (2024); Te Papa Museum of New Zealand, Wellington (2024); Institute of Modern Art, Brisbane (2024); Christchurch Art Gallery Te Puna o Waiwhetū, Christchurch (2023); Adam Art Gallery, Wellington (2023).

A publication The Imponderables is forthcoming. This includes an interview between the artist and curator Martin Germann, with an introduction by Sean Lowry. Published by Perimeter Editions and University of Melbourne.