Nina Dyer

Exhibition Curator, showcasing art, ideas, and lived realities through imaginative perspectives.

Can you introduce yourself?

Kia ora tātou, my name is Nina. I studied Art History in Te Whanganui-a-Tara and have since been pursuing a career as a curator of contemporary art.

What drew you to contemporary art to begin with?

What drew me to contemporary art? Its experimental nature, it’s vessel-like quality for research, and the ways in which it relates to our current moment in surprising, eye-opening, or often challenging ways. Artists and critics often talk about the “echo chamber” of the art world, but contemporary art also has the capacity to present ideas and realities to audiences from different and imaginative perspectives. I was studying politics and philosophy originally, but personally found Art History and contemporary art to be better channels for these interests than a political career or a life in academia.

It may feel like the industry is divided into camps at times, like politics, but this characteristic – which is arguably a condition of our times – is often redeemed by the creativity of individuals. Contemporary art can also be a respite to escape into. Oh, and it’s a much less male-dominated discipline these days. This was undoubtably a huge drawcard when I was starting out.

What role does creativity play in your life?

It allows me to step outside the drudgery of everyday capitalistic bounds, think critically about dominant narratives, and provides an entry-point to the inner workings of other people’s minds.

What is your favourite part of being a Exhibition Curator?

Those moments of inspiration when an artwork or exhibition spurs a flood of ideas and connections. It’s stimulating and fast-paced; you’re constantly meeting new personalities and concepts, and making connections to ideas, history or other practices.

Sometimes the pace can be overwhelming, but that’s what makes curation feel like it’s reaching its target audience.

What challenges do you face while interacting with artists or managing exhibitions?

Not being able to offer every artist the undivided attention they deserve.

When managing exhibitions, having to be practical and consider the financial realities of art making in our current finding infrastructure, which can be a limitation for many emerging artists I would love to work with.

What’s your professional experience and what was your journey to becoming a Exhibition Curator & Manager?

I had the privilege to volunteer at two two really great galleries while studying, which offered a lot of insight into the workings of different institutional and funding structures. Studying Art History, engaging with exhibitions by attending openings and talks, and volunteering also opened up opportunities to write

about art and get to know artists. You have to be able to accept a lot of rejection in any creative industry though. It gives you a tough skin.

I’m still on my journey. I don't think I’ll feel like the “curator” title fits until I have a number of self-initiated exhibitions under my belt.

Which current art world trends are you following?

I suppose the craze around NFT’s, which is playing out as a predictably dystopian use of blockchain technology (the digital substrate or ledger that cryptocurrencies like Ethereum and Bitcoin depend on).

What would be your advice to emerging artists who would like to become represented by a gallery?

Be proactive: take as many opportunities as possible to build and document new work; have a portfolio or social media profile easily accessible; participate in gallery openings and events to meet new people in your area; submit exhibition

proposals with peers who have similar artistic interests. Don’t photoshop your work into one of those pictures of a bougie living room. If you can, avoid pitching the same proposal to different galleries without making adjustments to suit each

space... it always shows.

How would you describe the NZ art scene? What do you like most about the local art scene?

I like that it’s more removed from globalist forces than art “centres” tend to be. It’s exhausting to think about trying to be everything for everyone, when you have so much to celebrate and interrogate in your own community.

The art scene in Aotearoa really seems to be embracing its local peculiarities in a way that isn’t just about performing national identity on a global stage, but for its own sake.

Which artist, alive or dead, would you like to meet?

Lygia Clark or Hito Steyerl.

What is your favorite young upcoming artspace institution or project?

I’m excited for Whānau Mārama, a project by Jade Townsend coming up at Commercial Bay.