Blog posts in category: Writing

Posted Apr 11, 2017
By Thomasin Sleigh

"...how can the artist say what this river means, when it means so many different things to so many different people?" Thomasin Sleigh on five live performances of Murray Hewitt's ambitious mapping of the Hutt River, The Rising Tide

Posted Feb 23, 2017
By Matthew Crookes

"A ruin, in the process of its ruination, takes on a new identity". Matthew Crookes looks at Brit Bunkley's recent Berlin installation Ghost Shelters and surveys a career intersecting public sculpture, digital materiality and the abject.

Posted Feb 7, 2017
By Mark Williams

Could Tonga be the largest country in the world? How would such a concept be supported in the context of globalization and the TPPA?

Posted Jan 18, 2017
By Victoria Wynne-Jones

Victoria Wynne-Jones writes on Potentially Yours, The Coming Community curated by Tendai John Mutambu, ARTSPACE 10 November 10 – 22 December 2016

Posted Jan 2, 2017
By Hamish Win

Hal Foster provides a useful account of the late ‘80s embrace of the abject as a turn from ‘the real understood as an effect of representation… to the real seen as an event of trauma’.(i) This shift from a preoccupation with the sign as a circulating object of discourse to an empha

Posted Dec 6, 2016
By Mark Williams

The Bends is an ambitious 11 part movie which mixes global geographical locations with augmented realities. Created by New Zealander Andrew de Freitas and collaborators, The Bends is released online using a variety of online sites as hosts for each chapter, including CIRCUIT. Watch thebends/watch?v=BEtT3r=L1viN9_3VerYb0Dy below.

Posted Nov 23, 2016
By Mark Williams

America x 10 is a selection of video works by New Zealand artists addressing our relationship to the United States. Acknowledging its freedoms, invention and complexities, several have sought to make America a place of residence, while others weigh up it's impact from afar.

Posted Oct 11, 2016
By Tim Corballis

Here are two versions of the 1960s. On the one hand, inside the art world’s metropolitan centres, it was a time of language and concept, of deskilling and documentation, the refusal of expression and genius.

Posted Sep 21, 2016
By Alice Tappenden

A pair of blue dumbbells; a collection of wooden Pinocchio dolls; a compost bowl on the kitchen bench and a stack of toilet paper on the windowsill.

Posted Sep 2, 2016
By Jasmine Gallagher

Ōtākaro is indicative of a new sincerity in New Zealand art at the moment—a post-postmodern moment whereby artists are re-engaging with traditional myths in a manner that is both sincere and critical.

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