"...it makes sense to read the satellite as an extension of an embedded technology already at work, not just the out-reaches of an exploitative capitalism, but just another iteration of a frontier that’s always been with us." - Hamish Win
A warning, perhaps, for reviewers. On the second floor of the Govett Brewster large sheets of paper are lit by vivid red lights. In the gloom, we can make out semi-deconstructed poems and brief statements: coherent, unclear, clear – she / shallowness-depth-she / Less-less-than lack-she.
Is the rustling of Snickers wrappers beneath my feet a filmic moment? The gallery floor is strewn with them, and with grapefruit seeds, which I initially mistook for peanuts. Is the weight of a person crushing grapefruit seeds a filmic moment?
"... it’s important too, to have public art that is nimble, mouthy, and directly responsive to the political, environmental, and social exigencies of our times." Thomasin Sleigh writes on three recent commissions for Wellington public art space Masons Screen.
Having set up the conditions under which the cycle reproduces itself, what role does Oram then affect? Capitalist puppet master? Fatuous market analyst? Or the superlative customer of all that is good and right? From our 2017/18 Summer Reading Series.
“It was as if Māori had never been explorers who came to Aotearoa using a sophisticated system of navigation by the stars and ocean currents..." Simon Palenski writes on Ana Iti's Treasures Left by Our Ancestors (2016). From our 2017/18 Summer Reading Series.