Commentary in category: Writing

Posted Jul 17, 2012
By Tessa Laird

Our most iconic movie director has reinvented himself as an artist, transforming some of the themes that have populated his films into video installations, photography, and paintings.

Posted Jul 5, 2012
By Mark Williams

Samin Son's performance works are marked by intimations of power, violence and control.

Posted Jun 26, 2012
By Mark Williams

Sitting in the back row of the Star Theatre at the Oberhausen Film Festival in Germany it's hard not to chuckle as the lights go down.

Posted Jun 7, 2012
By Miriam Harris
Eyes on the Moon: Jill Kennedy

Jill Kennedy's Eyes on the Moon is a series of evocative, rich, and absurd animations that gained resonance alongside two other exhibitions recently scheduled at Auckland's Gus Fisher Gallery.

Posted Apr 23, 2012
By Melanie Oliver
Bodytok Quintet

In Melanesian pidgin, ‘toktok’ is a term for conversation.

Posted Apr 10, 2012
By Yves

Welcome to the first edition of NEW MEDIA WORLD OLD MEDIA WORLD, brought to you by guest columnist Yves. In this edition of NMW-OMW, Yves brings you Easter reflections, Hennesy Youngman, the bubbling enthusiasm of Venezuelan artist The Passion and finally, the re-incarnation of F Mercury.

Posted Apr 3, 2012
By Mark Williams
Vera Mey at the St Paul St curatorial symposium

With 120 registrations, the recent St Paul St Curatorial Symposium was clearly a case of right issue, right timing.

Posted Mar 15, 2012
By Mark Williams

Murray Hewitt's videos mix social commentary with a healthy dose of humour and absurdism. His work reflects on the excesses of late 20th century capitalism, the lingering effects of colonisation and points of conflict in contemporary New Zealand.

Posted Feb 24, 2012
By Mark Williams

“Articulating the past historically does not mean recognising it ‘the way it really was’. It means appropriating a memory as it flashes up at a moment of danger” - Walter Benjamin.

Posted Feb 24, 2012
By Mark Williams
Max Bellamy - Avail

Presented at the Southland Museum over summer 2012, Max Bellamy’s installation Borrowed Time offers up five contrasting chapters of ecological peril.

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