Podcast Posted May 15, 2018
By Thomasin Sleigh

"Let's see if we can make other people admit to having these mundane desires and pleasures" - Marie Shannon

Writing Posted Apr 19, 2018
By Robyn Maree Pickens

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?

Writing Posted Apr 5, 2018
By Hamish Win
Luke Willis Thompson, How Long?, 2018

"... still silent and still casually interrogative, the subject (is) prone before the camera. And yet, unlike previously, there’s no steady emotive subject here." - Hamish Win

Podcast Posted Mar 13, 2018
By Mark Amery

It doesn't matter if you're in a bloody gallery or not as long as you're making stuff" - Phil Dadson.

Writing Posted Mar 6, 2018
By Thomasin Sleigh

"... 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.

Writing Posted Feb 11, 2018
By James Hope

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.

Writing Posted Feb 6, 2018
By Tara Judah

"Whether her hand is open, closed, or reaching, there is life in every gesture." Tara Judah writes on the work of Jasmine Te Hira. From our 2017/18 Summer Reading Series.

Writing Posted Jan 14, 2018
By Simon Palenski

“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.

Writing Posted Dec 19, 2017
By Priscilla Howe

CIRCUIT's 2017 Curatorial Intern Priscilla Howe writes on the video work of Laura Duffy, and her intersection of the beautiful and the grotesque.