Commentary

"Time and again we'll see Lacey use this conscription of noise to perform a kind of entanglement, an articulation upon which meaning comes to the fore."

In this long read essay, Hamish Win looks closely at a decade of work by Sonya Lacey, focussing on noise as a paradigmatic methodology.

“I’m paying homage to all the things that we shouldn’t forget about, you know?” - Kauri Wharewera

Curator Israel Randell talks to Kauri Wharewera about his Matariki commission for Masons Screen entitled Te Kahui o Matariki. They discuss the meaning of each Matariki star represented in the video work, and consider the potential of contemporary media to tell indigenous stories.

"Toi Tū, Toi Ora is a slow heart beat under the earth. I feel the earth beneath my feet, and for me it’s a place to stand in anger. But that’s me. As a space full of art, the exhibition is a space that condenses a broad and unfathomable set of connections that can’t be simplified into something that I could ever speak of" - Rangituhia Hollis

Originally conceived as a response to Toi Tū Toi Ora: Contemporary Māori Art, a group show of 300 artworks by 110 Māori artists at Auckland Art Gallery, this essay by artist Rangituhia Hollis grew into a personal reflection on Māori experience of the post-colonial past, present and possible future.

"Simnett’s survival strategy is to examine trauma's cooled, black, liquid residue, morphing the after-image into something new and darkly inhabited."

- Mark Williams on Marianna Simnett’s CREATURE at City Gallery Wellington