Commentary in category: Writing

Posted Dec 13, 2018
By Mercedes Vicente

“What if film not only constitutes discourse about the world but also (re)presents experience of it? What if film does not say but show? What if a film does not just describe but depict? What, then, if it offers not only ‘thin descriptions’ but also ‘thick depictions’?” - Lucian Castaing-Taylor

Posted Dec 3, 2018
By Mark Williams

"By reframing Paul’s cinema with new films, we hoped that an archive could be brought to life; speaking, breathing and collaborating to create new context for contemporary media arts practices." - Solomon Nagler

Posted Nov 26, 2018
By Simon Palenski

The Romantic Picturesque presents the final installment of a 3 part series that follows "the thread of a romantic relationship between indigenous and coloniser."

Posted Nov 15, 2018
By Elle Loui August

Foliage, soil, silence. It Was a Cave Like This (2017-18) opens to the lens drawing a gentle, verdant line, bringing the viewer into the cool sensations of an undergrowth. A voice; “You helped do this.” “...You helped light this flame.”

Posted Oct 31, 2018
By Stephen Turner

Walking the shore is commonplace in this country. But are we looking out, or in? Who are ‘we’ here? What are we walking on, or along? And how far does the shore extend in time, place, and, well, film? - Stephen Turner

Posted Oct 1, 2018
By Hamish Win

"... Johns’ is deeply immersed in the symbol not as a western cultural apparatus, a semiotic of contested bio-politics but as a divisible structure, a meditative aid that backs onto a compassionate, beatifically contemplative worldview" - Hamish Win

Posted Aug 17, 2018

The Time of the Now is a one day symposium which explores the challenges of addressing ‘truth’ in a post-truth world. Register online here.

Posted Jul 16, 2018
By Mark Williams
CIRCUIT Symposium 2018: The Time of the Now

What strategies do contemporary artists employ to test media representation of reality and the means through which we channel and consume it? How do artists expand the documentary form through various material processes and formal strategies? How do artists deconstruct the surfeit of images we already have and the means by which we receive them? Can 'truth' and fiction exist in the same space? What historical artworks could be part of a revised genealogy of current documentary practices in Aotearoa New Zealand? How could an ethic of care, as understood through sustained relationships with Indigenous and diverse communities be played out through documentary practices?

Posted Jul 10, 2018
By Hamish Win

"...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

Posted Jun 20, 2018
By Thomasin Sleigh

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.

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