Commentary in category: Writing

Posted Aug 31, 2021
By CIRCUIT Staff

Ten artist videos on CIRCUIT using poetry, text and waiata as material and inspiration for moving image works and cine-poems.

Featuring Lara Lindsay-Parker, Kahurangiariki Smith, Connor Fitzgerald, Ruth Watson, Dick Whyte, Richard Von Sturmer, Rangituhia Hollis, Martin Rumsby, Stella Brennan, Rachel Shearer.

 

Posted Aug 25, 2021
By Hamish Win
A indoor swimming pool seen through a window with lots of reflections

"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.

Posted Jun 15, 2021
By CIRCUIT Staff
The back of a women swimmer, wearing black togs and stretching to the left.

Three new texts by Ōtepoti-based writers, John Ward Knox, Talia Marshall (Ngāti Kuia, Ngāti Rārua, Rangitāne ō Wairau, Ngāti Takihiku), and Jessica Koroneho Hinerangi Thompson-Carr (Ngāti Ruanui, Ngāruahine, Ngāpuhi) in response to Shannon Te Ao's installation at Dunedin Public Art Gallery, what was or could be today (again).

Posted Jun 15, 2021
By Rangituhia Hollis

"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.

 

Posted May 25, 2021
By Mark Williams
A womans face on a screen with an animals tail coming out of her mouth

"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

Posted Apr 7, 2021
By Amy Weng

happiness is only real when shared is a follow up to We’re Not Too Big To Care, the inaugural exhibition curated by Lisa Beauchamp whe

Posted Mar 25, 2021
By Mark Williams

Have Uber, will travel. A recent 24 hour sojourn in Tāmaki Makaurau presents an opportunity for whistle stop impressions of shows by Natasha Matila-Smith, Steve Carr & Christian Lamont, Shannon Te Ao, Ana Iti and Toi Tū Toi Ora.

Posted Mar 3, 2021
By Mark Amery

"...an impressive waterfall... was said to fall into the harbour there, capturing colour in its spray. Who needed public art?"

Walking from pre-European city pā sites to Masons Screen, Mark Amery considers three new public art commissions by Layne Waerea, Annie Bradley and Theo MacDonald, addressing uninvited visitors, bodily architecture and digital confessions.

Posted Feb 18, 2021
By Millie Riddell

"(LIGHT-HAUS)... calls attention to the monolith as screen, Deleuze’s 'frame of frames' that determines, for the viewer, “the out-of-field … what is neither seen nor understood, but nevertheless perfectly present”." - MIllie Riddell

Posted Jan 20, 2021
By Mark Williams

As we welcome James Charlton to CIRCUIT, we present this catalogue essay by Mark Williams on Charlton's 2020 installation THROWN. Originally commissioned by Te Uru, the essay explores the resonance of Charlton's recent work in a time of environmental breakdown and artificial intellingence.

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