The first of our three 2018/19 commissions for Masons Screen in Wellington is Martin Rumsby’s SOJOURNS (2018), described by the artist as "a mixed-up bricolage of dreams and remembrances, exaggerations and repressions of living in Wellington 1984/85”. SOJOURNS runs until 5 December. For all those who couldn't make our recent Symposium The Time of the Now, we are currently hard at work collating, transcribing and editing selected papers and discussions for an e-book. The resulting publication will be available as a free pdf download from the CIRCUIT website. On the CIRCUIT home page from 3 December we will be streaming our 2015-17 Artist Cinema Commissions. Each programme will be shown for one week in it's full 45-50 minute entirety. Alongside will be essays and conversations with our guest international curators Mercedes Vicente, George Clark and Solomon Nagler. The Commission series features plenty of works not yet seen online by Nova Paul, Shannon Te Ao, Gavin Hipkins and many others.
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2 min 27 sec / Sound
Water Feature presents four New Zealand landscapes into which the artist has digitally ’installed’ Nam Jun Paik’s TV Garden (Korea, 1974). Referencing Watch »
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8 min 33 sec / Sound
“Waking, the protagonist finds two objects, one inside and the other outside their dwelling. Intending to lead the viewer into a dream narrative of a Watch »
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2 min 35 sec / Sound
"On 12 October 1968, a young Mexican woman, Norma Enriqueta Basilio, ran into the Olympic stadium in Mexico City proudly carrying the Olympic torch – Watch »
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Christopher Ulutupu’s Lelia (2018) is the final part of his film work The Romantic Picturesque: The Postcard Trilogy, a trilogy comprised of Into the arms of my coloniser (2016), Do you still need me? (2017) and Lelia (2018). This past November, as part of an exhibition presented by the Physics Room Read More »
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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.” Read More »
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I come ashore at Te Uru after a drive from the central city, where I am greeted by Lisa Reihana’s troubling Silent Karanga (2008) in the new gallery window, and drawn in-land by the building’s curved entrance. I am a Pākehā visitor to a show that is defined by Barry Barclay’s ‘camera on the shore’. Read More »
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