Where is artists’ moving image practice best sited? How can we define and exhibit this diverse and ever-evolving area of practice? What type of language do international institutions use and how does it differ from the local?
The annual CIRCUIT symposium on artist moving image practice returned in 2014 with screenings, local and international speakers and installed works. Led by curator George Clark (Assistant Curator, Tate Modern, UK) Locating the Practice critically examined the role of the museum/gallery as a site for moving image practice.
Locating the Practice launched on Friday 15 August at the Academy Cinema with a screening of works by New York-based French artist Camille Henrot. A highlight of the screening was Grosse Fatigue (2013), an ambitious video that attempts to tell the story of the universe’s creation from a computer desktop using the collection of the Smithsonian Institute in Washington DC. Grosse Fatigue was awarded the Silver Lion at 55th Venice Biennale.
On Saturday 16 August curator George Clark (Tate Modern) lead Locating the Practice: Exhibiting Artists’ Moving Image. In this one-day event a number of exhibition case studies were broken down and rebuilt to examine strategies in exhibiting artists’ moving image works.
Local speakers
Simon Rees (Director, Govett Brewster Art Gallery)
Nina Tonga (Curator, Te Papa)
Paul Brobbel (Len Lye Curator)
Artists Nathan Gray (Australia) and Terri Te Tau (New Zealand)
CIRCUIT critical forum
During the Symposium the CIRCUIT Critical Forum, a monthly meeting group for professional artists based in Auckland, presented installed works at the Elam Project Space by Louise Menzies and Sorawit Songsataya.
Locating the Practice was presented by CIRCUIT Artist Film and Video Aotearoa New Zealand in association with Elam School of Fine Arts at the University of Auckland with the support of Creative New Zealand and the British Council.
