EssaysTuhinga roa

Sinead Overbye considers artists' approach to place and representation in the 2022-23 Masons Screen commissions.

"The reality of being in this country as descendants of settlers is something that is more akin to the reality of swamplands" — Alena Kavka writes on Kate van der Drift's show at Pah Homestead

In Alex Plumb's moving image works, fact, fantasy and sonic detail imagine what reality might be.

Martin Rumsby has passed. We remember the pioneering film-maker, writer, programmer and champion of New Zealand experimental film.

This side or that side, or almost. Standing by is an online exhibition of three video works by Richard Orjis, Emily Parr, and Janaína Moraes, accompanied by an essay by Alys Longley.

Three regular contributors to CIRCUIT, Tessa Laird, Simon Palenski, and Becky Hemus, select an animated work from CIRCUIT's catalogue and share their thoughts about it. Featuring works by Brit Bunkley, Jill Kennedy, and Jae Hoon Lee.

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

In this in-depth essay, Hamish Win considers the art of Sonya Lacey, whose work, he argues, uses "noise"—information’s excess or supplemental qualities—as a productive method through which to convey meaning.

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).

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.

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 intelligence.

A FAFSWAG manifesto for the 22nd Biennale of Sydney.

Duration is the last of four essays by Hamish Win exploring how key moving-image concepts arise in other formats.

An essay exploring works by Vea Mafile`o, Jeremy Leatinu’u, Janine Randerson, Bridget Reweti, and Andrew de Freitas, 2018's Artist Cinema Commissions.

New works by Rachel O'Neill, Rangituhia Hollis, and a collborative work by Max Fleury and Bena Jackson were the 2020 commissions for Masons Screen.

The true story of how Lydia Lunch, the Karrabing Film Collective and four films from Aotearoa thwarted Brexit (almost) at the 2020 Rotterdam Film Festival.

"As Amator progresses, camera and mother become voyeurs as they move through the city, mountains, desert, interiors and exteriors." Judy Darragh writes on a new film by Selina Ershadi & Azita Chegini.

In this third essay in a series exploring how key moving-image concepts arise in other formats, Hamish Win discusses the work of Elisabeth Pointon, Luke Willis Thompson, Anna Brimer & Max Fleury, Guillermo Faivovich and Nicolas Goldberg, Lee Miller and Fiona Connor and Rob Hood.

In this second essay of a three-part series exploring how key moving-image concepts arise in other formats, Hamish Win discusses Guillaume Cailleau, Shaun Waugh, Pablo Picasso, Oscar Enberg and Tahi Moore.

In this first essay of a three-part series Hamish Win examines Sam Rountree Williams’ recent use of cinematic absorption to invoke in painting a temporality without end.