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.
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.