Exhibition reviewsArotakenga

Thomasin Sleigh stitches material, memory, and meaning in Interlaced: Animation and Textiles at the Govett-Brewster Art Gallery.

Curator Abby Cunnane reflects on understandings of home, shelter, and belonging through the works in the international touring exhibition Homing Instinct.

Jane Wallace excavates layers of meaning in the aural and visual registers of the six artists' films shown in the 2024 play_station Film Festival.

Samuel Te Kani responds to Skin in craters like the moon, an exhibition at Te Tuhi of recent works by Tāmaki Makaurau-based, Taiwanese (Han, Min-nan) artist Susu 蘇子誠 that explored associations between language and memory across virtual and physical worlds.

Layne Waerea responds to To move between: Healing and Resistance, an exhibition of work by Abenaki Nation filmmaker, Alanis Obomsawin, presented at Artspace Aotearoa.

Robyn Maree Pickens writes on Ngā raraunga o te Mākū: te hā o Haupapa, an iteration in a series of artworks that emanate from Haupapa Tasman glacier, held at Blue Oyster in Ōtepoti Dunedin.

Hamish Win writes on The air, like a stone, an exhibition at The Physics Room that brought together a new commission by Ōtautahi-based artist Emma Fitts with a feature-length work by the London-based painter and filmmaker Rosalind Nashashibi.

"The road as escape, the road as gendered independence and virility, as freedom. The road as an awfully white, awfully landed marker of progress and moral good." — Lachlan Taylor considers Grant Priest's recent exhibition CAN at Enjoy Contemporary Art Space.

Hana Pera Aoake writes on Sorawit Songsataya's solo exhibition Nirun at the University of Otago's Hocken Gallery.

"In here, space is soft. Like blocking a lightbulb with your fingers, the walls betray an illuminated, epidermal glow." — Alena Kavka discusses Who can think, what can think at Te Tuhi

Hamish Win writes on James Oram's recent exhibition at Christchurch Art Gallery Te Puna o Waiwhetū, By Spectral Hands.

In the colonial grandeur of Pah Homestead, Xi Li's Brain Island simulates a pulsating futuristic fantasy

Connie Brown writes on Sam Hamilton's installation at Artspace Aotearoa, Te Moana Meridian (2022)

Māori Moving Image ki Te Puna o Waiwhetū, the latest chapter in the Māori Moving Image exhibition series, is sensitive to the mauri of materials and place.

Dangerous dating, ESP, and community video: a quick-fire round up of moving image activity around Auckland's galleries.

Alicia Frankovich’s Atlas of Anti-Taxonomies at the Christchurch Art Gallery picks apart the desire to categorise, classify, and impose order on the natural world.

Louie Zalk-Neale, Gabriel White, and Jamie Berry showed new work on Masons Screen in Wellington's CBD while people protested against the vaccine mandates, and Aotearoa tipped in and out of lockdowns.

The colonial villa and its attendant myths of empire are collapsed by George Watson in her exhibition of new video and sculpture at Te Uru, Kōtiro, Emepaea.

Kai Tāhu collaborate with the Dunedin Public Art Gallery on three exhibitions Hurahia Ana Kā Whetu: Unveiling the Stars, He Reka Te Kūmara, and Paemanu: Tauraka Toi—A Landing Place, in "one epic and epochal mahi toi responding to mana whenua".

Samuel Te Kani reviews Artspace Aotearoa's annual new artists show, CRUEL OPTIMISM.