Still from The swimming race (Mexico City) (2018) Sandy Gibbs
Can failure be generative? How is the athletic strength of women depicted and interpreted? What happens when we restage events from the past?
Sandy Gibbs speaks to Thomasin Sleigh about a new body of work made over six years in response to the 1968 Olympics, a project made between Aotearoa, Mexico, and Germany which used failure as a generative process.
Gibbs discusses older women taking the space, critiquing the idea of competition in sport and art, and using restaging as a video art methodology.
The artist attempts to restage the final of the women's 400 metres individual medley from the 1968 Mexico Olympics.
The artist restages a dance that the actress Raquel Welch performed in 1968, in front of Mexico's modernist monuments.
The artist strides into the Olympic stadium in Mexico and is overcome by emotion.
The artist attempts to map out the spy disguise instructions of Stasi training manuals.
A homage to Norma Enriqueta Basilio, the first woman to light the Olympic flame, and a celebration of the ageing female body.
Part of a series of works where the artist seeks to restage a swimming race from the 1968 Mexico Olympics.
The artist restages from memory a phone call made to their childhood hero, the swimmer Tui Shipston.
Erotic Geologies: Nat Tozer
"There is a vitality that is held in the earth" — a kōrero between artist Nat Tozer and CIRCUIT director Mark Williams on the occasion of the Aotearoa premiere of Erotic Geologies, Tozer's most complex work to date.
Hihi Aho: Tia Barrett
"I see the environment as a creative partner" — a kōrero between Emma Hislop (Kāi Tahu) and Tia Barrett (Waitaha, Ngāti Māmoe, Ngāi Tahu, Ngāti Tamainupō, Ngāti Maniapoto), the third and final episode of the CIRCUIT Cast series Hihi Aho.