ARTS COUNCIL OF NEW ZEALAND TOI AOTEAROA

THIS ISSUE: Longitude, Chair’s Report, New Caledonia, Hawaii, Rarotonga, Papua New Guinea, Photo Gallery, Events/Exhibitions

September 2007 Watch the Tautai Website and the weekly Pacific Arts Diary for News of Upcoming Events and Exhibitions*w w w . t a u t a i . o r g • t a u t a i @ t a u t a i . o r g

Some Events/Exhibitions

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Ph: 09-376 3889 • Fax: 09-376 3969Mob: 027-4826 302 • desktopgraphics@xtra.co.nz

Design and layout of Tautai NewsletterDesktop Graphics LtdContact: Tagi Cole

Tautai Contemporary Pacific Arts Trust receives major public funding from Creative New Zealand and also receives significant funding from ASB Community Trust.

7 Sept – 21 Oct. Dateline: contemporary Art from the Pacificinc. Ani O’Neill,Filipe Tohi, Edith Amituanai, John Pule, Michel Tuffery, Lonnie Hutchinson, Andy Leleisi’uao. NBK Gallery, Berlin, Germany

10 – 30 September LongitudeAni O’Neill, Chris Van Doren, Danielle Meredith, Ema Tavola, Glenda Villisoni, Greg Semu, Lange Taufelila, Lina Marsh, Leilani Kake, Letufa Taniela, Loloma Andrews, Marlon Rivers, Nooroa Tapuni, Rosanna Raymond, Sam Matangi, Suia Westbrook, Siliga Setoga, Samiu Napa’a, Sheyne Tuffery, Taniela Taniela, Troy Jackson. The Art Studio, Rarotonga

until 7 October The Chemistry of Threeincludes: Niki Hastings-McFall. Whangarei Art Museum, Water Street, Whangarei

until 7 October Yesterday, Today, TomorrowIsabelle Staron-Tutugoro & Fatu Feu’uTjibaou Cultural Centre, Noumea

until 14 January 2008 EXISTENCE:life according to artinc. Andy Leleisi’uao, Itania Nikolao, Felix KrauseWaikato Museum

until 22 October MIT Grads - Manukau Graduates ShowTe Tuhi Centre for the Arts, Pakuranga, Manukau City

4 – 27 October Hybrids & HafekasisIncludes: Terry Koloamatangi KlavenesFresh Gallery Otara, Manukau City

7 – 28 October Fatu Feu’uWarwick Henderson Gallery, Auckland

19 – 30 October Measina Fa’a fafineinc. Shigeyuki Kihara, Lisa Taouma, John Ioane, LindaE, Dan Taulapapa McMullin, Rev Mua Strickson-Pua, Nanette LelauluArtstation, Auckland

26 October – 6 April 2008 Mai Ka PIKO Mai: Festival of Indigenous Artists inc. Dan Taulapapa McMullin, Daniel Waswas, Treahna Hamm, Billy Missi. Bishop Museum, Honolulu, Hawai’i

1 – 24 November Ka ‘apai nuku, ka ‘apai rangiLeilani Kake, Nia-val Ngaro, Metuanooroa Tapuni, Veronica VaevaeFresh Gallery Otara, Manukau City

19 November – 8 December Vaka EivaGroup show. The Art Studio Rarotonga

Papua New Guinea

‘Longitude is the first exhibition of pacific art to be taken offshore from New Zealand by the Tautai Contemporary Pacific Arts Trust. The exhibition examines contemporary art from young Pacific artists who are negotiating the territory of urban pacific identity and the complexities inherent in the globalised community.

Longitude features the work of twenty-one Pacific heritage artists. The exhibition includes a cross section of works from photography, paintings, jewellery, Pacific street fashion, video installation, textiles and hip hop music video’… this is a quote taken from Giles Peterson’s curatorial statement in the catalogue accompanying Longitude and gives some background to the exhibition.

The exhibition opened at The Art Studio Rarotonga on Monday 10 September. Wide interest had been generated in Rarotonga and there was a large crowd at the gallery to witness opening formalities which included a prayer by Henrika Wilson, and speeches by the Minister of Art and Culture Wilkie Rasmussen and the Curator Giles Peterson. Gallery host Ian George also spoke, making special mention of the recent passing of fellow artist Nga Tereaki.

This exhibition is seen as a forerunner to an exhibition which is planned to take place during the Pacific Arts Association Conference which is to be held in Rarotonga in 2011. The idea for the show was mooted by artist and former Tautai chairperson Ian George two years ago. Ian says in his introduction in the catalogue ‘Longitude is the start of a new dialogue for the Cook Islands;

a conversation with Tautai artists; being part of the global network with the Pacific Basin being the first step of islands to be connected.’

The artists selected are mainly emerging artists or current tertiary art students, but there are artists who are well established included to acknowledge and pay respect to the host nation and to support the younger generation. The works included in the show are in a range of media and styles and go some way to demonstrating the depth of talent there is within the contemporary pacific art scene today – further proof, if it was needed, that art of the pacific is not static but continues to evolve and excite.

Projects such as this do not ‘just happen’ and special mention and acknowledgements need to be made to Metuanooroa Tapuni for her wonderful catalogue design, to Giles Peterson for his curatorial expertise, to Ian and Kay George for hosting the exhibition and to all the sponsors – without whom all this would just be so much more difficult. Thank you all. Christina Jeffery

One of New Zealand’s closest geographical neighbours, the misty, mountainous and forest-clad Papua New Guinea, is largely a cultural unknown. Short of

fearsome ceremonial masks, pigmented shields, colourful string bilums (carry bags) and other such artefacts, what little is known of PNG often comes down to news reports of inter-tribal warfare, tidal waves, volcanoes and mineral explorations.

Traditionally, New Zealand’s cultural exchange has been focused on the Polynesian side of the Pacific, but there is a wealth of cultural knowledge and diversity to be had in this vast land of disparate peoples and societies. Isolated geographically for centuries from one another in PNG, almost 1000 different tribal groups evolved 800 languages and distinctive cultural practices, resulting in a broad range of artistic expression, most of which, until the latter part of last century, was intertwined with social or ceremonial practices.

As with the flowering (and commercial availability) of Australian Aboriginal art since the 1970s, PNG contemporary art has also left the villages and is now seen on canvases hanging on pristine walls in major western galleries and museums. And like contemporary Aboriginal art – and that of the late, great Mathias Kauage, leading PNG artist and mentor to a whole generation – it is becoming increasingly collectable.

Although the execution and style is foreign to most artists in PNG, in the context of an art gallery as opposed to the past when they would be consigned to artefact and considered through an ethnological gaze. The Contemporary Art of Papua New Guinea is surely starting to find its position both in Europe and the Pacific region since its introduction in the 1970s.

The new millennium has been favourable to PNG art with International curators and art dealers taking notice of the uniqueness of PNG art with its aesthetical simplicity and expressiveness to interpret the diverse cultures of PNG.

Since 2001 artists have been staging an annual art show in the capital – “The Luk Save” (look at us) Art Exhibition in Port Moresby- and from this exhibition the awareness and appreciation of the art has increased considerably. There are well over 50 practicing contemporary artists in PNG from the formally trained to self taught and the number is gradually increasing with the interest steadily growing.

There is no formal art gallery space to display artworks for market and trade purposes. The artists have relied heavily on the monthly art and crafts market at the Ela Beach International School and the Port Moresby Grammar School monthly shows.

Artists in PNG rely heavily on incoming tourists, the expatriate community and the multi-national companies to sell their artworks. Over the last three years, dealers from Australia, Canada and France have been buying directly from artists to re-sell in their galleries: namely, “Witzig Gallery in Sydney, Alcheringa Gallery in Canada and Didier Zanette in France. I have witnessed a steady increase in the continuity of artists supplying works to these dealers and the volume of works has also increased as a result.

The contemporary arts of PNG are not only diverse but it is also totally different to the rest of the Pacific and that places the art in a better position to be recognised and studied in the years to come. In terms of the market trend only time and hard work will prevail. GalleryPNG was established with a goal to build a permanent dealer gallery for all artists to work as a group, helping one another to interact and share ideas. The venue will act as a stepping stone for the artists to establish themselves

whilst assisting and passing on the skills to help the upcoming artists.

GalleryPNG’s long term goal is to have an open learning Art Centre for those with interest in art and to network with similar organizations in the Pacific region to exchange ideas and provide a platform for residency programs and symposiums.

Daniel Waswas

Look Within, 2007 by Daniel Waswas

The Aeroplane, 2007 by John Siune

Rev Mua Strickson-Pua and Linda Strickson-Pua with Sylvia Marsters at the opening of her exhibition at Reef in Symonds Street.

Christina Jeffery with Julie Nevin from Reef Shipping also at Sylvia’s opening. Julie was instrumental in arranging the shipping of artwork for Longitude in Rarotonga and Reef Shipping

are generous supporters of pacific art and artists.

At the opening of Maka Tu’u Taha at Fresh Gallery, Otara. Samiu Napa’a, Tessa Laird,

Kulimoe’anga Maka, Grant Thompson.

Patron: Fatu Feu’u (Patron) Board of Trustees: Gina Cole (Chair), Loloma Andrews, Ron Brownson, Tui Hobson, Colin Jeffery, Michaelle Khan, Fuli Pereira. Tautai Office: Christina Jeffery (Trust Manager), Metuanooroa Tapuni, Vaimaila Urale. PO Box 68 339, Newton, Auckland

self portrait by Samiu Napa’a. Photos courtesy of Steven Ball

MaMo this image is of the public canvas of the First Friday event. The canvas was supervised by Carl’s art club students. The evening

event draws an average of about 2,500-3,000 people.

September 2007 Watch the Tautai Website and the weekly Pacific Arts Diary for News of Upcoming Events and Exhibitions*w w w . t a u t a i . o r g • t a u t a i @ t a u t a i . o r g w w w . t a u t a i . o r g • t a u t a i @ t a u t a i . o r g

Last month in New Caledonia at the Maison du Temps Libre [House of free time] there was a visual art exhibition titled Tremplin [sky jump] which

opened on the 3rd August and went through until 31st August 2007. It was the first time three artists who all live in Dumbea had exhibited together. The artists were Peli Fomeku aka ILEP, Paula Boi and Patrice Kaikilekofe. MTL operates under the direction of the Dumbea City Council and Patrice is the Visual Arts Director and Co-ordinator for the centre.

Dumbea is situated 15 minutes out of the capital Noumea and has a community of 18,000 people. This is where I have lived with my family for the last six years. Over this period of time I have been active in the arts as a member of the Siapo Association which started as a support network for Contemporary Visual and Performing Artists to connect and explore ideas through cultural exchanges. I believe that during the first few years seeds were planted and today we can visibly see the evidence of growth. There are regular Group Exhibitions, Creative workshop projects and other art related gatherings which have perpetuated a sense of encouragement for Melanesian and Polynesian Art practitioners here in New Caledonia to work together, sharing artistic

experiences in strong supportive environments.

Participating in cultural gatherings has been pivotal in comprehending parts of my life’s journey on this unique island in the Pacific. In the last two years especially I feel I have been privileged to have been able to reciprocate artistically and to communicate an understanding of how vital Polynesian heritage art is to maintain. I am in constant observation of the environment and society I have chosen to become part of, in the day to day realities of life here. Adaptation has played an important role in becoming introduced to Melanesian Kanak Culture while facing the realities of daily life in dealing with the infrastructure of the French colonial past, which is very much the present, together with the constant flow of minority groups that add more colour and shape to the diversity of today’s modern day New Caledonian society.

In retrospect I am a participant sharing personal observations and experiences of life as a practicing Contemporary Visual Artist of Polynesian Origin, living in one of the worlds finest Pearls of the South Pacific.

Ela To’omaga-Kaikilekofe

September 2007

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New Caledonia

Chair’s ReportNi sa bula vinaka

We are pleased to advise that Creative New Zealand has confirmed substantial funding to Tautai Trust for the next two years. It is

heartening to have the ability to plan ahead with confidence. We would also like to thank ASB Community Trust for their recent advice that they have provided a further significant grant to Tautai. The continuing support of both organisations is most appreciated.

The Board welcomes Michelle Khan as a trustee and we are very happy to have her expertise on the Board. Michelle brings a wealth of experience in event management and marketing and will be known to many for her roles with Pasifika and Celebrate Pasifika in particular.

With a focus towards a presence at the Pacific Arts Association Conference to be held in Rarotonga in 2011, Tautai is actively building links with pacific island based artists. To that end this issue of the Tautai newsletter includes reports from Hawaii, New Caledonia, Papua New Guinea, and the Cook Islands. In addition Tautai has recently opened its first off-shore exhibition. Entitled “Longitude” with Giles Peterson as curator, it is being held in partnership with The Art Gallery in Rarotonga.

A second Tautai Fresh Horizons workshop for this year has just been completed. Twenty three secondary school students were based at Auckland University of Technology for three days and took part in painting, fabric

printing, and moving image workshops. This one in the continuing series has culminated in an exhibition at NorthArt entitled “Malo Malo Malo” with art work from the workshops plus the work of six current AUT art and design students.

Tautai continues to support artists visits to tertiary institutions and this year Ani O’Neill’s visits have been so popular that students and tutors have asked Tautai to extend the program. We thank Ani for building on this program so successfully. Further Professional Development Workshops are planned

Michelle Khan, Ron Brownson, Gina Cole, Christina Jeffery attending an opening at Fresh Gallery, Otara. Photo courtesy Steven Ball

for October as a continuation of the program begun earlier in the year for mid and senior career artists. They will take place on Saturday 13 October and Saturday 27 October and times, venues, and agendas will be advised shortly.

Tautai has recently become involved in the Friends of Auckland Art Gallery Pat Hanly student scholarship program. Tautai was pleased to be able to sponsor three secondary school students this year. Chloe Marsters, Kevin Little, and Van Senefili each received two years “Friends Membership” to the Auckland Art Gallery, art supplies, and the opportunity to take part in an exhibition at Auckland Art Gallery. We are looking towards expanding our participation and involving more students in the future.

To assist the Board and management with formulating a more detailed and formalised marketing and strategy plan for Tautai Trust we have recently engaged the services of marketing experts EBD. The work on this to date has already proven to be a helpful way to clarify the objectives of the organisation and to structure future programs around them. With the future funding position now known and the team of management and project personnel delivering worthwhile outcomes for pacific art and artists the continued growth of Tautai Trust is assured.

Vinaka vaka levu – Gina Cole (Chair)

Collaboration Installation Piece by Patrice Kaikilekofe and Ela To’omaga,

Te Mata 2007. The Eye of our Pacific people watching over us.

HawaiiAloha mai kakou!

Greetings from Hawai‘i. I wanted to take this time to share with you all some positive changes that are occurring with regard to indigenous visual arts in Hawai‘i.

Three years ago, Kanaka Maoli artists initiated the Maoli Arts Month (MAMo), which is held every year during the month of May. The month-long event has created a critical venue for Kanaka Maoli to not only showcase our talent and ideas, but to also honor our kupuna (elders), those men and women who have laid the foundation for us.

Kicking off the celebrations is the awards ceremony, which recognizes the lifetime achievements of our kupuna artists. Following that we have the First Friday event (similar to the Tuesday gallery walks in Auckland), which involves over ten galleries in the downtown business district, all of which showcase the works of Kanaka Maoli artists during the entire month of May. This popular First Friday event is then followed up with several evening and weekend activities, including a street fashion show. The month concludes with an arts market day, similar to the Native American art market in Santa Fe, New Mexico.

Overall, MAMo has been a positive experience for the entire community. It has operated as a forum for opening up critical dialogue, it has created economic and educational opportunities, and it has given Kanaka Maoli a platform on which to honor our kupuna and showcase up-and-coming talent. Hopefully in the future, we can begin to branch out to include our cousins in the wider Pacific. In my view, I see the visual arts as being the fiber that binds us all together and it is through that “togetherness” that we are made stronger.

My wife and I miss Aotearoa dearly. However, there are so many exciting and positive developments happening here in Hawai‘i, and I look forward to keeping you all up to date on those in the future.

Malama pono, Carl F.K. Pao and Marata Tamairawebsite for MAMo: http://www.maoliartsmonth.org/

2007 Work by Carl Poa

RarotongaKia Orana!

Firstly I probably need to clarify something that often confuses non-Cook Islanders and that is that Rarotonga is the main island in the Cooks Islands. This is where

the majority of the government infrastructure and 75% of the population are based. The name ‘Cook Islands’ is often used when referring to Rarotonga.

With the increase in tourism there has been a strong development in the arts scene, in particular visual arts. Artists often drop in for a holiday or bring their work for show in one of the Rarotongan galleries. The latest of these being Samoan artist Andy Leleisi’uao who exhibited with Mahiriki Tangaroa.

Another recent visiting artist was Inia Taylor, who while at the Inanui Gallery decorated crash helmets with Polynesian tattoo designs in an attempt to get young motorcyclists to wear helmets. At present very few people wear helmets and through a combination of speed and alcohol there are lots of road accidents here and some of those are fatal.

Some New Zealand based Cook Islands artists are contemplating a change in life style with a move back to Rarotonga. Printmaker David Teata and family are looking at swapping the Dunedin cold for the tropical sun. Their aim is for a permanent move at the beginning of 2008 where he will set up his studio with his printing press.

Niuean artist Glenda Vilisoni, who with her Cook Islands partner spent three months living in Rarotonga recently, are now considering making the move permanent. It will also give Glenda a chance to track down her Cook Islands ancestry, her great grandmother was Rarotongan.

The University of the South Pacific, Cook Islands Outpost, is in the planning stage of designing a Pacific Studies Campus that will focus on a number of areas including the arts. The aim is to have the campus completed in time for the PAA Conference in 2011 which will be hosted by the Cook Islands.

Hopefully we will see an influx of Pacific Artists turning out for the conference.

Ian George

Politically Correct by Ian George Ramana by Nanette Lela’ulu

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