Category Archives: Events

Unforgettable: Michael Parekowhai’s ‘On First Looking into Chapman’s Homer’

If you live in the Wellington region then I really hope you’ll come to Te Papa and visit Michael Parekowhai’s On First Looking into Chapman’s Homer, which is on show on Level 5 until 23 September 2012.

Rather than describing my own experience of these works, I thought I’d share with you some of our visitors’ comments instead…

Hear Courtney Johnston talking about it on Radio NZ.

Excerpt from a letter to the editor from Wellington’s Capital Times, 5 September:

My ten year old boy and I visited Te Papa while the beautiful Steinway, carved, inlaid and painted to within a semi – quaver of its life, was being played. Have you ever seen the insides, let alone put your head beneath the lid (and under the watchful “Don’t Touch!” gaze of the attendants) of a grand piano, as Chopin is being played? We neither. Until today!  

The beautifully played music (thanks Ariana Odermatt) and the applied imagination of Parekowhai filled the exhibition space, as it did my body, mind and heart. This installation reflects and celebrates my understanding of bi- culture. Far out! Kia ora! 

Tom White, Island Bay (abridged).

Find out more about the exhibition and about a special event next Thursday night.

If you’ve already seen the works and want to share your response, please feel free to leave a comment below.

Sarah Farrar

Curator of Contemporary Art

On First Looking into Chapman’s Homer

Michael Parekowhai’s Venice Biennale exhibition installation at Te Papa

Michael Parekowhai’s Venice Biennale exhibition On First Looking into Chapman’s Homer opened at Te Papa on Friday. The installation looks stunning, clustered in the middle of the space and the sound with the acoustics of the gallery with that high ceiling is wonderful.

The exhibition is only on for a month till September 23 2012, so a short exhibition period. I hope many people come in to experience this installation while it is here.

It is the first time the three major elements of Michael’s installation have been shown in one gallery space – the two black bronze replica piano’s and bulls and He Korero Purakau mo Te Awanui o Te Motu; story of a New Zealand river, 2011, the elaborately carved red ‘Maori piano’ – the playable steinway concert grand.

It is also perhaps the last time for a little while that this installation will be seen together.

Lecture: Undressing Mr Darcy ‘a scandalous delight’

When Colin Firth emerged from the lake dripping wet as Mr Darcy in the BBC’s 1995 dramatisation of Jane Austen’s novel Pride and Prejudice, many women world-wide certainly dreamed of undressing Mr Darcy. Rather than literally undressing Austen’s dashing hero, Ian Kelly, accalimed British biographer and actor, will take a revealing look at the life and times which shaped Regency gentlemen such as Darcy.

Kelly’s focus is London’s ultimate dandy: Beau Brummell, the man whose clothes defied wrinkles and whose breeches clung to his legs like a second skin.

Beau Brummell was the subject of Kelly’s 2006 biography which was described as ‘a magisterial and utterly gripping parable for modern times’ (The Independent), ‘superlative – as good as biography gets’ (The Times), and ‘witty, vibrant, a tour de force’ (The Telegraph). It was subsequently adapted for television by the BBC – Beau Brummell: This Charming Man.

Ian Kelly’s ‘biography of the year’ on Beau Brummell.

Brummell cut a dramatic swathe through late Georgian society. A favourite of the Prince of Wales, he became the Age of Elegance’s arbiter of taste – setting in motion a fashion revolution that defines the way men and women dress across the world to this day.

In this lecture, Ian Kelly will present new images from his lavishly-illustrated biography to reveal the man behind the ‘Beau’ image, and unlock the scandalous world half-hidden by the decorous façade of the world’s first metropolis.

This is a story of the modern age as much as it is Brummell’s own – one in which men’s fashions and masculinity were redefined. But as Kelly demonstrates, the clothes and the fame were only part of this intriguing, complex man.

Ian Kelly comes to Te Papa courtesy of Wellington’s Decorative & Fine Arts Society, and with a history of rave reviews. Stephen Fry described his lecture on Brummell as ‘All the wonders of an incomparable age touched on with wit and mastery’, while Stephen Calloway of the V&A boldly declared that ‘Ian Kelly gave one of the wittiest and most informative talks we have ever had’.

What other recommendations do you need to get out of bed on a Sunday morning? And yes,  Kelly’s lecture is on a Sunday morning but what an interesting one it will be!

When: Sunday 26 August 2012 , 10.30am-12.30pm, Soundings Theatre, Te Papa

Cost: Friends & WeDFAS members $20, public $25, students $15

To book your place visit Te Papa’s event’s page.

Finally, Jane Austen fans beware: Ian Kelly’s ‘talk on Brummell was a scandalous delight; it has changed forever the way I’ll think about Georgian England.’ Director of the Jane Austen Festival.

Red Piano and Bronze Bulls coming to Wellington

Michael Parekowhai, He Kōrero Pūrākau mo te Awanui o Te Motu: story of a New Zealand river, 2011. Photograph by John Collie, courtesy of Christchurch Art Gallery, Te Puna o Waiwhetu. Te Papa (TMP013506)

After a successful season at the Venice Biennale, in Paris and Christchurch, Michael Parekowhai’s On First Looking into Chapman’s Homer will make its final stop at the national museum, Te Papa. Opening Saturday 25 August, a specially reconfigured installation will be shown in a single gallery space for four weeks and provides an exciting opportunity to view Parekowhai’s Venice exhibition.

The centerpiece of the installation is an ornately carved Steinway concert grand piano. Painted a vibrant red and titled He Korero Purakau mo te Awanui o te Motu: story of a New Zealand river, it is Te Papa’s latest major acquisition of contemporary art.

Standing alongside He Korero Purakau mo te Awanui o te Motu: story of a New Zealand river  are two black bronze replica pianos complete with two bulls, one standing and one sitting, as well as five bronze olive tree saplings.

Over the four weeks He Korero Purakau mo te Awanui o te Motu: story of a New Zealand river will be performed by top musicians including Gareth Farr, Robert Wiremu and Tama Waipara, and at 12.30pm daily by pianists selected to play this unique piano when it was exhibited in Venice.

In the adjacent galleries Te Papa presents new acquisitions of important works by Jim Allen and Colin McCahon, including McCahon’s painting Koru 1, 2, 3 (1965).

“These three exhibitions provide a wonderful opportunity to engage with some of the most significant examples of contemporary New Zealand art from the mid-1960s through to the present day”, says Sarah Farrar, Acting Senior Curator Art at Te Papa. “It will be an unforgettable one month programme.”

Te Papa would like to acknowledge the support of the Friends of Te Papa, Ernst & Young, Creative New Zealand, and the Wellington City Council.

25 August – 23 September 2012
Level 5, Te Papa
Free entry

Albatrosses in competition for best looks

Over the next month, Te Papa is working with the community of enthusiasts and researchers on seabirds – albatrosses and petrels in particular – to showcase the unique work of this group, and to allow a glimpse of the beauty, vulnerability, and amazing adaptations of these birds and unique environments they inhabit.

Our focus on this group of birds relates to the need for conservation efforts needed to arrest declines in several key populations – at present, the albatross group is the under threat at a higher level than any other group of birds, with a high proportion of species listed as globally threatened with extinction, and the rate of change of species status higher than other groups.

Learn more with the Global Seabird Programme of BirdLife International

In conjunction with the organisers of the 5th International Albatross and Petrel Conference, Te Papa launched the initiative on 13 July. The competition is open to anyone to contribute images via the Te Papa website. Several other groups have helped to sponsor the competition and prizes including Woolf Photography, Albatross Encounter, Te Papa Press, Friends of Te Papa and the Ornithological Society of New Zealand.

Access the competition website

Edit: The competition is now closed, but the photos are still available

Images have come in from across the globe, and include some of the world’s rarest and most endangered species. Some particularly stunning images include shots of birds on the nest with their young, and pictures of the incredible habitats in which the birds spend their time at sea, or where they nest.

Father & Son (Indian yellow-nosed albatross), 2012, Amsterdam Island, by Jeremie Demay. © Jeremie Demay

Father & Son (Indian yellow-nosed albatross), 2012, Amsterdam Island, by Jeremie Demay. © Jeremie Demay

In particular, we were seeking to engage with the community of researchers and bird-lovers, many of whom work on a voluntary basis to do conservation and population monitoring studies. Others are dedicated professionals; all have unique moments to share of their experience with albatrosses and petrels. The documenting of people at work with birds often is difficult…researchers try to minimise the impact of their studies on species, and extra time to take photos in the midst of pressured work programmes can be lacking, but we’re really delighted that some of these field biologists have take the time to share special moments.

Arms wide open (Wandering albatross), 2011, Antipodes Island, by James C. Russell ©  James C. Russell

Arms wide open (Wandering albatross), 2011, Antipodes Island, by James C. Russell © James C. Russell

It was particularly impressive to have uploads of images direct from field sites dotted around the Southern Ocean.  Amsterdam Island is one of the remotest islands on the planet, more than 1000 km from any continent; it is plum in the middle of the Indian Ocean. Yet it harbours a keen group of researchers who over-winter as part of a French research programme. And several are apparently keen photographers!

Delicate touch (White-faced storm petrel), 2007, Mokohinau Islands, by James C. Russell ©  James C. Russell

Delicate touch (White-faced storm petrel), 2007, Mokohinau Islands, by James C. Russell © James C. Russell

Among my favourite birds to see at sea (when not being blown-away by the splendour of large, white, glamorous albatrosses), are the tiny storm petrels, nicknamed ‘Jesus Birds’ for their ability to patter their feed on the water. One entry portrays the fragility and delicacy of these enigmatic little species expertly as it skips above the water surface. Another shows how small and delicate they are in the hands of an expert handler.

White-bellied storm-petrel, 2010, Lord Howe Island group, by Sarah Jacob. © Sarah Jacob

White-bellied storm-petrel, 2010, Lord Howe Island group, by Sarah Jacob. © Sarah Jacob

As well as the birds going about their daily business, there is a focus on interactions between humans and birds at sea, with the often positive comradeship of sea-going humans and birds portrayed delightfully in some shots themselves.

Constant campanions (Salvin's Albatross), 2011, Kaikoura, by Peter Langlands © Peter Langlands

Constant campanions (Salvin’s Albatross), 2011, Kaikoura, by Peter Langlands © Peter Langlands

In short, there’s something for everyone on this web-page. Either for the photographer to encourage them to explore the lighting, dynamic tension, and rare circumstances that lead to ‘just the right shot’ or for the lovers of sea-creatures and birds. For albatross and petrel boffins, a visit to this web page is rather like having too much cake for tea!

Access the competition website

Edit: The competition is now closed, but the photos are still available

Kōrero Kākahu: Building Kōrero

By Matariki Williams

As many of you will probably know, it is school holidays time and Te Papa is buzzing with the energy of its many extra little visitors. Kahu Ora is no exception and when I went in to talk to the new weavers in residence, I was very happy to see the exhibition filled with people. As earlier mentioned, the group joining us this week is Raranga Kākahu, Raranga Tāngata, Raranga Whakapapa and yesterday we had Matthew McIntyre-Wilson and Mark Sykes weaving in the studio. When I walked in, they were both surrounded by inquisitive visitors of all ages and happily explaining what it is that they were working on.

Matthew McIntyre-Wilson. Photograph by Matariki Williams. Te Papa.

Matthew McIntyre-Wilson. Photograph by Matariki Williams. Te Papa.

For Matthew this will be a hīeke, like his earlier pākē, but with more some similarities to a kahu toi. He explained the similarities being that the ends will be plaited to make it more robust against wear. Also, like kahu toi, all materials are used. The copper from inside the cables is stripped out to form the tags and the plastic outer forms the foundation of the cloak. The copper is then rolled to make it flatter and give it more of a tag-like shape. This experimental approach, whereby he learnt by doing, is a recurring theme of Matthew’s work and I like how the art form is evolving in his hands. Like his pākē, this hieke is made from electrical cables. These were donated to him by General Cables in Christchurch after he approached them about this project. They were generous enough to give him 100 metres of cable in three different colours, red, black and white, and he has invited them up to see them worked into a new life.

Matthew McIntyre-Wilson and a Te Papa host. Photograph by Pamela Lovis. Te Papa.

Matthew McIntyre-Wilson and a Te Papa host. Photograph by Pamela Lovis. Te Papa.

No material is wasted as Matthew uses the offcuts to create necklaces, one of which is also on show in the weavers’ studio. This process is an interesting comparison to Mark’s weaving with more traditional natural fibres. Mark is also making a pākē but is using neinei and pingao which will be layered as piu or tags.

Mark Sykes preparing the muka. Photograph by Matariki Williams. Te Papa.

Mark Sykes preparing the muka. Photograph by Matariki Williams. Te Papa.

When I entered the weavers’ studio, Mark was explaining to a very engaged young lady about how to prepare the flax for weaving. Her mother and sister then stood to the side having a go with some flax he gave them. This kept them busy for some time until she came back and asked him if she could keep it. It was so sweet seeing this exchange and the pride of the young lady in what she had made. Being in the weavers studio I could hear multiple conversations regarding what the weavers were doing; a mother to a daughter “This is the muka” and another lady at Mark’s table explaining to other visitors about the materials being used.

Mark and some interested visitors. Photography by Pamela Lovis. Te Papa.

Mark and some interested visitors. Photography by Pamela Lovis. Te Papa.

There is a touch table in the studio that has native birds feathers, a patu muka that is used to beat harakeke, a mussel shell that is used to strip harakeke and various other weaving materials. As I was standing there, multiple people came up to touch the kiwi feathers with awed whispers of “this is kiwi”. Then two very excited kids spotted someone who must have been their favourite host: Hohepa Potini. They implored him to show them how to strip the flax again and he willingly obliged. It is a veritable melting pot of knowledge in the weavers’ studio with the weavers, visitors and hosts all bouncing off one another and being passed to a new generation. This human interface is part of what makes Kahu Ora such a beautiful exhibition to experience and seeing how positively all of the visitors feel about it is indisputable proof. So once again, a big mihi to the weavers who were in the studio and those who are to come.

Today, and for the rest of the weekend, the full roopu will be in so come in and meet Sorrel Kemp and Hiri Crawford.

From next week, a lecture series will be starting in accordance with Kahu Ora called Tuitui Kōrero. Next Thursday, Karl Leonard and Morehu Flutey-Henare will talk about how weaving is transferred from artist to artist. It will be at the Marae on Level 4 from 12:30 to 1:30 and entry is free, so come and have a listen.

Umi tufala shea: sharing stories from the Festival of Pacific Arts

This is the third day of the Festival and there are way too many things and sights to properly explain. I can only give samples and highlights, and even these are too numerous to do it justice. The NZ delegation has jumped into action, performing and creating. The Festival village is buzzing with all the whare heaving with artists, customary and contemporary practitioners, curious visitors, booming music from the Pasifika stage, percussive sounds of toki carving into wood everywhere – and the occasional buzz of a chainsaw – its modern day stand-in.

To recount my best moment so far though….the festival opening started extra early on Monday morning. We had a 4am alarm and blearily jumped on to buses and headed into darkness to a beach (which I don’t know the name of, I apologise). A drizzly, warm morning, the beach was jam packed with people, all dressed in traditional fibre kakahu, lavalava, or bright polo shirt uniforms; a vast array of different bodies and appearances, there must have been at least 1000 people on that beach. Maybe more. We were treated to a fireworks display, the first since 1972 in Honiara, and a gift giving ceremony. There was an expectant feel in the air, and everyone seemed to be focused on the water rather than the official stage on shore.

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Impatient because I couldn’t see anything, I wormed my way through the crowd to the shoreline, and I am so glad I did. Before me, in the dawn light, were seven magnificent double hulled waka called waka hourua, anchored several hundred meters out to sea. Added to this, were about 8 small Solomon Island waka, with at least 15 men in each. The scene behind me was a cacophony of sound but out in the ocean, it seemed silent.

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I was speechless and embarrassingly emotional (sookie lala is how my family would describe it). The sight of the waka was overwhelming and for a long moment, I wondered if this was the sight that the ancient Tūpuna of the Pacific saw, when voyagers from afar visited their islands. Unable to compute what I was seeing, I just stood and gawped and had a bit of a tangi.

An amusing break in the emotion of the moment were the smaller waka from the Solomons, which raced up and down the shore performing what I can only describe as boy racer waka burnouts. They whizzed into shore, stealing a person and taking them out to sea. Only to speed back to the shore again at speed, water braking on the beach. Very funny and fabulous to watch.

The silent waka hourua stayed further out and maintained their impressive appearance. They are part of a monumental undertaking called the Pacific Voyagers project where seven replica waka are sailing through the Pacific Ocean, retracing ancestral links and drawing the world’s attention to the health of our oceans. Populated with crews from around the world, these seven waka have travelled as a fleet since early last year. There are two Māori waka in this whanau: Haunui captained by Hoturoa Kerr of Tainui; and Te Matau a Maui captained by Frank Kawe of Ngāti Ranginui and Ngāti Kahungunu (and he’s from my kainga tūturu – Tauranga!). Their voyage has been immense and breathtaking. You can read more about it here.

The waka slowly made their way closer to shore, and as they did so and the morning light grew brighter, the people on the beach began to sing, chant, wave and call out. The NZ delegation raced to greet the Māori waka Haunui and Te Matau with karakia, mihi and haka pohiri, to which the waka crews responded in kind.

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It was an awesome morning which only got better when members of the delegation were invited on to the waka to sail to their mooring, about two hours sail along the coast. I clambered aboard Te Matau, and again was shamelessly emotional (I blame the early start).

The generosity and then the stories shared by the crew and by other manuhiri aboard the waka was wonderful. As well as some of the crew, I met two lovely women from Hawaii, and one beautiful lady from Tahiti who had sailed on one of the waka. They shared their own voyaging and cultural stories with me, as I did with them. It was a peaceful few hours and my definite highlight of the festival so far. I didn’t want to get off!

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Te Papa’s snail expert awarded doctorate

Congratulations to Bruce Marshall, Te Papa’s Collection Manager Molluscs, who was recently honoured with a Doctor of Science by Victoria University of Wellington.

Molluscs are the group of animals that includes snails, slugs, shellfish, squids and octopuses.

Bruce Marshall. © Te Papa.

Doctor of Science degrees are awarded for exceptionally significant contributions to a field of science. Bruce has described and named an incredible 451 new species. Since 1967 he has published more than 120 scientific papers. Bruce’s research encompasses living and fossil molluscs, from both terrestrial and marine environments.

Bruce in the field, 1967.

A marine snail, Calliostoma gendalli, described and named by Bruce Marshall.

Images of some of the species described by Bruce.

Mollusc research at Te Papa.

A list of Bruce’s publications.

Bruce was described as “the leading authority on the taxonomy and systematics of living molluscs in New Zealand” in the conferment letter from Victoria University.

Bruce’s contributions to malacology (the study of molluscs) have also been recognised by his colleagues who have named 23 species and five genera after him, including the sea snails Bruceiella and Marshallopsis.

Image of a shell of Bruceiella.

A marine snail, Annulobalcis marshalli, named after Bruce Marshall.

 

Well done Dr. Bruce!

 

The Intern Files: Week 1, Taking the Plunge

By Melissa Beseda

On June 11th and June 12th, Te Papa hosted a Sāmoan Artist Exchange in celebration of Sāmoa’s 50 years of independence. Artists included weavers demonstrating ie toga (fine mat) techniques at the Weavers’ Studio area of our new exhibition Kahu Ora | Living Cloaks, tatau (tattoo) artists, master carvers, and makers of sennit – a type of woven cord used throughout the Pacific. Wasting no time, on the second day of my internship here at Te Papa and my third day in New Zealand, I put on the lavalava and Paul Junior Suluape designed and applied a tatau in the traditional Sāmoan style on my forearm. This involves using the ‘au, which is a comb that is dipped in the ink and carefully applied using a wooden mallet. Certainly it hurt a bit but how could I have passed up such a unique opportunity? The result is a beautiful tatau, reminiscent of a bird in fight, which Paul applied without the help of a stencil, demonstrating his expertise and artistry.

Paul Junior Suluape applying the tatau to Melissa Beseda’s forearm.

Here I am on Day 3, my forearm healing and my intern project taking shape. This is with Digital Projects where I will be developing visitor engagement via Te Papa’s free wifi and evaluating SMS engagement, as well as other digital projects. I am here from Seattle, where I am enrolled in a Master’s program in Museology at the University of Washington. I am incredibly fortunate to have this internship opportunity and am ready for all of the diverse and wonderful experiences that Te Papa has to offer, both personally and professionally. One thing is for certain: my time here at Te Papa will certainly leave a mark in more ways than one.

Paul Junior Suluape and Melissa Beseda posing for a picture with the newly completed tatau.

2012 Costume and Textile Symposium – registrations open!

Registrations are now open for this year’s annual NZ Costume and Textile Association symposium – Town & Country. The symposium is being held in Nelson, which will hopefully live up to its sunny reputation come July. To download a registration form click here.

This year the CTANZ is delighted to be hosting three speakers whose expertise will bring a truly international flavour to the annual symposium. We are thrilled to welcome Mary Kisler as a keynote. Mary Kisler is the Senior Curator at Auckland Art Gallery, and is well-known nationally through her lively conversations about art with Kim Hill on Radio New Zealand. Much to our delight, she is also working alongside the Art Team at Te Papa at present. Her infectious enthusiasm for art history and ability to decode the stories embedded within artworks is guaranteed to make for a highly entertaining and thought-provoking keynote address.

With her interest in portraiture, costume and textiles are an important part of Mary’s research as they hold many subtle hints about the character of the sitter. Her keynote address is enticingly entitled Silken Slippers, Wooden Shoes and is inspired by this portrait of Louise de Kéroualle, King Charles II’s mistress. Of Louise’s appearance, Mary mysteriously comments ‘sometimes signs and symbols are not what they seem’.

Portrait of Louise de Kerouaille by Henri Gascar ca. 1670 (Auckland Gallery of Art, Auckland New Zealand)

From 17th century intrigue, we hit the road with  Ann-Maree Reaney and Jill Kinnear, who will be presenting their collaborative textile/art project American Road Trip.

Four Corners dress from American Road Trip. Photograph copyright and courtesy of Ann-Maree Reaney and Jill Kinnear. This project has received financial assistance from the Queensland Government through Arts Queensland.

Ann-Maree is a practicing visual artist based in Brisbane, where she has had a considerable career both as an artist and an educator.  Jill is a textile designer and artist currently based in Savannah, Georgia, where she holds the position of Professor of Fibers at Savannah College of Art and Design. In American Road Trip, the pair have created a collaborative series of printed textile forms that are wearable, as well as contextual photographs and videos, which capture the essence of travel.  Using textile, structure and digital pattern, these collaborative works reflect an abiding interest in other cultures, experiences and the unique perspective of a journey. They will come to us fresh from a research trip to India.

These are just two of the 20 presentations that will make up the two-day symposium. For a full programme keep an eye out on the Costume and Textile Association blog. The symposium is open to members and non-members alike, and newcomers are always warmly welcomed.

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