Tag Archives: Creative New Zealand

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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The art life in Venice

The Grand Canal from Rialto Bridge

The Grand Canal from Rialto Bridge

Avid art blog followers will now be familiar with Creative New Zealand’s NZ at Venice blog site. The project curators of Judy Millar’s Giraffe-Bottle-Gun and Francis Upritchard’s Save Yourself, and the venue attendants have been blogging regularly since the beginning of the installation period.

La Maddalena

La Maddalena

Posts are coming in thick and fast and it’s great to be able to get a sense of the daily life in Venice during Biennale time.

So now it’s my turn on behalf of Te Papa to post a report on the 53rd International Art Exhibition, known as the Venice Biennale, after my recent visit.

I was in Venice between 1 – 8 June to view Judy Millar and Francis Upritchard’s projects and to support them at the openings along with the folk from Creative NZ. It was a wonderful time to be there in the lead up to the openings and vernissage period that kicked off in earnest on 4 June.

Palazzo Mangilli-Valmarana

Palazzo Mangilli-Valmarana

The projects both look great in their respective spaces and they respond really well to the architecture. One of the amazing things about Venice is the architecture and the ornate interiors that are usually inaccessible except during Biennale time when many of them are opened and used for exhibitions.

In Save Yourself, self absorption that shuts out all else seems to be the common thread between Upritchard’s figures. The installation is in three parts – one for each room of Uprtichard’s space in the Palazzo Mangilli-Valmarana - each part unified by a table either scaled up or otherwise subtly altered by Upritchard from her own furniture or other tables she likes. The figures on each table ignore each other. They are placed so that they are facing outwards. Each named figure has its own character seen in their expression, colouring, posture and features.

Save Yourself, Dancers

Save Yourself, Dancers

Save Yourself, Lonely

Save Yourself, Lonely

Upritchard has commented that she thought long and hard about how to work with the opulent space and her use of the mirrors adds to the distance and self interest of the figures. Several of the figures are facing the mirrors and their separateness from their fellows becomes emphasised by their apparent interest in watching themselves.

Yet they are fascinating to look at, as curator Heather Galbraith writes in an essay in the new publication Save Yourself that ‘the seekers in Upritchard’s work are fallible, engaging and charming’ and she goes on to say that Uprtichard acknowledges Hieronymus Bosch and Pieter Bruegel as influential here. Additionally Uprtichard references Erasmus Grasser’s Morris dancing figures among other things.
 
 
Judy Millar’s Giraffe-Bottle-Gun is in the beautiful La Maddalena alongside the permanently installed paintings.
 
Giraffe-Bottle-Gun

Giraffe-Bottle-Gun

In 1990 Millar studied in Italy and it was a formative period for her as she absorbed the numerous paintings in churches and, as written by Anthony Byrt in the new book Judy Millar You You, Me Me, published in time for the Biennale, Millar ‘decided that painting had contemporary potential’. Byrt goes on to explain that this type of painting brings performance, illusion and material fact together with the purpose of the buildings. Millar’s large scale shaped canvases certainly operate similarly although their purpose within the church architecture is not the same.
 
Giraffe-Bottle-Gun

Giraffe-Bottle-Gun

The works are scanned and scaled up ten times from paintings of Millar’s and reproduced on billboard canvas. The effect of enlarging the gestures and the size of the paintings is quite spectacular. What surprised me is that although they dwarf the viewer, they are not overpowering or overwhelming but are really approachable and even welcoming.
The play with scale in both artists’ projects is appropriate for Venice, which is a place of oddly shifting scale in relation to the human – you find yourself emerging suddenly from narrow alleys into open piazzas or from a maze of streets and stone to unexpected water views. Millar’s towering gestural paintings against the white stone of the circular La Maddalena and the dramatic figures of the paintings.
Canvas close up

Canvas close up

Millar’s colours are carefully chosen and the orange matches almost exactly the colour of the robe of one figure, the flesh colour is close too. Some of Millar’s enlarged gestures echo the figures movement, one looks almost the same as the sweep of an angel’s wing.
You may have already heard that Te Papa will be showing both artists’ projects in February 2010 to coincide with the New Zealand International Arts Festival here in Wellington. Of course when we exhibit the projects back here at Te Papa we won’t be recreating the ambience of the Venetian spaces, the works will be in the Level 5 high stud gallery spaces where Toi Te Papa is.
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