December 2013

Page 1



angela tiatia

shifting the gaze

Neo-colonial Extracts, video still, 2010 (Photo courtesy: Angela Tiatia)

Neo-colonial Extracts, video still, 2010 (Photo courtesy: Angela Tiatia)

Neo-colonial Extracts, video still, 2010 (Photo courtesy: Angela Tiatia)


t’s been a busy three years for multimedia artist and curator Angela Tiatia, having staged five solo exhibitions and been exhibited in group shows in Los Angeles, San Francisco, New York, Mexico City, Honolulu, Cologne, and across New Zealand and Australia. Throughout her practice Tiatia incisively observes the power structures that influence how identities are constructed and represented. These are important questions that affect all cultures, as the world becomes increasingly homogenised and interdependent. Tiatia draws on her own observations from the point of view of a Pacific Island woman. One area of exploration in Tiatia’s practice is the commercialisation of Pacific culture, and in particular the female Pacific body, as a phenomenon that continues to impact how Pacific people are seen today. Tiatia’s experiences in front of the camera have

provided her with a particular insight into the political dynamics inherent in representation. At 17 she won a contract with the modelling agency Visage. Since then she has worked as a model, actor, and co-host of the weekly current affairs programme Tagata Pasifika. During a recent Skype interview I asked Tiatia about the influence of these various roles on her art practice. She explains: “I love being able to have my own voice to explore and express ideas. Often in the world of broadcasting you are just a thing. You’re an object. Whereas my art practice enables me to control the way that I’m being represented. This gives me a lot of satisfaction and is really empowering.” The tension between real and commercially constructed identities has been an ongoing topic of exploration for Tiatia since her final year of studying for a Bachelor of Visual Arts at

AUT University. Soon after graduating in 2010, Tiatia went on to hold two solo shows running essentially concurrently at Te Tuhi Centre for the Arts Pakuranga and Fresh Gallery Otara. Both exhibitions considered, from different angles, the effects of global tourism and its commercial gaze on Pacific culture. Neo-Colonial Extracts, 2010, shown at Te Tuhi documented the failed development of the Sheraton Resort in Rarotonga, Cook Islands. The two channel video projection juxtaposed a study of the details of the unfinished resort, against a long shot of the thatched roof of a tour boat rocking gently on waves. The resort’s loose wiring, stained walls and vegetation creeping in through the gaping windows give a sense of space that is incomplete, unused and unusable — a permanent scar on the otherwise lush landscape. The impact of the global economy of Pacific communities is an issue Tiatia would return to in her City Gallery Wellington exhibition Edging and

Foreign Objects, mixed media, 2011

Foreign Objects, mixed media, 2011

Foreign Objects, mixed media, 2011

(Photo courtesy: Angela Tiatia)

(Photo courtesy: Angela Tiatia)

(Photo courtesy: Angela Tiatia)

Seaming, 2013. For her show at Fresh Gallery, entitled Foreign Objects, 2011, Tiatia brought together objects that she found online. One of Tiatia’s finds was a mechanised hula chair that forced the sitter to rotate his or her hips, replicating the motion of a hula dance. Other objects, ranging from antiques to tourist trinkets, were displayed side by side in a vitrine. Hung on the walls were images of Pacific women through the ages, from early sepia-tone ethnographic photographs, to record sleeves and cigarette cards of the mid 20th century, to modern day photos and stickers. Although the media changed the context clearly hadn’t: beautiful, often nude, pacific women looking longingly and availably into the camera lens. Each of these objects captured a touristic view of Pacific culture, and particularly Pacific women, as exotic, passive and available. While seeking out these objects Tiatia found that there was a distinct terminology for the online buying and selling of objects pertaining to represent the Pacific. ‘Hula girl’, for instance, was an almost ubiquitous blanket tag for any representation of Pacific women. What is striking about the use of these labels and the objects they relate to is their contemporary currency. The museological approach used to display these objects might seem to suggest that these are collecting tastes that belong firmly in the past. Instead, though handcrafted objects may have given way to mass-produced dashboard figurines, this installation reveals that a desire for gendered typecasts of Pacific culture — made by and for non-Pacific audiences — persists. Furthermore, new technologies and new modes of collecting are easily absorbing these stereotypes. As Tiatia observes, “even though they have no connection to the Pacific, they’ve

become part of the popular culture and openly accepted as true representations of the Pacific.”1 Tiatia rejects these projected notions of the Pacific in her performance video Hibiscus Rosa Sinensis, 2010. The hibiscus flower, a clichéd icon of Pacific paradise, is masticated and devoured by the artist. Here the body – and in particular the mouth – plays a key role as an agent of rejection of the imposed identities. This is not the first time Tiatia has used her body as a challenge to being objectified. In describing her attraction to performing in her video works, Tiatia explains: “That subtle transfer of power from one individual to another is visible in body language. The body is a vehicle for interpersonal power. You can see this negotiation of power in how people speak, and how they hold their gaze and that’s what I really like about performance and capturing the body.” One strategy used by Tiatia to create that transfer of power is to cast her attention on those who usually observe unseen. In her 2008 video work See a close up of the artist’s closed lips dominates the screen. A man’s hand enters the frame and pries them apart, only instead of an open mouth a dead fish eye stares directly back at the viewer. It’s an eerie but playful surprise that catches out the viewer in the act of watching and subtly shifts the power of knowing over to the performer. The first time I watched this work, I felt like I’d somehow been sprung. As Tiatia notes, though the eye is plainly unseeing “there is a sense of ‘I see you...I see everything you do and have done to me” between the eye and the viewer.2 Tiatia again disrupts the expected interplay

between the observer and the observed in Reflexivity, 2013. Here, dressed in black shorts and a black singlet with her malu exposed, Tiatia stands on a crowded thoroughfare of Sydney harbour. Unlike See, however, she has pulled the lens further back to document the reaction of the observers as well as the artist’s own response. Some passersby self-consciously try not to look, though most are unabashedly curious about the woman and her unfamiliar tattoo. In amidst the variety of reactions the artist stands still and stares impassively at the camera, undeterred by the gaze of the crowds. Her actions recall the quiet power of a peaceful protest. Tiatia’s interest in challenging constructed notions of identity also informs her curatorial practice. In 2012 Tiatia curated the group show The Anatomy of Paradise. Inspired from a 1947 book of the same, the exhibition considered how the exhibiting artists used the body to express ideas of identity in order to defy those projected onto them. Throughout her art making and curatorial practice, Tiatia subtly but confidently reclaims power over her own representation. By taking control of the camera she has been able to expose some of the stereotypes and economic and political structures that continue to impact how identities are constructed and imagined. Significantly, Tiatia’s works prompt viewers to question what, or who, is in control of how our identities are represented and provokes us to consider to what extent we are involved in those dynamics. Ioana Gordon-Smith ____________________________________ Kirsten Matthew, ‘At home with Angela Tiatia’ in NZ Life and Leisure,, accessed 1 December 2013 2 Angela Tiatia,, accessed 1 December 2013 1

Hibiscus Rosa Sinensis, video still, 2010

Reflexivity, video still, 2013

See, video still, 2008

(Photo courtesy: Angela Tiatia)

(Photo courtesy: Angela Tiatia)

(Photo courtesy: Angela Tiatia)

tautai news

Talofa lava


his is the final newsletter for what seems to have been a hectic year for most people, Tautai included. In October we had OFFSTAGE – the fifth time we have had this annual moving image and performance event. It was held at Artspace again this year but curator Ioana Gordon-Smith changed the format from a one night only ‘live’ show to one that was more exhibition based and held it over two days. This Tautai event has always provided an opportunity to show provocative and edgy work and this year was no exception. Thanks again to Artspace for their support! Tautai has been aware for a while now that we need to be trying to broaden our sources of funding and to that end sort advice and put together a program which we launched at a wonderful function in late October. Fetu Ta’i (broadly referring to guides of the voyage) is the name Johnny Penisula suggested for this initiative. We have great pleasure in welcoming our new group of supporters to the Tautai community.

I made a short visit to Christchurch in November to attend what was an amazing performance by a company of talented young people called No Limits. It was a very powerful, very forthright, and very thought provoking show directed by Sela Faletolu. The visit was also an overdue opportunity to catch up with people in the Christchurch arts community and see how everyone is. Tautai was considering a Fresh Horizons workshop there in 2014 and as everyone I met with was excited about this we are now working on making that happen. Work is also continuing on the Pasifika Internship Program which Tautai was successful in tendering to deliver for Creative New Zealand next year. Thirty eight applications were received, nine people were interviewed, and the three interns have been appointed. They are Grace Taylor, Amiria Puia Taylor and Paul Fagamalo. Congratulations to them as it was a very strong field of applicants and it was not easy for the panel to make their selection. Janet Lilo is project managing this program for

Tautai and is now working with the three to identify the places where they would like to carry out their internships. The final Tautai-facilitated major activity for this year is the professional development day in December for those tertiary students nearing the end of their degree courses. Entitled “Life After Art School” it follows the format of prior years where a range of people will bring their experiences and perspectives on different aspects and provide some pointers on how to develop careers in different parts of the art world. The faux opening to conclude the day is this year being hosted by Tim Melville Gallery. The Board joins with me and the rest of the team to thank you for your support and interest during the year and to wish you all a safe and happy Festive Season. We look forward to catching up in the New Year and continuing our Pacific Arts voyage together. Manuia le Kirisimasi Christina and Team Tautai



fresh horizons hastings

ue to popular demand from Hastings the Fresh Horizons team decided to have a Mini Fresh Horizons printing workshop. From 2-4 October with a single artist tutor, Siliga David Setoga led a group of fifteen high school students in a printmaking class.

host to Siliga and his family.

The event was again hosted by the Eastern Institute of Technology (E.I.T.) and it was great to work with Maryanne Marsters and the team there. The students were given the opportunity to create concept drawings for their prints, use paints, screens, squeegees and all the processes of printmaking. The result was an array of vibrant pacific designs relevant to the students’ identity and what is a taonga to them.

Thank you Siliga David Setoga for not only driving all the way down to Hastings with your family but for doing a fantastic job tutoring the young students. Your skills and printmaking abilities would have rubbed off on the students for sure.

Mini Fresh Horizons got its name from having a single artist. Siliga has experience in Fresh Horizons having tutored Fresh Horizons in Dunedin and Invercargill this year and a number of workshops in the past. His designs are

Students from the Hastings mini workshop with their works (Photo courtesy: Resina Leota)

Thank you to Fred Koenders, Dean of the Faculty of Humanities, Arts and Trades for making an appearance and presenting certificates. It is great to see new faces being part of the Tautai Fresh Horizons experience.

Experimenting with printing on t-shirts (Photo courtesy: Resina Leota)

contemporary with tongue-in-cheek sayings that relate to youth. These are printed on to t-shirts and sold through his and wife Luisa’s business Popohardwear. Tautai would like to thank Maryanne. I know the students really enjoyed their experience in the workshops and also thank you for being a great

Siliga David Setoga assisting a student in using the squeegee (Photo courtesy: Resina Leota)

Lastly to the students who participated in the workshops. The prints look great. We hope you continue your studies and artistic journey. That is it for 2013 Fresh Horizons. We very much look forward to 2014 where another series of ‘fresh’ Fresh Horizons workshops will begin. Watch this space! Waiana Jones

Young students drawing up their concept ideas (Photo courtesy: Resina Leota)

seize the time Lana Lopesi - Seize the Time Artstation 24 October – 4 November 2013


ana Lopesi’s first solo exhibit Seize The Time raises pedagogical discussion - encouraging people to look past what is traditionally taught in schools. Seize The Time wants to introduce people to an alternative history but also wants people to pursue their own investigation about the past of our Pacific people. Furthermore, the show on surface level is a fun learning environment but it is actively protesting the complacency of accepting the filtered version of history. Distribution is another key point in Lopesi’s work. The distribution of ideas through personal encounters, but also distribution of information that is usually oppressed. Lopesi’s interactive learning space located at Arstation included selected readings, posters to take away (as

designed by Lopesi), film screenings (Tongan Ark and a one hour documentary on the Polynesian Panthers), and a public program that spanned the duration of the exhibit. Lopesi offers this alternative access to counter the confines of the institution. The title itself refers to the infamous text Seize The Time: The Story of the Black Panther Party and Huey.P.Newton. The title also alludes to the Ponsonby specific history of the Polynesian Panthers who were inspired by the American Black Panther Party and came into prominence during their opposition to the Dawn Raids. The Dawn Raids started in the mid 70s as a way for the government and police to control illegal overstayers - the problem being that they were usually unsubstantiated claims of overstaying and many were chosen through discrimination. Lopesi’s own father was one of those seized in the Dawn Raids.

The heritage walk of Ponsonby as part of the public program identified these areas of trauma and was led by poet and social justice advocate Rev. Mua Strickson-Pua. The public program also included a lecture from Polynesian Panther Will ‘Ilolahia, as well as an artist’s panel with the artist herself, and Amiria Puia-Taylor. The audience was also invited to bring a box of cereal for low decile primary schools densely populated with Pacific children. Lana Lopesi’s first solo show is only the beginning in a long career of social activism and pedagogical enquiry giving the Polynesian community a voice in the way that society and particularly teaching and learning is engaged in, rather than the westernised way we have all come to know. Natasha Matila-Smith

Seize the Time poster series (Photo courtesy: Louisa Afoa)

Donated cereal which was donated to Kids Can (Photo courtesy: Louisa Afoa)



tautai fetu ta’i

or some time now we have been aware of the need to build our profile and to find additional forms of support as there is a limit to how much we can continue to look to Creative New Zealand to fund our growth. Expert advice on how to present Tautai was obtained, an idea formulated, a wonderful supporter offered to host a function - and Fetu Ta’i was born. As Tautai we did not want to just ask people for money. Rather, we wished to involve people who would be interested in what we do as an organisation and in the art and artists who comprise our community. What has been requested is that an annual contribution of $1,000 be made as a Fetu Ta’i donor and we will stay in contact and keep them updated with what is happening in the Tautai community. Rose and John Dunn generously hosted an evening at their home on 22 October where they had invited friends to hear about Tautai. They were very warm hosts and provided a wonderful ambience for the evening. Team Tautai was on form – beginning with a performance by Siliga David Setoga and talks by Ron Brownson, Janet

Lilo and myself about Tautai activities in support of pacific artists. We had an information booklet to accompany our fabulous new promotional video which was screened for the first time, and the presentation was completed by Terry Faleono with one of his signature dances. Tautai made many new friends and to date there are sixteen couples who have contributed as Fetu Ta’i donors. We have also received an incredibly generous pledge of $20,000 each year

for the next five years from another couple. I look forward to being able to talk more about that in the next newsletter. Of course the extra funds mean that we have extra resource to put into our program – it is very exciting and also very humbling. Welcome, welcome, thrice welcome to the Tautai community all Fetu Ta’i members. Christina Jeffery

Siliga David Setoga performance at the Fetu Ta’i launch (Photo courtesy: Janet Lilo)

absence is all that is left behind An installation by Robert George


ucked away in Henderson, Corban Estate Art Centre has hosted three very different shows since 25 October including Absence is All that is Left Behind by Robert George. With Judy Darragh and her Walk This Way exhibition and Odysseus by Elliot Collins, Absence Is All That Is Left Behind rounds off a very eclectic collection of art. The opening night on 24 October was busy for the artists who must have been pleased with such a good turnout. There were familiar faces in amongst the new ones as the shows brought together their supporters. An installation piece, Absence is All that is Left Behind was a great opportunity for Robert to showcase his work. Filming with and using water as a major feature of the piece speaks to the abilities and commitment of Robert and his actors. And those abilities are evident in the quality of this work from shooting to edit to presentation. Composed of two videos, each projected onto a different backdrop, Absence Is

All That is Left Behind takes us on a journey into the subconscious with a distinctly Pacific Island flavour. Stepping into the dimmed room from the bustling hallway felt like passing into an entirely different world. Empty but for a cushioned seat (and fellow audience members), the moving images were projected on to white sheets while speakers filled the room with sound. The simplicity of presentation belies the work that went into the set up and created the perfect stage for a complex and layered piece which transports the audience into the unknown. Traditional icons, like dancing maiden, are removed from their familiar places and put under water. The fluid grace of the dancer and kaleidoscopic effect of the shots are tied together by the manic and sometimes jarring soundtrack, while an aching bell toll adds a sense of mourning. This combination of images and sound feels familiar and disorienting at the same time. Yet somehow all these opposing

Absence Is All That is Left Behind by Robert George (Photo courtesy:

forces fit and complement each other. The subconscious, after all, is not a place where logic exists and nothing is as neat and as orderly as you think. Our memories are not whole but rather stitched together in bits and pieces. This is a place we visit in our dreams and Absence Is All That Is Left Behind is very much a dream sequence. There is a haunting ethereal quality to Absence That Is Left Behind. At its conclusion I felt a sense of loss and a longing for something I couldn’t quite put my finger on. Even so, I liked it. Quite often, whether it is a film, a book or a painting, those without the stereotypical happy ending are the ones that stay with you the longest. This work easily fits into that category. And after ‘experiencing’ Absence is All that is Left Behind, (and I use this term because you do not just ‘see’ it) I can honestly say that there is nothing quite like it. Kellianne Apted

Opening Night of Absence Is All That is Left Behind (Photo courtesy:



postcard from germany

uring October the Rautenstrauch-Joest Museum in Cologne, Germany was the meeting point for a group of Pacific artists that attended the opening of the Made in Oceania: Tapa – Art and Social Landscapes. Fatu Akelei Feu’u, Michel Tuffery, Dagmar Dyck, Rosanna Raymond, and Angela Tiatia accompanied their work and participated in various artist talks and panels throughout their four day stay.

first time. The selection ranges from the oldest objects dating back to the 18th century from the Cook collection to contemporary artworks.

The exhibition itself presents 250 unique masterpieces from the museum’s own collection in combination with loans from major institutions, many of which are being shown in Europe for the

For the artists that travelled it was a wonderful opportunity to simply be in one spot. Considering each artist lives in different locations (Samoa, Wellington, Auckland, London and Sydney) it

The exhibition runs until 27 April 2014. It has a well supported programme running throughout with Shigeyuki Kihara presenting in February and John Pule in March. For more details check out the website http://www.made-in-oceania. com/index.php/startseite.html

(Photo courtesy: Dagmar Dyck)

Dagmar Dyck

(Photo courtesy: Dagmar Dyck)

The opening night featured a packed house with the NZ Ambassador in attendance. The Mayor of Cologne did the honours and officially opened the exhibition. New Zealand wines were showcased as part of the celebration and this made for a festive and memorable evening.

provided much needed time to hang together, share stories, have some laughs, and of course divulge in all that wonderful German food and beer. Truth be known you could hear us before you saw us! #pacificroots #pacificstyles #hashtag

Guests at Rautenstrauch-Joest Museum in Cologne for the opening of Made in Oceania: Tapa- Art and Social Landscapes

Rosanna Raymond, Fatu Feu’u, Dagmar Dyck, Angela Tiatia and Michel Tuffery at the opening of Made in Oceania: Tapa- Art and Social Landscapes

homage to hoi polloi C

ultivate (2013) was a mesmerising performance which opened John Vea’s first solo exhibition Homage to Hoi Polloi, an exhibition which discusses the import and export of labour in New Zealand. The performance started with five young Pacific men including the artist walking towards the front of Papakura Art Gallery in black singlets and balaclavas carrying with them either a shovel, wheelbarrow, or a brown sack over their shoulder heavy with an unknown load. At first these disguised well built men look intimidating as they stand in a row in front of the gallery. This is until Vea starts singing in Tongan. The song is slow and meditative and lends a working rhythm to the men who are participating in the performance. The men to Vea’s left and right start removing objects from the brown sacks and start placing them in front of the gallery. These objects are white plastered road cones which the artist calls urban taros. As the performers start to plant more of the urban taros the performance takes on a really mournful presence. There is sadness in Vea’s voice as he sings, and although you might not be able to understand the lyrics the emotion is portrayed vividly through the artist’s voice which affects the audience ensuring no one makes a sound as they are all entranced by both the movement and singing.

I read the performance as a poetic retelling of many working class Pacific people who were encouraged to migrate to New Zealand to be used as cheap labour. As I continued watching the performance the mundane object becomes a symbol of the large numbers of Pacific people in the labour industry. A little while after the performance I found out that the song Vea sang that day is a well known Tongan lullaby called Ana Latu and is about a mother mourning the loss of a child.

Ana Latu

During the performance I had only really thought about men in the labour industry rather than the large number of women who also had to take to the factory floor in order to survive. Vea collected various stories from his community about the female migrants that came to New Zealand for work or study. He was told some women travelling to New Zealand hid their pregnancy from the employers and family afraid of losing their job and afraid of being disowned by family. By singing the Tongan lullaby Vea acknowledges these stories and those who were involved. Embedded in both Vea’s performance and installation are the quiet stories that don’t make the newspapers but now have been given a voice through art. Cultivate (2013) is a heartfelt performance that paid tribute to the history of Pacific people in the manual labour industry who have paved the path for future generations.

he ko ho ma faka’osi po e.

He ‘oiaue Ana Latu Ana tauele kiate ‘au si’e ma fononga he ‘one’one he na’a ma topu va’e taha pe Si kau tangata moe kau fefine mou ma tuku ‘atu ‘o mohe kae tuku keu ‘au fia pe

Oh, my darling Ana Latu Ana, you are precious to me Oh, how we walked along the seaside; Of how our footprints became as one Oh, men and women Retire and rest for now For I cannot (go to sleep) This night will be our last Louisa Afoa

Cultivate performers at the opening of Homage to Hoi Polloi

Cultivate performance at Papakura Art Gallery

(Photo courtesy: Papakura Art Gallery)

(Photo courtesy: Papakura Art Gallery)

Patron: Fatu Feu’u Board of Trustees: Janet Lilo and Siliga David Setoga

Team Tautai: Christina Jeffery (Manager), Elisabeth Alani (Arts Administrator), Rob George (Digital Media), Waiana Jones (Fresh Horizons), Beau Louis Takapu (Tertiary Liaison Auckland), Sonya Withers (Tertiary Liaison Wellington), Maria Waterhouse (MatouTatou)

(co-chairs), Ron Brownson, Jeremy Leatinu’u, Chris Merrick, Stephen Roberts, Nina Tonga Treasurer/Secretary: Colin Jeffery



Grace Taylor at her Afakasi Speaks book launch with Sina, Albert and Reina Wendt

Darcell Apelu performing on the opening night of the AUT grad show (Photo courtesy: Colin Nairn)

(Photo courtesy: Fresh Gallery Otara)

(Photo courtesy: Fresh Gallery Otara)

Lana Lopesi and Lucy ‘Aukafolau at the Elam grad show (Photo courtesy: Louisa Afoa)

Ahota’e’iloa Toetu’u, Mose Eteuati and Sam Afu at the opening of their exhibition Ua gau le sila, tuki ki Manono- The sail is broken, take it to Manono

The work of MSVA student Faafeu Kapeneta at MSVA graduation show Open Sesame (Photo courtesy: Louisa Afoa)

Louisa Afoa and Taga Tanuvasa with Taga’s work in MSVA graduation show Open Sesame (Photo courtesy: Louisa Afoa)

Reina Sutton and Ben Birks hosts of the Southern Gallery Express Art Tour with passengers outside the Papakura Art Gallery (Photo courtesy: Papakura Art Gallery)

Janet Lilo, Amiria Puia-Taylor and Tanu Gago at Parlour’s last show in Otahuhu (Photo courtesy: Louisa Afoa)

PO Box 68 339, Newton, Auckland, 1145 Artstation, 1B Ponsonby Road, Ponsonby, Auckland Phone: 09-376 1665 • Fax: 09-376 1825 Email: • Website:


events and exhibitions january | february | march 2014

5 August – 5 January. Salt 8. Shigeyuki Kihara Solo Exhibition, Utah Museum of Fine Arts, Utah, USA 17 August – 7 February. Place Makers - Artists & Iconic Landscape. Graham Fletcher, Hocken Gallery, Dunedin 12 October – 27 April. Made in Oceania, Tapa – Art and social landscapes. Dagmar Dyck, Fatu Feu’u, Shigeyuki Kihara, Michel Tuffery, Angela Tiatia, John Pule. Rautenstrauch-Joest Museum, Cologne, Germany 26 October – 23 February. Freedom Farmers: New Zealand artists growing new ideas. Includes Edith Amituanai, Auckland Art Gallery Toi o Tamaki, Auckland

23 November 2013 – 2 March. Future Primitive. Graham Fletcher. Heide Museum of Modern Art, Melbourne, Australia 30 November – 31 March. Hands to Bathe Imagining a Kermadec Ocean Sanctuary. Artists include John Pule. Torpedo Bay Navy Museum, Devonport, Auckland 12 December – 20 February. Seven Wishes. Group show includes Chris Charteris at FHE Galleries, Kitchener Street, Auckland Central 14 December – 25 January. As if you were bringing back dust from the moon. Artists also include: Louisa Afoa, Edith Amituanai. Papakura Art Gallery, Papakura, Auckland South

16 January – 1 March. The Pacific Muse – A Dance Exhibition. Tepaeru-Ariki Lulu French. Fresh Gallery, Otara, Auckland South 17 February – 15 March. Tautai Pacific Arts showcase. Artstation, Ponsonby, Auckland 5 – 8 March. Spiritus Aitu. Ura Tabu Pacific Dance. The Auckland Performing Arts Centre (TAPAC), Western Springs, Auckland. Tickets 7 March – 19 April. I See Red I See Red I See Red. Benjamin Work. Fresh Gallery, Otara, Auckland South 22 March – 3 May. Tautai exhibition. Papakura Art Gallery, Papakura, Auckland South

watch the Tautai Website and the Pacific Arts Diary emails for news of upcoming events and exhibitions

Tautai Contemporary Pacific Arts Trust receives major public funding from Creative New Zealand and also receives significant funding from ASB Community Trust and generous support from Fetu Ta’i Donors

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