JUNE 2015
www.tautai.org
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ian george
prow of tangaroa
Iconic Movement (Photo courtesy of Kay George)
I
an George is a well-known senior Pacific artist, art educator and gallerist. As an art teacher, trained at Waikato University’s Teachers College, he taught primary school students for eight years before moving into secondary education, and then pursuing his own career as an artist and gallerist in (primarily) Auckland and Rarotonga. Passionate and proactive, Ian has been pivotal to the development and promotion of Pacific arts and artists, forming strong professional, collegial and personal relationships along the way. Any number of people could contribute rich and diverse stories of the friendship and achievements they have shared with Ian. I first met Ian in 1995 during the Pacific Graffiti exhibition at Uxbridge Community Centre. Recently returned to New Zealand, he had brought with him his passion for working with emerging artists, as well as a desire to reconnect with the Māori artists he had
Ian George (Photo courtesy of Colin Jeffery)
met previously whilst a member of Ngā Puna Waihanga. Ian was so exciting to be around— warm, embracing and generous. He is a deep thinker with a rich knowledge of customary and contemporary Pacific indigenous art practice; totally committed to the importance of art, culture and spirituality as the lifeblood of a community’s well-being— past, present and future. Since then, Ian is someone I have looked up to and turned towards for advice, counsel and expertise. I trust him unreservedly. Ian has been pivotal to my growing as a person, to my development as a curator and as an art educator. I count Ian as a close amigo / tio (uncle). So it is both a privilege and a daunting task to try to encapsulate his achievements and great positive impact for this Tautai newsletter. An initiator and connector Ian believes in making a positive change and contribution to society through direct action, hard work and by example. In art, education, community
Taking Flight (Photo courtesy of Kay George)
mentoring, family and life Ian has always been a leader who has ‘walked the talk’. There is the mana, dignity and wisdom of a leader, teacher and healer about Ian, undercut by a super sharp dry sense of humour and deep wit. He is a truly cultured and amazing man. He is also a maverick and independent and radical thinker: a kind yet humble man (considering his awesome talent), whose hospitality and openness knows few bounds. A change agent and magic man, Ian is uniquely Ian—also his taste in the revolutionary Che Guevara t- shirts is second to none! Born in Waipa Village Rotorua in 1952 to Cook Island parents, Ian traces ancestral lines back to Rarotonga and Atiu and has regularly travelled between his homelands with wife and fellow artist Kay George. A lovely anecdote recounts their living just streets apart as children and attending the same intermediate school before their paths crossed again in Sydney when they had both become established artists.
Following their move to Rarotonga in 1988, they established Pacific Art gallery in the village of Arorangi. Ian became a founding member of the Cook Islands Arts Association and curated the annual Cook Islands Arts Exhibition. Ian worked at Rarotonga’s Tereora College and established the Art Department there, writing the Visual Arts Curriculum for the Cook Islands, with a strong focus on Cook Island contemporary arts practice and relevance rather than just New Zealand artists. He developed teaching resources with Cook Islands visual and performing arts foci, in his role as Visual arts advisor for the Cook Islands Ministry of Education. Throughout his years living in Rarotonga Ian has visited schools on the outer islands of the Cook Islands group to share his teaching with them. Ian and Kay returned to New Zealand in 1995 and stayed till 2002, during which time Ian was head of the art department at Hillary College Otara and earned both a Post Graduate Diploma in Fine Arts and a Master of Fine Arts from Elam. After this productive hiatus, they returned to Rarotonga and expanded the gallery. Renamed The Art Studio Gallery in 2005 it became one of the leading galleries in the Pacific, able to stage four major exhibitions a year, host visiting artists, and sell the works of the George’s fellow artists based in the Cook Islands. In 1997 Ian joined the board of Tautai, contributing to its development and in 2001 he was elected Chairperson. Ian’s contribution to Pacific art curation grew steadily in this period. Among the many influential exhibitions he contributed to, Paringa Ou (1998, Cook Island Museum, National Museum in Fiji and Fisher Gallery, Auckland) was the first major exhibition of contemporary art by Cook Island artists residing in NZ to travel to Cook Islands. It became a benchmark for and a symbol of the growing confidence in Contemporary Cook Islands art. The same year he was appointed to the Pacific Arts Committee of Creative New Zealand. Five years later, in 2003, Ian co-curated Te Ata Ou, a response to Paringa Ou. Te Ata Ou travelled to Christchurch to be part of the at the Pacific Arts Association’s (PAA) international conference,
Tangaroa in Repose
(Photo courtesy of Kay George)
attracting the attention of its significant delegation. Thereafter, Ian made a compelling presentation to the PAA committee to push the case for an international meeting of the PAA to be in Rarotonga. He was successful and the PAA 10th International Symposium was held in Rarotonga; an event that catalysed a contingent of Pacific curators and artists, young and old, who were eager to engage with the international scholars whose gaze and research projects had extended to the Pacific Islands but with whom face to face contact had not yet been made. This dynamic and sometimes confrontational symposium has since been recognised as a fulcrum for relationships between traditional and academic experts in the field of Pacific arts. Throughout his career as an educator and gallerist Ian has maintained his own practice as a painter and carver, with works in private and public collections both locally and internationally. I have had the privilege of including Ian’s work in my own curatorial efforts, and engaging with him in the lively and sometimes challenging conversations that such endeavours are built upon. I have found him to be a visionary, a navigator in the true sense of the ‘tautai’, a consumer and elucidator of ancient and contemporary Pacific philosophies. He has strong and productive relationships with key thinkers such as the late Alistair Te Ariki Campbell, Kauraka Kauraka and Jim Vivieaere and with current senior art innovators Fatu Feu‘u, Ioane Ioane and Filipe Tohi. Through the University of South Pacific’s satellite campus in Rarotonga Ian developed a connection with Epeli Hau‘ofa’s brilliant writing, worldview and vision, which he acknowledges have influenced him heavily. Ian’s own understanding of Hau‘ofa’s sea of islands is evident in his works. I included his massive Prow of Tangaroa (2001, cedar, acrylic, shellac—296 x 40 x 45 cm) in Out of the Blue at Hawkes Bay Exhibition Centre (2001), and he offered me the following interpretation: “In the pantheon of Pacific Gods Tangaroa was given authority over the sea and everything in it. He breathes twice a day giving the cycles of the tides. He is present in
Ian and Kay George’s backyard (Photo courtesy of Kay George)
most of Polynesia (Ta’aroa or Tangaloa) but in the southern Cooks his status rose to that of supreme god. Tangaroa is shown as the god of creation, this is shown by his large penis; he is a leader, shown by the big head. He was tied to the prow of the vaka (canoe) as a guardian when voyaging, hence the vaka shape of this totem. Once on land he was placed on the marae (sacred communal space) so he could give protection and well-being to the people“. Prow of Tangaroa had been made a month before the Out of the Blue exhibition, in Auckland as part of the second Tautai Contemporary Pacific Arts Trust Sculpture Symposium in QE11 Square. Though only one of many significant works Ian had produced, it is special to me for both its inclusion in my own curatorial practice and for the tales it tells and lessons it teaches. In Ian’s own words: “The art I have made over the years has been a personal journey where I have been reclaiming and reaffirming my identity as an artist of Cooks descent. I continue the traditions of our ariki and use the painted and sculptured form to tell the histories, spiritual beliefs and experiences of Cook Island peoples, past, present, future”. From www.pacificart.co.nz/ peterson/george Ian continues to push boundaries and explore new horizons, like the prow of a waka. This year he is working on a family exhibition as part of the Te Maeva Nui Cook Island celebrations in July, and is completing the final editing of his first book of poetry. As is so often the way, I find myself at the end of a word limit with the feeling that I have only just begun. Such are the constraints of any attempt to highlight a career and life as full as Ian’s. As I said when I began, any number of people could contribute rich and diverse stories of the friendship and achievements they have shared with Ian. It has been a pleasure to have time and space to consider some of my own. Giles Peterson Lecturer at Whitecliffe College of Arts and Design, and an independent curator
Blue Totem (Photo courtesy of Colin Jeffery)
tautai news
Kia Orana
A
fter the extraordinary hustle and bustle of the first three months of the year, these last three months have been a bit more about catching our collective breathes and looking ahead. In our December newsletter I introduced you to the 2015 CNZ Pasifika Interns Joy Vaele, Jodi Meadows, and Faith Wilson and can now tell you a bit more about where they are and what they are doing. Joy is spending her twenty weeks with three different organisations and has already completed seven weeks with the Auckland Arts Festival and three weeks with Pacific Underground. Later this year she will complete her final period with Black Grace as they prepare for their special Twentieth Anniversary Tour. Wellington based Jodi requested a curatorial internship in Auckland and Te Uru Waitakere Contemporary Gallery were very happy to welcome her into their team. She is more than halfway through her time with
them and had her first exhibition open in June. Faith has now begun her internship with the Wellington International Festival, specifically with the Writers Festival, and both Faith and the Festival team are hugely excited about the internship. Other intern news is that the Artspace/Tautai Education Internship has received confirmed funding from Creative New Zealand for a further two years (2016 and 2017). This was great news to receive and came just a few weeks before CNZ advised their clients that income has fallen considerably and will result in them dropping some of their pilot programmes, including the source of the Education Intern funding. Tautai core funding from CNZ is however assured until the end of 2017 so we have no immediate concern, but this does reinforce the need to continue to grow our financial supporter network so as to ensure our future viability.
Wellington residents and some visitors to the city know of the impact the Kava Club is having on the art community there. Well done to the organisers. Tautai is happily providing some (small) financial contribution to assist the group run their Chop Suey Hui gatherings. Wellington has also just had a wonderful week of Siapo Theatre at Ngā Taonga Film Archive. Tautai was delighted to be able to present a reel of moving image works along with an exhibition of work of local talent curated by Catherine Hunt and Faith Wilson in the gallery space. You will have seen information about our new Winter Workshop Series. These are in response to requests received and spaces are filling fast. Tautai is also excited about working with Dunedin School of Art to provide a new Artist Residency there next year. kia manuia Christina
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fresh horizons hits south auckland T
autai’s Fresh Horizons, a mentoring programme for Pacific secondary school students, has been running since 2001. This year it returned to Auckland for the first time since 2012, and it did so with a BANG! For two weeks Tautai was based at the Manukau School of Visual Art. Matthew Salapu aka Anonymouz took time out from his major public art commission at Te Oro to work with groups of students. They composed their own original piece of music that reflected who they are and what was of importance to them. Grace Taylor and Michelle Johansson worked for two weeks straight, supporting and encouraging two groups of students to dig deep and find the words both spoken and written to express
themselves. John Vea, working with high school students for the first time, got his students to contemplate big concepts and helped them to show their thinking through video. The second week of workshops saw Siliga Setoga filling the Print Studio with energy, teaching the techniques of screen-printing and sharing the concepts that drive his practice. Emily Mafile’o, who had previously trained as a teacher, had her group working hard experimenting with digital and darkroom photography with some beautiful outcomes. We met so many students and saw so much talent. It was truly wonderful to see students shine and have three days away from their normal school environment to focus on creative outputs.
Emily Mafile’o and Samson Vaotu’ua with their photography group from Fresh Horizons South Auckland 13-15 May 2015 hosted by Manukau Institute of Technology (Photo courtesy of Tautai)
It was a full on two weeks, with around seventy high school students from; Otahuhu College, Rosehill College, James Cook High School, Papatoetoe High School, De La Salle College, Edgewater College, Wesley College, Papakura High School, Tangaroa College, and Pukekohe High School. A huge thank you to all the artist Mentors, their assistants, MIT, the schools and their staff, and most of all to the students, congratulations on taking an opportunity and making the most out of it. It is a truly wonderful programme to be a part of. A.D.Schierning Programmes and Engagement - Tautai
Lepasia Milford from Tangaroa College at Fresh Horizons South Auckland 6-8 May 2015 (Photo courtesy of Tautai)
postcard from venice Pane per poveri was a temporary art project organised by a group of Berlin based artists for the duration of the opening of the 56th Venice Biennale in Venice. As a counterbalance to the official and exclusive vernissage events of the Biennale, Pane per poveri was open to anyone who wanted to experience it, and took place during the whole duration of the opening period at a historic and depilated theatre on the island of Lido called Teatro Marinoni.
Imaginary Date Line
O
n Friday May 8th in Lido, Venice, Artspace made a presentation of video work as part of the event Pane per poveri – 72 hours. The presentation was titled Imaginary Date Line, a concept that seemed to link with the exhibition on at Artspace at the time, Imaginary Audience Scale, as well as resonate with our status as travellers from the other side of the world. Imaginary Date Line was a selection of video art made by artists from the Pacific region, many of whom live in New Zealand. The works were vastly different and produced by artists of diverse backgrounds, though connections ran across the selection. The concept of whakapapa, or genealogy, structured the works presented – ancestors mingled with their descendants; moved through them and spoke through them. The selection included work by Darcell Apelu, Jeremy Leatinu’u, Janet Lilo, Vea Mafile’o, Pilimi Manu, Nova Paul, Shannon Te Ao and Rik Wilson.
The presentation was received enthusiastically by an international audience of artists, curators and creative practitioners of all sorts. Set against, the crumbling interior of the old theatre, the videos depicted diverse, contemporary concerns from a part of the world that many attending the Venice Biennale know little about. Participating in Pane per poveri was an exciting new opportunity to showcase New Zealand work in an international context. Henry Davidson Curatorial Assistant - Artspace Imaginary Date Line, Teatro Marinori, 2015, installation shot (Photo courtesy of Henry Davidson)
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contemporary pacific arts symposium P
anels, performances, conversations, inspiring people and a warmth that I had missed since moving to Sydney ten months ago – these were my first thoughts after attending the Contemporary Pacific Arts Festival Symposium in Footscray, Melbourne. From the 9th-11th April attendees came to the Footscray Community Arts Centre for a diverse program of art related issues and presentations of work. Highlights included the curatorial panel chaired by keynote speaker Ema Tavola with Leafa
Wilson, Rosanna Raymond, Louise Tu’u and Margaret Aull - a panel of powerful Pacific women dissecting curatorial practices and issues within traditional and non-traditional gallery spaces. Siliga Setoga coining the phrase ‘B.Arch’, keynote speaker Chuck Feesago’s curated exhibition ‘Resonance’, the bar area called Club FiaFia with performances and an interesting tasting punch and of course meeting new and inspiring people and catching up with old friends.
Siliga David Setoga delivering his Pecha Kucha at the CPAF Symposium, Melbourne (Photo courtesy of Benjamin Baylis)
As I travelled back to Sydney I thought of the importance of the ties between Australia and New Zealand that the Symposium highlighted with its mix of presenters and artists. There are connections and common ground to be shared and I can only hope that the conversations that took place will continue to grow into some exciting opportunities and projects in the future. Talia Smith Artist - Curator based in Sydney
Louise Tu’u and Leafa Wilson on the Curatorial Panel at the CPAF Symposium, Melbourne (Photo courtesy of CPAF)
auckland art gallery tertiary day O
n a very cold rainy Saturday morning eleven students representative from each of Auckland’s tertiary institutions left their warm beds to participate in a day of activities at the Auckland Art Gallery. The activities included a guided tour of the Billy Apple Exhibition The artist has to live like everybody else, an artist talk by Siliga David Setoga and also a screenprinting workshop with Siliga.
from our gallery guide and also an introduction to In Pursuit of Venus by Lisa Reihana...which totally stole the show, sorry Billy! One of my favourite moments of the day would have to be, after watching Lisa’s work, my group all standing outside the gallery space in a circle picking apart our understandings of the different scenes, getting translations from the students, and cracking jokes.
After introductions coffee,tea and brownies we split up in two groups. One group went with artist and Tautai Tertiary Liaison John Vea and the other with myself. My group started with Billy Apple’s solo exhibition. We were privy to behind the scene information about the artist
We then regrouped to listen to Siliga speak about his own design/ art practice which was great. Amongst many new insights to his practice and lots of really relatable advice, it was really interesting to see similarities between Billy Apples’ practice and Siliga’s
through advertising tropes but at the same time see how the difference in content and intent from the artists create such different feels. The ultimate highlight of the day was just seeing students connect from different institutions, swap numbers and just have conversations... that’s what it’s all about. It would not been possible without the help of many people such as Meg Nicoll from the Auckland Art Gallery, A.D Schierning, John Vea, Siliga Setoga, and of course all the students who participated. Many thanks to Tautai and Artspace for supporting the event. Louisa Afoa Education Intern - Artspace/Tautai
Siliga David Setoga and Sean Hill screenprinting during the Auckand Art Gallery Tertiary workshop (Photo courtesy of The Auckland Art Gallery Toi o Tāmaki)
Group shot from the Auckand Art Gallery Tertiary workshop with Siliga David Setoga and John Vea (Photo courtesy of The Auckland Art Gallery Toi o Tāmaki)
must.stay.relevant. I
eligibility criteria. Mata’s illustrations present a frank and witty narrative to the polarity of official national identity portrayals versus the people that make up the New Zealand population. Mata uses comic relief, as she states here, to recognise the “complex, dynamic histories and multicultural factors which make up New Zealand identity”.
f you take a work that is already accessible on the Internet - or has been in the public eye for an extended period of time - and put it in a gallery, does it make the gallery less credible as an exhibition space, or does it give the work more validity? Does the context (re)validate the content? In the moving image exhibition, must. stay. relevant., the works of five Wellingtonbased creatives played on these notions. A student’s graduate works, a musician’s directorial debut and an established filmmaker’s short film converged for three weeks May 12-29 in the Media gallery of Ngā Taonga Sound & Vision as part of Siapo Cinema -an annual film festival celebrating Pacific film and filmmakers. Recent film graduate Omphalus Kua’s animation work Namana is an ode to his mother and ancestral homeland. Namana is inspired, and accompanied, by a traditional song of Papua New Guinea about children, especially young men, missing their mothers. Coupled with a melodic rendition by the artist, the poignant animation depicts an isolated, nocturnal traverse through an interchanging forest and city, man and alien. Resonating with these themes is the short film Coffee & Allah, directed by Sima Urale. The film similarly addresses the navigating of new territory and culture, offering a heartfelt and humorous take on the personal levels at which we discover similarities and connect with
must.stay.relevant, Ngā Taonga Sound & Vision, 2015, installation shot (Photo courtesy of Ngā Taonga Sound & Vision)
each other. As a young Ethiopian immigrant getting to know her new surroundings, the film highlights the hidden commonalities that only show themselves in the face of empathy and acceptance. Mata Freshwater’s short film animation A New Zealand Film takes a critical dig at creative funding schemes and the requirements of a mythic “New Zealandness” evident in the
Tying in with this are the works of performance design graduate, Chris Ulutupu, and artist/ musician/writer Coco Solid. The two highlight subcultures within New Zealand in diverging contexts. Chris’s short film Remember 9/11 - The Party stages a typical kiwi house party. It is a subversive exploration of what happens when technology bridges a geographical divide to provide information and the implications of reproduced knowledge for consumption. Coco’s music video and directorial debut to her track, Heaven’s Gate is a celebration of a Pacific subculture reclaiming their representation in and from society, in their own style and on their own terms. Navigating between the old and the new across New Zealand and the Pacific through various media in the digital realm each artist uniquely dissected and ultimately celebrated the nuances of New Zealand’s array of Pacific cultures. Catherine Hunt Tertiary Liaison Wellington - Tautai
must.stay.relevant, Nga Taonga Sound & Vision, 2015, still from Coffee and Allah, Sima Urale, 2007 (Photo courtesy of Ngā Taonga Sound & Vision)
vodafone pacific music awards 2015 “No shore is too distant for Pasifikans” [Pasifikan Urban Alagaupu via Andrew Sung]
W
herever Pacific people have journeyed our music travels with us. It reminds us of who we are while expressing our new experiences on this Malaga Journey. Pacific music is an important element of spiritual, cultural and political expressions of our being. Niuean, Cook Islanders, Tokelau, Tuvalu, Fiji, to name a few of our nations, our Te Moana nui a kiwa, our South Pacific region. Pacific music was already here in our region before the late arrival of Pākehā/Palagi colonisation. We as Pasifikans must not forget this historical fact.
We on the Pacific Music Awards Trust have been honoured to organise our premiere Pacific Music Awards ceremony for our Pacific artists, Pacific Music industry and New Zealand music industry. Our families, communities and nations once again musically contributing to our adopted nation of Aotearoa New Zealand. This year’s finalists in the 11th Vodafone Music Awards have been dominated by first timers. This is a reflection of the richness of our pioneers, the establishment of our Aotearoa born and especially that powerful link back to our ancestral Pacific nations. Aiga Pasifika Musika sweet sounds is the sound track of our humble Pasifika Ola Ora Lives.
Quickly: live performances of Team Dynamics, Cydel, Erakah, TJ Taotua and Sid Diamond. Highlights for the 10 Award Categories: Tagata Pasifika Best Pacific Language: Word Of Life South Auckland Choir, Aumua Toafa Ai’i Te’o, and Fiafia Band, Best Pacific Female: Erakah, Lole and Miss J, Best Pacific Album: Fiafia Band, Cydel and Team Dynamite. First timers dominate the 2015 Vodafone Pacific Music Awards new boys Team Dynamite going head to head with veterans Cydel finalist for four catergories. Come enjoy Pacific Music.
Samoa Forever, The Faleatua Band, 2014, music video still (Photo courtesy of Youtube)
Heavens Gate, Cocosolid, 2014, music video still (Photo courtesy of Youtube)
Rev. Mua Strickson-Pua Chairman of Pacific Music Awards Trust
Patron: Fatu Feu’u Board of Trustees: Janet Lilo and Siliga David Setoga (co-chairs), Ron Brownson, Jeremy Leatinu’u, Chris Merrick, Nina Tonga
Treasurer/Secretary: Colin Jeffery
Team Tautai:
Christina Jeffery (Manager), A.D. Schierning (Programmes and Engagement), Elisabeth Alani (Arts Administrator), Lana Lopesi (Digital Media), John Vea (Tertiary Liaison Auckland), Catherine Hunt (Tertiary Liaison Wellington), Louisa Afoa (Newsletter Editor)
PO Box 68 339, Newton, Auckland, 1145 Studio One Toi Tū, 1B Ponsonby Road, Ponsonby, Auckland Phone: 09-376 1665 Email: tautai@tautai.org Website: www.tautai.org
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gallery
Opening of Lest We Forget the 500 Cook Island Soldiers, Depot Artspace, 2015 (Photo courtesy of Robert George)
C.H.O.L.A, Fresh Gallery Otara, 2015, work by Hoodsavvy (Wairoa Palalagi) (Photo courtesy of Tautai)
Opening ceremony of Te Oro in Glen Innes (Photo courtesy of Te Oro)
Students and Teachers from Tangaroa College with Artspace Tautai Education Intern Louisa Afoa standing in front of their work at the opening of D A W S O N, Fresh Gallery Otara (Photo courtesy of Tautai)
Reina Sutton, Lonnie Hutchinson, Glenda Vilisoni, Ioana Gordon-Smith, Jasmine Te Hira and Diana Aiono with their collaborative sculpture after the Tautai Ceramic Workshop with Kate McLean and hosted by Studio One Toi Tū (Photo courtesy of Tautai)
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Tautai Contemporary Pacific Arts Trust receives major public funding from Creative New Zealand and also receives significant funding from Foundation North and generous support from our Fetu Ta’i donors Rose + John Dunn, Adrian Burr + Peter Tatham, Philippa Archibald, Art + Object, Ema Aitken + David Galler, Kriselle Baker + Richard Douglas, Ben Bergman, Rosie Brown + Graham Wall, Sherry + Gary Butler, Jenny + Rick Carlyon, Joanna + John Chaplin, Angela + Mark Clatworthy, Virginia + Stephen Fisher, Antonia Fisher + Stuart Grieve, Kristen Flannery + Greg Moyle, Jason Friedlander, Dame Jenny Gibbs, Jo + Terry Gould, Jo + John Gow, Josephine + Ross Green, Cathy + Michael Hapgood, Anne + Peter Hinton, Dayle + Chris Mace, Geri + Richard Martin, Kathy + Bill Peake, Fran + Geoff Ricketts, Jenny + Andrew Smith, Karen Spires + John Harman, Madelene Strong, Pip + Kit Toogood, Webbs