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MARCH 2013

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kalisolaite ‘uhila

the work of life

Pigs in the Yard, The Performance Arcade, Aotea Square, Auckland, 2011 (Photo courtesy: Sam Trubridge)

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n the short space of three years, Kalisolaite ‘Uhila has created a strong body of work that has been performed in arts festivals and public art galleries throughout Auckland. Each performance has been greatly different, ranging from humble actions to bold theatrical-style interventions. Public reaction to his work has also been widely diverse, triggering everything from deep sympathy and kindness to anger and bewilderment. While it is difficult to pin down his performances, the one consistency is an uncanny ability to get under the skin of social behaviour and reveal the hidden workings of society. I recently caught up with ‘Uhila in his studio at Corban Estate, Henderson, to better understand his work and to find out what motivates him. There is a striking difference between ‘Uhila’s studio and the others in the Corban complex. Most of the studios are hives of conventional

What do you mean, we? Mo’ui tukuhausia - Te Tuhi Centre for the Arts, Auckland, 2012 (Photo courtesy: Bruce Phillips)

creative clutter: visual research covers walls, piles of accumulated materials wait to be assembled, half-finished paintings and drawings rest on tables and easels. ‘Uhila’s studio has none of this. In fact, it would be completely empty if it were not for a stack of old beer crates that divide his studio from the others. ‘Uhila explains to me that he has always been attracted to humble simplicity in his art making. He attributes this to growing up with limited means. As a father, artist and masters student, money is scarce in his adult life also: “I may have no money but I am rich in life. Quality time with people is what matters. And it is quality time with people that has also been the leading knowledge and influence for my work.” A pivotal moment in his life that fuelled this interest in human behaviour and social groupings was when he moved to Australia as

a teenager. Finding reading and writing difficult, ‘Uhila struggled at school and dropped out when he was 15. As a result, his mother sent him to stay with an aunty in Mildura, Australia. ‘Uhila explains: “After I dropped out of school I thought I was a great failure. But in Australia I had a different life. I enjoyed hanging out with different types of people and cultures. That is how I study, I study people. I study the ways that they live, work, move and interact with each other. By channelling yourself in the ways of different people, you can gain a lot of knowledge.” Although much of this lived knowledge remained untapped until ‘Uhila received a strong reaction to one of his performances while studying a Bachelor of Visual Arts at AUT. At the time he was interested in artists and forms of western


The Anatomy of Paradise, Mother Man - Live Performance, Artstation, Auckland, 2012

Umu Tangata, No’o Fakataha, Mangere Arts Centre – Ngâ Tohu o Uenuku, 2012

(Photo courtesy: Marlaina Key)

(Photo courtesy: Rob George)

art production that shared some similarity with his experience of Tongan art. He saw a correlation between Jackson Pollock’s large action paintings with the process and massive scale of the Tongan tapa cloth. This led to a series of mark-making performances that ‘Uhila based on his concept ‘sound makes the mark, mark makes the sound’. In one of these works, which involved ‘Uhila carving marks into a wall with a hand saw, a woman in the audience started crying. He found out afterwards that his movements with the saw reminded the woman of her father who had recently passed away. It was this strong emotive reaction that made ‘Uhila aware that performance could ignite very real personal reactions through connections to everyday objects, behaviour and memory. This realisation led to a raft of performative experiments that connected his personal memories of people through actions that also drew on the influence of artists such as Francis Alÿs, Joseph Beuys and Santiago Sierra. He walked along the Otuataua stone walls and transported rocks around the township of Mangere in memory of building stone walls with his father in Tonga. He carried a bag, made by his grandmother, leaking sand on journeys mimicking how she would distribute bird feed. He climbed and jumped between trees to remind him of the support of his ancestors and the growth of future generations. His performances outside of art school would continue to carry memories of being at home in Tonga. ‘Uhila’s first work was Pigs in the Yard (2011) performed at the Mangere Art Centre. Here ‘Uhila reversed the relationship of humans and animals by allowing a group of pigs to run free while the artist and the audience were confined behind fences. In a later development of the work for the Performance Arcade, a group of performances housed in shipping containers in Aotea Square, he shared a container with a piglet for a week. In these works ‘Uhila was interested in juxtaposing Polynesian and European societal structures. As is the case in many Polynesian societies, pigs in Tonga are

reserved as a sacred animal linked to wealth, prestige, used as a ceremonial food and due to this status they are allowed to roam the earth freely. In most Western societies pigs are often farmed in adverse conditions and are a symbol for uncleanliness. ‘Uhila was also influenced by the pig Napoleon in George Orwell’s novel Animal Farm. The political allegory that plays out in Animal Farm held added significance to ‘Uhila as a reflection on the compulsion of human nature to create social structure and how this often involves an occupation of space. ‘Uhila was later invited to perform a new work for the Wellington edition of the Performance Arcade. Being prominently located on the waterfront walkway he used this opportunity to draw on the story of an uncle who made his journey to New Zealand by hiding in a shipping container. The work Stowaway (2012) also had various levels of experiential meaning. ‘Uhila explains: “My intention for that work was to use the container as a metaphor for the body. People stowaway all sorts of things in our minds that are out of sight to others. In the container I had built a wall in the middle out of cardboard boxes which I would hide behind. So the people that come into the container are the ones that come into your life, they come in but only so far and then they will go. I also had a live video feed of me that could be viewed from Te Papa, so there was this virtual separation, they could not see me entirely in the real, they could only see me on the screen. For me, it was the difference between getting to know someone personally to being reduced down to a representation. The video component was also about the security and surveillance of national borders.” In 2012, ‘Uhila developed a series of performances that explored further relationships of life and customs in Tonga within a New Zealand context. With Living Chair, as part of the Tautai exhibition The Anatomy of

Paradise, he literally acted out his symbolic family obligations as a seat for his nieces and nephews. For the work Mo‘ui Tukuhausia he lived homeless for two weeks at Te Tuhi. This was a challenging lived experience for ‘Uhila that was influenced by his upbringing and in sympathy with the homeless community in Auckland. His loitering presence around Te Tuhi’s neighbourhood revealed the best and worst of human nature from members of the local community. In the work Umu Tangata, performed in the presence of Tongan Princess Pilolevu Tuita at the Mangere Art Centre, ‘Uhila sat meditatively motionless within a wood stack resembling an earth oven. By confronting the Tongan history of cannibalism he also made a poignant symbolic statement of the martyred role and service that artists contribute within society. The acceptance of the work by the Princess was a validating moment for ‘Uhila: “I was very pleased that she understood the piece, not for my own benefit but for my Tongan people to understand and that it might open up the acceptance for other artists. I felt good because finally the work I am doing is being recognised by and for my people.” It is this sense of service to people that is the source of his desire to challenge himself and those around him. However, he is cautious of being recognised as a voice for anyone in particular: “You cannot assume anything of people and you cannot honestly answer for the people.” He also knowingly occupies a middle ground between the realms of visual art, performance art and theatre to which he says “just put me in the middle, just put me on the ceiling or on the floor. As long as my body is there, there is my art.” To this end, ‘Uhila works not as a provocateur, nor as a representative, rather he crafts humble actions that freely slip between artforms and various social perspectives to incessantly confront what is suppressed or unheard. Bruce E Phillips


tautai news

Talofa lava

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s you will see from the added size of this newsletter, the first quarter of this year has been busy for us. Details of the events and exhibitions that Tautai has been involved in are covered in more detail in other parts of the newsletter, so this space will be used to talk mainly about – people. Collaboration has been a key component in these months: Tautai has been pleased to work with the Auckland Arts Festival this year to assist with the documentation of Tiffany Singh’s installation work in Aotea Square Fly Me Up To Where You Are. This then became a standalone moving image work by Robert George at Artstation titled Fly Me Up To Where You Are: Te Waharoa. Tiffany and Robert worked closely on the initial project and were then joined by Leanne Joy Lupelele Clayton for the installation and public program component of the exhibition. Across town at the Gus Fisher Gallery another two part project unfolded during the Auckland Arts Festival. Jeremy Leatinu’u and Kalisolaite ‘Uhila collaborated to put together More Than We Know, a performance and moving image installation work. Opening at the same time was More Than We Know: Performance which was curated by Ioana Gordon-Smith. Each night of the Arts Festival one of six solo artists or groups performed on the steps of the Gus Fisher, intriguing, entertaining or disrupting office workers as they finished their work for the day and headed home.

Our thanks and congratulations to all those performers; to Ioana, to Jeremy and Ite, and to Amiria Puia Taylor who has documented the performances every night and to Jacinda Torrance who designed the fabulous catalogue with essays by Rangituhia Hollis and Ioana Gordon Smith and wonderful photographs by Robert George. The fourth Tautai Artist in Residence Jean Melesaine arrived for her five week residency at the end of February. Many of you will have met Jean during her stay as she has taken every opportunity to move around and interact with as many artists as possible. When she leaves we are going to miss Jean’s infectious enthusiasm, thirst for knowledge, and absolutely positive attitude. Our congratulations to Marlaina Key on being selected as one of ten Venice Biennale Exhibition Attendants. Marlaina is the first attendant of pacific heritage to be selected for this much sought after position and will spend six weeks in Venice welcoming visitors to the New Zealand Pavilion and talking about the Bill Culbert work. (and representing! no pressure though Marlaina). Congratulations also to Ioana Gordon Smith who has been selected as the successful applicant as the first Education Intern offered at Artspace in partnership with Tautai. There will be three internships offered over the next two years. The interviewing panel were most impressed with the number of applicants and the quality.

We have also welcomed new staff to Team Tautai. Waiana Jones is the new Fresh Horizons co-ordinator and joins Trish and Rob in the office three days a week. Chris Ryan is the new Tertiary Liaison based in Auckland and we have appointed Sonya Withers to the same role in Wellington. As part of Tautai’s commitment to supporting the wider pacific arts, we are providing office space to Maria Waterhouse who under the name of MatouTatou is establishing accounting and business support and mentoring for pacific art organisations. Going into this year there have been changes in the Board following the retirements of Gina Cole and Caroline Vercoe in December. New trustees were co-opted with Nina Tonga, Jeremy Leatinu’u, and Chris Merrick joining the board. They are respectively a university academic, an artist, and a lawyer. In joining two established artists, a senior curator, and a chartered accountant the diverse range of backgrounds and experience at the board table remains as it was previously through these co-options. The Tautai Board of seven trustees has elected Janet Lilo and Siliga Setoga as the Co-Chairpersons. It is also great to be able to mention that Tautai has received advice from Creative New Zealand that we will receive the same level of funding through until the end of 2014. In these uncertain times, assured funding is a wonderful thing. ia manuia – Christina and Team Tautai

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tautai artist in residence 2013 A

uckland Pasifika artists and art community, you all have reminded me as I return back to California that when I fly over that ocean, they are the same waves my parents and my ancestors have had to navigate like another piece of life, and I mean that in a metaphorical sense.

returning grateful for all of you who inspire me to push Pasifika Arts in America farther than I have before.

You are all the prime example of how to maintain the heart of our parents and ancestors in a world that is evolving and at times can seem to try to deteriorate those pieces of ourselves. The last couple of weeks have been life-changing, and making me realise how old I am to reflect like this. My brain has never been so used overanalyzing and reflecting on

Hearing you sing Samoan songs while I drive you, makes me glance a few seconds longer in my rearview mirror. I can taste my childhood all over again; smell the luau as I lick my pudgy fingers.

On the last Saturday in Auckland, in a Manukau garage I was getting a tatau by an artist named Matt Stowers. He works out of a corner in a garage and on the wall he had a photo of his children. I asked him who took the photo and he told me he took it because he wanted his children to have a memory of themselves at that age of that moment. Matt never knew of Tautai but that’s okay because we talked about art and design, meanings, Samoa. This is what I truly think of the experience of this residency, the informal experiences and moments that have happened during this residency through the

fa’afetai lava and hella alofa from the Bay Area Falealili Uma In Oakland

An image of the artist’s mother (Jean’s mum)

connections and the interrelations through Tautai and through the artists even if some artists have never heard of Tautai. Life connecting conversations for a couple of hours in a car with my artist mother Leanne, train rides to Papakura with Louisa talking about her dreams as a young artist, late night editing with Amiria, eating Wendy’s with Cora talking about life, hanging out with Ema Tavola, her partner and Leilani Kake as they tell me about community art projects until they pass out on the couch as Matt finishes my tattoo. These are examples of the great connections and moments that I’ve had including the many galleries and shows that I’ve had a chance to experience. I am

You can feel your words that have travelled so many years only for me to not know. You can touch the ocean with those words, taste the ancestors dripping her stories into your mouth except you’re not allowed to swallow them in this country but you do sometimes, secretly. Sometimes in the backseat of a Toyota when I don’t want to hear you tell me how to drive anymore in your broken English. So I play those songs you used to play for us as children because I know when the American dream sometimes steals your soul, sometimes force you to surrender your seeds to English, you can demand me to make a left and I’ll know that it’s time to take you back home. Jean Melesaine


more than we know gus fisher gallery with tautai and auckland arts festival

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rom street level 74 Shortland Street gives little away. The Kenneth Myers Centre — an old broadcasting building currently used by the Gus Fisher Gallery and University of Auckland’s dance and music departments — has some unusual architectural features, which were made for the conditions of early broadcasting. These features both prevent sound from travelling through its walls and limit the view between the interior and exterior worlds. Consequently there are aspects of the building which are not immediately evident. This observation is at the heart of More Than We Know, an exhibition developed by Jeremy Leatinu’u and Kalisolaite ‘Uhila. The exhibition centers on Jeremy’s soundscape, Spatial Resonance, which depicts him producing sound in three spaces around the building, all of them hidden from public view. By projecting this video on the rear wall of the Gus Fisher Gallery foyer the sight that greets all viewers as they walk into the building is paradoxically an image of the outside.

Accompanying the exhibition is a series of seven live performances which support the notion that there is more to the building than we know. Some performances achieve this by occupying and drawing attention to seldom noticed spaces. Ite’s performance, Uaiki fono, draws upon the traditional Tongan role of the town crier. From the roof Ite drums and calls out to Shortland Street occupants “to gather to the town house Kenneth Myers/Gus Fisher”. Similarly, in a medley of dances choreographed by Sesilia Pusiaki, Pukepuke o’ Tonga lead an audience from the Gus Fisher Gallery foyer into the old broadcasting studio on the level below. Yet another overlooked space is highlighted in Nastashia Simeona Apelu’s whip performance and Under my Umbrella, performed by Terry Faleono, Pera Afato and Taylor Afato which both utilise the concealed undercarriage below the frontal steps. Other performances hint at unseen or unheard elements within the building. Niu Navigations perform new poetry that suggests there is more

Niu Navigations Grace Taylor performing. (Photo courtesy: Robert George)

than what we can see. Darcell Dorothy Apelu’s performance mimics what little sound seeps through the building’s architecture, using her body to insulate sound emitting from a speaker. Rounding out the series is a trio of dances choreographed by Joshua Grace, Nita Latu and Seidah Tuaoi, who bring performances originally presented in the building’s underground dance studios to a new stage on the front steps outside. Drawing upon More Than We Know as a concept has facilitated a broad approach to performance. The forms of sound and movement found in the series include spoken word, whip cracking, drumming, pre-recorded music, breathing, as well as contemporary, street and traditional Pacific dance. This echoes not only the multiplicity of stories found within the Kenneth Myers Centre, but also the breadth of contemporary Pacific performance art. The old broadcasting building seems an apt site to announce this to unsuspecting passersby. Ioana Gordon Smith

Terry Faleono (Photo courtesy: Robert George)

more than we know - through the lens M

ore Than We Know – a series of performances which took place outside or on the steps of the Gus Fisher Gallery. The opportunity to document each of the performances has been refreshing and pinching. When I say pinching I mean, after capturing each performance and understanding the concept, I am pinched and brought back to reality. The reality for me was to see people being creative in a place where it isn’t as acceptable as it would be if it were inside the Gallery. Some boundaries get pricked and prodded I think. Similar to the Tip Top ice cream advertisement where they ask how far away from the beach you can walk before togs become undies (togs, togs, togs, undies, undies, undies). Does location or behaviour define someone from having permission or acceptance to perform or be creative?

Each day has been enlightening. As the documenter, not knowing what to expect or how the performers will navigate their way around the steps and the passers by and perform is exciting. All I know is I need to arrive early and be prepared for anything and I mean ANYTHING. As each of the artists prepare themselves you can see some are calm, others are very particular and tense, but you see over all they are all in control and are ready. When the camera rolls I feel a strong sense of energy from each of the performers as if to say ‘this is aimed at that lady tiptoe-ing past me’, ‘look at me!’ or ‘I perform especially for you’. Seeing how the performers utilise their space and surroundings with enough caution to cause no harm but enough grace to keep you absorbed in their piece. It’s very clever!

Nastashia’s whip broke through the atmosphere, shook up the city-takers scurrying to or from their offices while Niu Navigations words were organic, from the heart and free-flow, imitating the guy walking past in his suit ignoring the obvious performance happening two feet from him. I found that quite a laugh actually. The fact that each of the performers have managed to engage with the audience and projected sound on the busy central city road just elevated the performance. For them to gain reaction and response from the public was very snazzy and job well done. Performing outside a gallery in a street full of office working, fast-paced walking, career driven people are More Than We Know. Naku noa na Amiria Puia-Taylor


fly me up to where you are tiffany singh project for auckland arts festival 2013 What are your hopes and dreams for yourself, your future, your family, your community and the world?

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hese were big questions to ask little people. Questions, I wasn’t sure I’d ever sat down and asked myself. You’d think as voting, educated, thoughtful adults we have an idea of what these questions meant but if you sat down and asked them of yourself, you begin to realise the magnitude of such a thought process. Day one, session one: eight to ten year old tamariki filled the hall of their school looking timid and unsure as they tried to fill out their Hopes & Dreams Mind Maps. As requests for mums and dads to be more present in their lives, communities to be cleaner, friendlier, whanau to be healthy, and lotto to be won began to fill the pages we all felt a little heavy hearted. So much weighed on our tamariki’s shoulders – do we underestimate their perception of the world around them? Of their adult-like concerns? From this mind map the children began to transfer these ideas into symbols which were, for the most part, recognisable, representing the heart of the matter – love, peace, symbols of religion and culture, rainbows, smiles. The beauty they want to see in the world. One by one as flags were being brought up to dry you could see the commonalities and recurring themes. Glenys (Tiffany’s mum) and I sat with the kids that waited for their class-mates to finish. An outgoing group of young Maori and

Pacific Island girls began to ask me questions: What nationality are you? What do you do? Are you an artist? Telling them I was Maori, Samoan and Tokelauan made them perk right up, “Yeaaah! Cool! Me too!” proudly exclaiming their nationalities they told me they wanted to be singers, teachers, and go to university to get an education, be like me, be an artist like Tiffany, make movies like Rob! More questions, more answers. They had a voice. The voices got louder, stronger as they became more confident. Quietly a young boy from Iraq came and sat next to me, I asked him what his hopes and dreams were. Simply and solemnly: “I want to go home. I miss my family in Iraq. I know we came here for a better life but I miss my family.” I listened and talked to this young man, worlds away from his home and much like the already outgoing girls, he become more confident, more sure as he spoke. As his class were about to leave he surprised me with a rush hug. Followed by the hysterics and hugs of a mob of girls and a heartfelt: “THANKS MISS! Come back!” Day one and I felt completely changed by this project. Every single school we visited proved to be just as interesting, challenging, insightful and beautiful. Smiling young artists with big imaginations and honest truths of the reality of their lives filled every single class room.

at the SPCA, become a vet, have a cat, dog, horse and bird. Cure for cancer. My dream for the future is to stop gangs and gun shooting and to keep our street safe. To keep safe and healthy, to have a roof over their heads. To plant more trees so we can make oxagen [sic]. First family on mars. More liyberies [sic] and places where you can get egicated [sic]. What left a sense of hope were thoughts of that first day and how it echoed throughout the workshops. There was strength in numbers that came as the process was worked through, from mind map to painting flags. There was a reoccurrence of positive messages on the flags which children knew would be shared as their dreams for the community and world. Mostly though, there has been an immeasurable and unknowable hope that taking the time to listen to these concerns might have been a turning point, maybe just for one child, to feel heard and empowered. There’s a sense of unity, a depth and a breadth, a character to this project and once it was fully united in the square it was unmistakeable. It flutters, almost silently, in Aotea Square, though you realise that the longer you sit there, the louder the voices become. ‘Each child is an adventure into a better life - an opportunity to change the old pattern and make it new.’ - Hubert H. Humphrey

I want to be a good man. Be a billionaire! Work

Fly Me Up To Where You Are installation in Aotea Square for the Auckland Arts Festival 2013. (Photo courtesy: Elisapeta Heta)

Elisapeta Heta


fly me up to where you are: te waharoa robert george and tiffany singh with leanne clayton artstation gallery with tautai and auckland arts festival 2013

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n front of the building and walking up the stairs towards the gallery at Artstation I am immediately welcomed with vibrant flags hanging from the ceilings and walls, the atmosphere of youth and community already giving warmth to the sometimes clinical white walls of the gallery. The blacked out gallery space consists of a large scale projection of Robert George’s documentation of Tiffany Singh’s ‘Fly me up to where you are’, which is projected on a large white piece of linen that is hung from the ceiling and drapes softly onto the gallery floor. The moving image work is accompanied by two other works in the gallery which reside on the right and left corners opposite the projection. One is a photographic series by Robert George of the children involved in the project and the other is an installation, a table draped with fabric with a sewing machine on it which comes to life when Leanne Clayton is in the gallery as she sews together the flags that the viewers are welcome to create when they come to see the exhibition.

An image from Robert George’s projection work Fly Me Up To Where You Are: Te Waharoa at Artstation during March. (Photo courtesy: Louisa Afoa)

The projection depicts children in primary schools talking about their hopes and dreams for the future, some of which are wonderfully typical like becoming a famous actress while others show a darker part of our society as one child’s dream/hope for the future is to stop violence and drug abuse. When this happens my brief delusion of every child in New Zealand being happy is shattered as our shameful childabuse statistics come to mind. George uses

many extreme close-up shots of the children’s faces revealing their importance. That idea of importance is supported by the mattresses on the ground as the viewer has to look up to see the projection, similar to a child having to look up to talk to an adult. The viewing is almost meditative as the audio has an underlying drum beat which creates a spiritual and chant like atmosphere, and while I witness dreams becoming static images floating in space I contemplate the future for myself, for my family and for these children whom I feel a connection to because they have revealed their innermost thoughts for me to view. The exhibition ‘Fly Me Up To Where You Are: Te Waharoa’ is not just documentation of Tiffany Singhs ‘Fly Me Up To Where You Are’ but rather a conversation between the two. Robert George has created a document that doesn’t rely on its ‘truth’ to be successful but rather the viewer’s emotional connection to the work. Louisa Afoa

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gibbs farm tautai bus trip thursday 21 february

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s the group headed off to the Kaipara Habour from our departure point at Western Springs the bus was full of conversations, happenings and the meeting of old and new friends, furthermore the wonder of what we are about to encounter. I fortunately had previously been to ‘The Farm’ two years earlier and the opportunity to return was one I wasn’t going to pass up. Once we arrived curiosity took hold and everyone set out on his or her adventures for the day. Beforehand while we travelled to our destination in my mind I could recall Anish Kapoor’s Dismemberment, Site 1, Neil Dawson’s Horizon and Richard Serra’s Te Tuhirangi Contour. They are all exceptionally large-scale works that overwhelm. I wasn’t really

expecting to be overwhelmed again by the art because I had seen most of it the first time, I was more eager to share the encounter that I had revelled in once before with my fellow peers. I was wrong and to be honest I was a little bit gutted but also extremely excited. I say gutted because I had seen it once before but my memory never really fully encompassed what it felt like to be there. Sure I remember the visual aspect of seeing and the immense scale of the art but that is only the residue from the previous experience. There is something about being in the presence of these monumental works at that moment (I say monumental in the literal sense of the scale but also its importance of being in our backyard and having the opportunity to

Anish Kapoor’s Dismemberment, Site 1. (Photo courtesy: Marlaina Key)

view the art). It’s that feeling you get when you start to resonate with the art and ‘Whoa’ keeps popping out of your mouth or the silent internal contemplation that takes over. It felt like first time all over again and now I expect every time to be like the first. Overall being able to view, feel and at times give yourself permission to jump on and interact with the art was enjoyable, the white walls aren’t shrouding you in the unspoken rules of carrying yourself in a particular manner in the gallery and as cheesy as it sounds it really was a breath of fresh air. And what about the bonus accessories of the exotic animals that inhabit part of the sculpture park - who doesn’t like giraffes? Darcell Dorothy Apelu

Neil Dawson’s Horizon. (Photo courtesy: Marlaina Key)


Patron: Fatu Feu’u Board of Trustees: Janet Lilo, Siliga Setoga (co-chairs),

Tautai Office: Christina Jeffery (Manager), Trish Ah Sam (Arts Administrator), Rob George (Digital Media), Waiana Jones (Fresh Horizons), Marlaina Key (Special Projects), Chris Ryan (Tertiary Liaison Auckland), Sonya Withers (Tertiary Liaison Wellington)

Ron Brownson, Jeremy Leatinu’u, Chris Merrick, Stephen Roberts, Nina Tonga Treasurer/Secretary: Colin Jeffery

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gallery

Team Tautai at the closing night of KKK hit musical The Factory. (Photo courtesy: KKK photographer)

Works from Sopolemalama Filipe Tohi’s exhibition Hau Kihi Poini - Come to the Point. Corbans Estate Art Centre (Photo courtesy: Corbans Estate)

Kenneth Merrick with his work at the opening of the New Grads exhibition at Corbans Estate Art Centre. (Photo courtesy: Corbans Estate)

Mac Teariki, Images and Islands, Mangere Arts Centre. (Photo courtesy: Annie Bradley)

Niki Hastings McFall with Luamanuvao Winnie Laban at the opening of Niki’s survey exhibition In Flyte at Pataka Porirua. (Photo courtesy: Marlaina Key)

Louisa Afoa’s installation which was part of the New Grads Show at Corbans Estate Art Centre. (Photo courtesy: Corbans Estate)

Kalisolaite ‘Uhila, Emily Mafile’o, Vea Mafile’o, Mele Mafile’o ‘Uhamaka, Dagmar Dyck and Sopolemalama Filipe Tohi looking fabulous at Government House Wellington for the State Dinner for the King and Queen of Tonga (Photo courtesy: Hilary Scothorn)


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

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events & exhibitions april | may | june 2013 8 December – 14 April. The 7th Asia Pacific Triennial of Contemporary Art. Includes Greg Semu, Graham Fletcher and Sopolemalama Filipe Tohi. Gallery of Modern Art & Queensland Art Gallery, Brisbane, Australia 3 February – 16 June. Inflyte. Survey exhibition. Niki Hastings McFall. Pataka, Wellington 28 February – 6 April. More Than We Know. Jeremy Leatinu’u and Kalisolaite ‘Uhila. Gus Fisher Gallery, Auckland Central 1 March – 7 April. Hau kihe poini – Come to a point. Sopolemalama Filipe Tohi. Corban Estate Art Centre, Henderson, Auckland West. 16 March – 11 April. Where do we come from? What are we? Where are we going? Shigeyuki Kihara. Milford Galleries, Dunedin 21 March – 16 April. Patterns of Exchange. New works by Dagmar Dyck and Sheyne Tuffery. Flagstaff Gallery, Devonport

11 April – 12 May. Lanu Uliuli Pa’o! Black Noise! Lonnie Hutchinson. Corbans Estate Arts Centre, Homestead Galleries, Auckland 16 – 25 April. Goodbye My Feleni by DF Mamea. Taofia Pelesasa, Andy Sani, Leki Jackson Bourke, Samson Chan Boon, directed by Amelia Reid and Shadon Meredith. Basement Theatre, Auckland 19 April – 17 June. Undressing the Pacific. A midcareer survey exhibition. Shigeyuki Kihara, Hocken Library, University of Otago 29 April & 11 May. Don’t I Know You? Tuakana exhibition. Elam, Project Space B431, Auckland 1 – 25 May. Vulgaris. Selina Woulfe. Jewellery Box, Masterworks Gallery, Auckland 4 May. The Art of Shigeyuki Kihara; A Research Symposium. 9 – 5pm. Otago Museum 13 May. Artist talk. Lanu Uliuli Pa’o! Black Noise! Lonnie Hutchinson. Corbans Estate Arts Centre, Auckland

15 May – 15 June. New Works. Cerisse Palalagi and Dagmar Dyck. Solander Gallery, Wellington 20 May – 12 June. Recent Auckland Photography. Includes Edith Amituanai and Talia Smith. Northart Gallery, Auckland North 17 May – 2 September. Sakahan Quinquennial. Shigeyuki Kihara. National Gallery of Canada, Ottawa 8 May – 15 June. Untitled. Amiria Puia-Taylor. Mangere Arts Centre Nga Tohu o Uenuku 8 June – 3 July. Lorene Taurerewa. Milford Galleries, Dunedin 22 June – 15 September. Lips Painted Red. Shigeyuki Kihara. Trondheim Kunstmuseum, Norway 29 June. Kila Theatre Creatives - A Performance Reading. Siliga Setoga, Aleni Tufuga and Daren Kamali. Martin Hautus Performing Arts Centre

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

www.tautai.org

WELCOME to the wonderful Sandra and Eric of Waitapu Estate who are our new wine sponsors. As it is a Tautai policy not to use any of our funding to pay for alcohol we very much appreciate this generous and thoughtful sponsorship. We urge you all to support Waitapu Estate whenever you can.

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


March 2013