Lisa Reihana Native Portraits N. 19897 1997. 11-channel digital video, colour, sound. Collection of Museum of New Zealand Te Papa Tongarewa.
Rachael Rakena ... as an individual and not under the name of Ngāi Tahu (video still) 2001. Single-channel SD video, colour, sound, duration 9 min 24 sec. Courtesy of the artist
Natalie Robertson Uncle Tasman:The Trembling Current That Scars the Earth (install view) 2008. 3-channel digital video, colour, sound, duration 11 min 11 sec. Courtesy of the artist.
Jasmine Te Hira Lost Content 2013. Single-channel HD video, colour, silent, duration 2 min 20 sec. Courtesy of the artist.
Ana Iti Treasures left by our Ancestors 2016. Single-channel HD video, colour, sound, duration 20 min. Collection of Christchurch Art Gallery Te Puna o Waiwhetū, purchased 2020.
Jeremy Leatinu'u When the moon sees the sun 2019. Single-channel HD video, colour, sound, duration 20 min 14 sec. Commissioned by Honolulu Biennial Foundation. Courtesy of the artist.
Ngahina Hohaia Paopao ki tua o rangi 2006. Sound, photographs, poi. Courtesy of the artist.
Terri Te Tau Te Āhua o te Hau ki te Papaioea (install view) 2015. Suzuki Carry van with projection and sound, music composed by Rob Thorne. Courtesy of the artist.
Sarah Hudson, Karakia (Ritual Chants), 2016, a part of Ōpōtiki: New Zealand's first drone-friendly town. Courtesy of the artist.
Installation view.
He Pūranga Kōrero: An Open Archive
This exhibition is now closed
This dynamic exhibition explores the history of Māori artists who have used animation, film and video as a medium.
Spanning forty years, from Robert Jahnke’s 1980 animation Te Utu: The Battle of the Gods to Janet Lilo’s 2019 ⌘ SHIFT #, the exhibition features artists and works that are significant for this art history. Including a focus on publishing and public programmes, the exhibition also acts as a living archive and an opportunity to collect stories, learn new relationships and find connections between artists.
Exhibition toured by The Dowse Art Museum.
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Date:
23 August 2019 – 26 January 2020 -
Curator:
Nathan Pōhio, Bridget Reweti, Melanie Oliver -
Exhibition number:
1081
Collection works in this exhibition
Related reading: Māori
Exhibition
Bridget Reweti: Ziarah
7 July – 23 October 2023
Ziarah is an Arabic word that refers to an ancestral or spiritual pilgrimage to a gravesite. Developed while artist Bridget Reweti was on residency in the Indonesian city of Jogjakarta, this work traces her attempt to find the unmarked graves of navigator Tupaia and his nephew and apprentice Taiata on nearby Damar Besar Island.
Director's Foreword
Director’s Foreword
Welcome to the spring edition of Bulletin. Our downstairs touring exhibition galleries are currently alive with video and moving image art, all of it produced by Māori practitioners in the last thirty years. This exhibition, which tours to us from the Dowse Art Museum in Lower Hutt, looks to capture and collate the contribution of Māori artists to time-based art practice in this country.
Commentary
Te Āhua o te Hau ki te Papaioea
The ‘Operation 8’ anti-terror raids in October of 2007 were the culmination of a police investigation that led to the raiding of homes across New Zealand. The raids were conducted after an extended period of surveillance, which was enabled through use of the 2002 Terrorism Suppression Act. In 2013 the Independent Police Conduct Authority found that police had “unnecessarily frightened and intimidated” people during the raids.
Interview
Looking at Forty Years of Māori Moving Image Practice
Māori Moving Image: An Open Archive is co-curated by Bridget Reweti and Melanie Oliver. The following text is a conversation between the two curators around co-curating, archives and Māori moving image practice.
Notes
Māori video artists on display in Christchurch
Works by more than twenty Māori moving image artists will be on display at Christchurch Art Gallery Te Puna o Waiwhetū in August.
Commentary
Curating Oceania
The idea for an exhibition of Oceanic art originated from the Royal Academy itself, proposed in 2012 by its then artistic director Kathleen Soriano, an Australian. The exhibition was imagined to fit within the Academy’s occasional programme of ‘civilisation’ or ‘world art’ exhibitions, inaugurated in 1996 with the ground-breaking Africa: Art of a Continent, and followed by exhibitions such as Aztecs (2002), China (2005), Byzantium (2009) and others. These exhibitions sat among the gallery’s more usual fare of historical European, modern and contemporary art.
Commentary
Bringing the Soul
As an eleven-year-old boy from Whāngarei, sent to live in Yaldhurst with my aunt in the late seventies, Christchurch was a culture shock. Arriving in New Zealand’s quintessential ‘English city’, I remember well the wide landscapes and manicured colonial built environment. It was very pretty but also very monocultural, with no physical evidence of current or former Māori occupation or cultural presence, or at least none that I could appreciate at that time.
