FMC VXN

South Auckland’s own FMC VXN has launched her debut music video for SOS (Sound of the Streets), a dream project realised after winning the Hustle It Fresh talent contest televised in 2011 on TVNZ’s Polynesian youth show, Fresh.

FMC VXN performed at Fresh Gallery Otara’s WHITE NIGHT event, part of the 2011 Auckland Arts Festival and again at the NiuFM Grassroots Mixer concert, part of the 2011 South Auckland Pacific Arts Summit (below).

FMC VXN has been part of the Fresh Gallery Otara community since the gallery was established in 2006, mostly via her sister, Leilani Kake. Leilani directed the music video for SOS (Sound of the Streets) with Tanu Gago; it was an awesome project to be part of various capacities.

Go FMC VXN Go!!

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I don’t wanna talk about it

"For the good times" (2011), Acrylic on canvas, 1500x1500mm by Molly Rangiwai-McHale

I DON’T WANNA TALK ABOUT IT

A solo exhibition by Molly Rangiwai-McHale

Fresh Gallery Otara

27 January – 25 February 2012

OPENING:  6pm – 8pm, Thursday 26 January

ARTIST TALK: 12pm – 2pm, Saturday 11 February

 I don’t wanna talk about it is a series of portraits of people who have been/are a part of my life, some for a moment, others years. They mark interactions that have changed the person I am and represent people that I’ve leant from and the wisdom we’ve shared. Being witness to them, sharing experiences outside of the spoken word, sharing time however long or short… just being included in their lives has taught me invaluable truths. They have not necessarily always been lessons I’ve wanted to learn, but which I have benefited from all the same and have become stronger because of it. They are paintings of people I love/d (and people I just think are effing cool).”

Nimamea’a: The Fine Arts of Tongan Embroidery and Crochet

 

Nimamea’a: The Fine Arts of Tongan Embroidery and Crochet is derived from an exhibition first shown at Fresh Gallery Otara in April / May 2010. Very proud to see it reframed within the context of Objectspace, a very exciting gallery in central Auckland dedicated to craft, applied arts and design.

Well done curators Kolokesa Uafā Māhina-Tuai and Manuēsina ‘Ofa-ki-Hautolo Māhina and HUGE RESPECT to the fine artists involved, Lingisiva ‘Aloua, Kolokesa Kulīkefu, Lupe Mahe, Tu’utanga Hunuhunu Māhina, Falesiu Siu Noma, ‘Ofa-ki-Nu’usila Talakia’atu and Manuēsina Tonata.

The DIASPORADIC679 T-shirt

This is one very sexy T-shirt! It features a logo / coat of arms developed by graphic artist, Nicole Lim, based on a painting by Luisa Tora. It was created for the exhibition diasporadic679 – an exhibition that takes the form of posters installed in shop windows in Otahuhu, South Auckland. Check the blog for more information: http://diasporadic679.wordpress.com

The diasporadic679 T-shirt is beautifully printed by South Auckland’s excellent PopoHardWear – the logo is gold, large-scale and fabulous. The T-shirts support the exhibition project costs and are only NZD40.

Please contact Nicole Lim at Fresh Gallery Otara for sales enquiries or drop in between 10am – 5pm, Tuesday – Friday; 8am – 2pm, Saturdays.

MUD at Fresh Gallery Otara

Wellington-based computer programmer and artist, Douglas Bagnall is currently showing at Fresh Gallery Otara in South Auckland. MUD is a 2-channel video installation in a darkened room.

It’s a trip.

With almost 3000 characters, the work includes imagery of women and men, fish and other sea creatures, birds, riots, satellites, planes, worms… nuns, old Hollywood movie stars… and much, much more! No two moments are the same; the work is a six week epic!

In the room, the projections are on opposite walls. There’s a bench seat in the middle to sit and be surrounded by the work. It has been hugely popular with Fresh Gallery Otara’s significant youth audience.

It’s a quiet, calming experience to sit with this work.

MUD is proudly part of the 2011 Southside Arts Festival (14 October – 6 November) and runs until Saturday 26 November.

Follow Fresh Gallery Otara on Twitter: @Fresh274

A fabulous *free* custom paint job is just one click away!

I’ve had two of my cars painted by the excellent Monty Collins! I’m helping to organise an event for the Southside Arts Festival called The Southside Social at Fresh Gallery Otara on Thursday 3 November and we’re wanting to get Monty in to paint a car… live!

As the car owner, you get to set the brief for Monty – he’ll mix in your interests with his signature style of full-colour energy fabulousness!

The Paradise Economy


From the Fresh Gallery Otara exhibition catalogue for “Foreign Objects”…

THE PARADISE ECONOMY

In Foreign Objects, Samoan multimedia artist Angela Tiatia creates a new museum of objects and imagery sourced from the Internet. Through searches using words like “Polynesia” and “Pacific”, words that are used to describe a region and complex interwoven communities of people, the material sourced paints an intriguing picture of the economics, power and politics of representation of Pacific Islanders and Pacific Islandness in popular culture.

Recently, many museums have evolved to foster dialogue and meaningful engagement with indigenous communities. But museum collecting has historically represented the beliefs, values and disciplines of the collectors, and further, seen as objective representations of people and cultures. In the context of colonialism, history from the perspective of one party is problematic.

Tiatia uses the museum as a medium to identify and investigate the language of collecting, encouraging us to question who the collector is and what is the context of their enquiry. In her re-imagined museum space, she reverses the gaze, assuming the position of the collector and not the collected.

These symbolic objects of representation form a pseudo-anthropological investigation of pop culture and e-commerce, tourism and the trade and exchange of Pacific Islandness. Using the exhibition language of the museum, Tiatia centralises the vitrine[i] putting cultural ideas and perceptions under a microscope.


As commodities “made in our image”[ii], this assemblage of readymade objects is an indirect homage not to the hands (or machines) that made them, or the economic context they represent, but to the cultural references, inspiration and intellectual stimulus that created them. The fact that nothing here is physically made by the artist perhaps represents the distance and dislocation of these representations of the Pacific.

The items in Tiatia’s collection have been purchased largely from the American online shopping website, ebay. Not only are the objects themselves rich manifestations of cultural cringe, the terminology used by buyers and sellers represent a further layer of continued stereotyping and misrepresentation, particularly with regards to the commercial delineation of authenticity.

Foreign Objects is a continuation of Tiatia’s recent interest in the post-colonial dynamics of the tourism industry. Her recent video installation, Neo-Colonial Extracts (2010) is a poignant and raw look at the reality of tourism in the Pacific. Featuring the derelict site of the Sheraton Resort in Rarotonga,Cook Islands, the work identifies the significant economic gain for local communities, and the scale of failure when tourism ventures collapse.

Tiatia’s 2010 video work Hibiscus Rose-Sinensis confronts viewers upon entry at Fresh Gallery Otara. In an exhibition formed largely from readymade objects, the work is in a sense a contextual statement. In a performance featuring the artist herself, a perfect red hibiscus flower is slowly consumed, revealing the face and penetrating gaze of the consumer – a Pacific Islander becomes visible, present, dominant. The red hibiscus, a common motif in contemporaryPacificIsland visual culture, potentially represents the historical and ongoing misrepresentations of simplicity, beauty and the Western concept of paradise. Here it is considered and slowly but surely devoured.

Tiatia’s first site-specific solo exhibition is repatriation of sorts. Her museum of paradise is steeped in the politics of a post-colonial hangover. There is a sense of nostalgia, in the memory of Oceania at the early stages of our relationship with the West, but equally a sense of disempowerment. Stereotypes and colonial ideas, views and framing of the Pacific endure and continue to inform misrepresentations in film, mainstream media and popular culture.

Fresh Gallery Otara is a constantly evolving site for the consideration and commentary on contemporary Pacific Island experience in Aotearoa. Presented here, Foreign Objects promotes a process of reflection, empowering viewers to consider the power play of representation and the politics of museums.

Ema Tavola
September 2011


[i] A glass display case commonly found in museums.

[ii] In conversation with the artist, Grey Lynn, August 2011