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

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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

FOREIGN OBJECTS at Fresh Gallery Otara

Angela Tiatia’s first solo exhibition, Foreign Objects opens at Fresh Gallery Otara, South Auckland in September.

Foreign Objects explores the consumption of objects, day-to-day exchanges and rituals that have become modern mythology and are used to connect with the Pacific. This exploration ranges from the harmless and humorous to the injurious and absurd.

Angela Tiatia is an Auckland-based artist, raised in both Otara and Samoa. She works in installation, video and performance, and graduated with a Bachelor of Visual Arts from AUT University in 2010. Past works have been exhibited in the de Young Museum (San Francisco), 100th Street Salon (New York) and City Gallery Wellington (NZ).

The opening reception for Foreign Objects is at 6pm on Thursday 8 September. The exhibition is open to the public from 9 September – 1 October 2011. Join Angela for a discussion about the exhibition from 12pm, Saturday 17 September – all welcome.

Follow Fresh Gallery Otara on Twitter for regular updates: @Fresh274

#KadavuPower

Fiji women were 100% present at the recent UNICEF Youth Congress held at Te Manukanuka o Hoturoa Marae in Auckland. I spoke in a panel about art as a platform for social activism, after sessions by Sainimere Veitata, Co-chair of the Econesian Society at the University of the South Pacific (Suva, Fiji) and Merewalesi Nailatikau, UNICEF Regional Goodwill Ambassador. Merewalesi was crowned Miss Hibiscus and went on to be the first Fijian woman to take out the Polynesian-dominated Miss South Pacific beauty pageant in 2009. She is brains + beauty in a big way!

My South Auckland comrade, Luisa Tora, came to support. Luisa and I are working on an upcoming project to commemorate Fiji Day in the South Auckland suburb of Otahuhu. In an exhibition of posters featuring artwork by 7 Fiji women artists, diasporadic679 will be installed in the windows and public spaces of 6 venues over 9 days. The numerical reference is to Fiji’s international telephone prefix.

The exhibition will be part of the newly re-branded Southside Arts Festival (previously Manukau Festival of Arts) which runs from 14 October – 6 November 2011.

diasporadic679 takes its name partly from Luisa Tora’s made-in-South-Auckland zine, diasporadic and represents an ongoing relationship between Fiji women artists Sangeeta Singh, Margaret Aull, Torika Bolatagici, Dulcie Stewart, Tagi Qolouvaki, Luisa and myself.

The diasporadic679 blog has just been established and will be updated daily leading up to the project which runs from 17-25 October.

Ngā Hau E Whā – The Four Winds

Ngā Hau E Whā – The Four Winds – A solo exhibition by Leilani Kake
Curated by Ema Tavola for the Auckland Arts Festival
Fresh Gallery Otara
South Auckland
Aotearoa New Zealand
4 March – 16 April 2011

Women, Water and the Moon

Fresh Gallery Otara is a community gallery in the Otara Town Centre, frequented by children, students, artists and the elderly. It has a mandate to reflect life in Otara, to engage audiences and stimulate discussion.

Leilani Kake is a member of the Otara community; an educator, mother, artist – a staunch ambassador for the Southside. Armed with strong cultural foundations and a firm foothold in a South Auckland / South Pacific reality, her four-channel video installation bravely confronts the cultural taboo of nudity. Whilst mass media imagery of women’s bodies floods our visual landscape, public displays of female nudity in a community context has the potential to inspire controversy and discomfort.

Inspired by the disproportionate statistics of preventable cervical and breast cancer amongst Māori and Pacific women, the artist invites viewers to consider the body and how we perceive it. And further, to consider that relationship in relation to our wellbeing as a community.

Enveloped in the watery darkness of this work, we are alone with our thoughts. The work’s four walls represent four pou, four stages of womanhood. In the watery darkness, the balance between the women, the water and the moon is in constant flux. As viewers, we are the centre of the gaze – confronted and surrounded, fluctuating between comfort and discomfort.

This work delivers the impact typical of Kake’s practice, speaking to the human condition, universal and primitive, and simultaneously to the special cultural context of indigenous women of the Pacific region.

Known for her emotional, performance-based practice referencing ritual and tradition, family and relationships, Kake’s visual language encourages her community to engage with issues affecting them. Ngā Hau E Whā – The Four Winds exposes the inextricable links joining Polynesian femininity to power, religion, sexuality and privacy.

In terms of scale and content, this is the most significant exhibition ever produced for Fresh Gallery Otara. Kake has been part of the Gallery’s community since it opened in 2006. She has been educated and trained in Otara and continues to live and work here. It is perhaps the most appropriate exhibition for us to present in the regional Auckland Arts Festival programme, to represent the site-specific curatorial approach that has been fostered here.

We are hugely grateful for the opportunity to present this exhibition for the Auckland Arts Festival, and for the significant support from Manukau Institute of Technology Department of Creative Arts and Toi o Manukau. The support from my colleagues in Arts and Culture South, Auckland Council, have made this project a reality; thank you so much.

Ema Tavola
Pacific Arts Coordinator
Auckland Council South