18, Curating Pacific Art

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Being a Curator means to take care as a manger or a overseer. A Curator sits in between the art and the audience. They listen, stay focused and communicate with others who think about their experience art forms. Jim Vivieaere [1947-2011] had trained as an artist, how an audience experiences a gallery. The audience becomes a performer through their Art. There has to be a reason. What is the theme??? The book??? The organisation??? to treat their work as if you were a midwife looking after its’ baby. As I have said, the Curator is in between the art and the audience. So, of course, they are going to touch each other. Think of it as a Western Musem, telling stories through art. i.e.; Vaka Moana, the Voyages of The Pacific Ancestors. This was a theory of Taiwan. Immigrating its’ culture production that travelled for three years. It gave them big money, arcadaemia. Experts from all over helped publish the book. There are also essays of the Pacific, design a font, to represent South Auckland or the Pacific Migration.

Sculptors couldn’t understand, because it wasn’t irrelevant. They developed a theory or the idea of values in the community. Tanbora, a fijian object, wearing a design that effected our time and values and importance. This knowledge involved hair, only by man. Like tattoos, Tongan ones are similar to Samoan one, Stan Lolohea gave a talk about his work. The laughter, the language and behavior of how they respond to the art??? What is their voice? How is the audience behaving. So what does the Pacific understand about this? Most have grills or golden teeth as a symbol to recognize themselves as a Pacific individual. Leilani Kake son’s hair was demonstrated as an art form. Boys kept their hair neat and couldn’t cut it until a certain age, because it was tradition. A black chair in the front, people come up to cut the hair, there would be a Tapu basket, just to leave it there. It never was moved. In other ways, a tongan girl would do their dance, 22m tapa cloth and people would come up and give her money… then they would get up and dance with her.

Pechakucha Night, [2011] – this would be Pacific Food, Hospitality and a welcome to the community. A protocol, interface to understand the space and neutralise a meeting or Exihbition is a celebration. Opening, [2007] – In a church, we pray [opening & closing] this is how you respond to a celebration. Maka Tu’u Taha, with buckets on water, you sit in circle and the minster says a prayer, after gathering they behave in this space.

Milk World, [2007] Samiu Napa’a is a Tongan artist who made this work in a Milk Factory where he worked, out of two worlds. Pacific comes to NZ, like the Land of Milk & Honey – a reference to the Bible. It smells and you feel it. The Tongan language was stronger than Samoan. As if it was a production line, two things on the side were some weird frames he found in the Organic.

Glenda Vilisoni made Untitled, [2007] – this was found objects from the Organic It was an expressive painting, you could read it and understand it, because it showed visual language. She also did a piece of work on tinfoil that looked like a family tree of some sort. It looked amazing. She did another one with hair cutting, using rat tails she collected from her friends. It was value of what she was trying to do. This happened during the Tropical Cyclone, which is why I understood why she did this. She taped the frame over the hair.

She also did another work on ‘Bloodlines & reConnections’ this was an outdoor kitchen. I had seen one of these before, because my neighbor has them in her frontyard which I didn’t understand at first, until I heard about this in class. I found it quite interesting. Although, my neighbor is Tongan and her kids and I are best friends with – which is good for me.

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