A collaboration between In*ter*is*land Collective and Contemporary HUM consisting of four edited online talanoa (conversations) between several tagata Moana (Māori and Pasifika people) across the globe which centre around the principles of talanoa; ofa, mafana, malie and faka'apa'apa (love, warmth, humour and respect) and the ability to have a "reciprocal knowledge exchange".
The talanoa within this series will focus on topics such as life in the diaspora, moana futurism, queer identities, and ReMoanafication, and all will be individually responded to in written form by Anne-Marie Te Whiu (Te Rarawa), reminding us of our intricate connection and shared ancestry in Te Moananui-a-Kiwa.
07 October 2022 —
08 January 2023
Le Lieu Unique, Nantes, France
By Connie Brown
Writer Connie Brown pays a visit to Virginia Leonard’s studio, encountering the artist’s “fugly” ceramics and talking with her about recent and upcoming international exhibitions, her process into ceramic-making and the resistance her work offers to traditional notions of wellness, pain and the body.
By Michelangelo Corsaro
In their work for the 13th Gwangju Biennale, the Bad Fiji Gyals call attention to the legacy of Girmitiya women, indentured labourers from the Indian subcontinent recruited by British colonial authorities to work on Fiji’s sugarcane plantations. Associate Curator Michelangelo Corsaro writes about the collaborative work of Aotearoa-based artist Quishile Charan and US-based artist Esha Pillay.
By James Belich, Lana Lopesi, Matariki Williams, Pauline Autet
Missed HUM's panel discussion Whose Oceania? in London? We're excited to publish the transcript of this discussion, which proved to be a stimulating talk interrogating the themes and issues addressed in the exhibition Oceania at the Royal Academy of Arts in London, as well as the responses to it from across Te Moana Nui a Kiwa.
By Frances Loeffler
Frances Loeffler writes on London-based New Zealand artist Luke Willis Thompson's residency at the Chisenhale Gallery in London, culminating in autoportrait (2017), a video portrait of Diamond Reynolds reflecting Thompson's ongoing enquiry into questions of race, class and social inequality.
By Freya Copeland
Reflecting on the disruptions of the Covid-19 pandemic in the world of independent book publishing, artist, curator and co-founder of Berlin-based Replika Publishing, Freya Copeland writes on the history of artists’ books and the role of independent publishing. She considers the lessons the industry can learn after a year and a half without art book fairs—usually an essential opportunity for publishers to meet collaborators, distributors and other publishers, and how the world of art book publishing might evolve going forward.
By Alexa Wilson
Together with three of her contemporaries, interdisciplinary artist Alexa Wilson considers dance and performance art in the time of Covid - how does a medium that relies so much on physical presence, collaboration, audience and space respond to global lockdowns and a forced shift online?
Panel discussion in Taipei
Contemporary HUM is a proud partner of the Taiwan-New Zealand Dialogue on Cultural Exchange Policies amid Covid-19 panel discussion, organised by the Taiwan Cultural Policy Research Association. Held in the context of the Tua-Tiu-Tiann International Festival of Arts (TTTIFA) in Taipei, this panel discussion seeks to unpack the impact of Covid-19 on arts practitioners and the need for cultural exchange and dialogue.
By André Hemer
A conversation between two offshore New Zealand artists: Vienna-based André Hemer and New York-based Martin Basher. Their chat touches on producing art in Trump-era US, display-based practice, Basher’s doctorate, and living in NYC as a New Zealander.
By Murdoch Stephens, Paoletta Holst, Raewyn Martyn
A conversation between Aotearoa New Zealand artist Raewyn Martyn, Dutch artist Paoletta Holst, and writer and publisher Murdoch Stephens, during their residencies at the Jan van Eyck Academy in Maastricht, Netherlands, reflecting on the relationship between art, activism and how these processes and practices relate to very real, life-and-death, refugee and immigration policies.