Elizapeta Heta, Principal and Leader of Jasmax’s Waka Maia, said:
Auckland’s Queen Street is now visible on full LED displays as part of Matariki Temanawa, and the rise of Matariki has also led to the rise of conversations surrounding Maori visibility in our city.
Graham Typeen (Ngāti Whātua, Ngāti Kahu, Ngāti Hine, Ngāti Haua, Ngāti Manu), whose work is on display at CBD, states that he never “saw himself” while growing up in Auckland.
Ngāti WhātuakiŌrakeimatua aims to change this through large-scale art, saying: [grandchildren] I’m walking around without looking at myself. “
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Tipen likes to make his work interactive and educational, and says he aims to normalize the contribution of indigenous peoples to the cityscape.
“I don’t like to use the word” art “. I like cultural expression and need to be everywhere in books, media, prospectuses, etc. “
David White / Staff
Auckland Art Gallery curator Nigel Borell talks about Maori’s groundbreaking art exhibition Toi Tū Toi Ora. (First edition in December 2020)
Recently, both Tipen and Heta were the main speakers at Toy Techp: Fakaawa Tanga, a Maori art symposium hosted by Auckland Art Gallery Toio Tamaki.
The concept of re-individualization became apparent during a discussion in a panel discussing the visibility of urban cultural landscapes.
Heta (Ngāti Wai, Waikato Tainui) asked where the Maori representation was in the city where it was built.
“In my view, decolonization is dismantling and reindividualization means reconstruction. It is important not only to tell our story, but to embed them.”
As an architect, Heta helps Jasmax take a generational journey to become a practice of genuine bicultural design. She says she wants to see “our face in our place”.
Dennis Rader Smasher
Elisapeta Heta: “I go back to Ngā PunaO Haiōrea at Western Springs College every day to talk to the kids. When they asked me what they were doing to make a living, I told us. Tell them that they helped build the building that they are talking about. “
Jasmax and Heta are working closely with Tipene, who recently designed the artwork used at the Western Springs College Ngā PunaO Haiōrea and Te Ao Mārama South Atrium, Auckland War Memorial Museum Tāmaki Paenga Hira.
Tipene is a tāmoko artist who has been involved as a consultant and key artist for citizen and parliamentary projects throughout Tāmaki Makaurau.
With regard to public works, Tipen believes that cultural expression should be holistic in its approach.
“The representative of Mana Honua is Kaitiaki. We need to listen to them. For rough sleepers and people on the street, we are Kaitiaki. Farnaurawakore Must be included [destitute].. “
His Machitoi (artwork) brings Kapapa Maori to the urban environment. He exhibits his work on Queen Street, Viaducts and Silo Park.
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Permanently housed in Auckland’s Britmart, Lonnie Hutchinson’s Lover of Life features six intricately carved folded metal panels that represent the Kai Tuff tribal version of the Maori creative story. In this version, Papatūānuku (Mother of the Earth) has two lovers.
Matariki is not the first example of an integrated indigenous contribution in the city.
Notable attempts include the exhibition of New Zealand’s largest Maori art at the groundbreaking exhibition Toi Tū Toi Ora: Contemporary Māori Art, curated by Nigel Borell in 2020.
The four-year exhibition, which was attended by 111 artists, included works from the 1950s to the present. The work was informed from Maori perspectives and worldviews and provided insights into the development of modern Maori art.
The remnants of the 2020 exhibition can be seen in the large public works commissioned by Hīkoi to Britomart.
Modern Maori art lives alongside pedestrians throughout Auckland’s central business district. Permanent works have blessed not only Queen Street, but also the Waterloo Quadrant, Chancery and Aotea Square.
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Permanent fixtures: Shane Cotton (Ngāti Rangi, Ngāti Hine, Te Uri Taniwha) is the author of Maunga, which covers the west wall of Britomart’s Excelsior House.
Participants in the Toi Te Kupu symposium were encouraged to refocus on Cholero on Maori visibility and urban planning.
Heta, a big-picture person, said he likes to ask stakeholders to rethink the reason.
“I tend to ask annoying questions without the right answer, which breaks the conversation about money, budget, time to reach goals, and trying instead,” she said.
“What if you build a city to help Howora? [health] Of the land? “
Working with the council raised a variety of issues for Tipene, including the difficulty of knowing which cholero tap (sacred story) to share and what to suppress.
“There are a lot of happa [mistakes] But we are working hard on the council. All of these projects have mana and should be treated that way. “
KEA Kids News / Provided
ToiTū, Toi Ora: Te Ripeka series, 2015, Robert Jahnke (Ngai Taharora, Whanau a Iritekura, Te Whanau a Rakairoo Ngāti Porou).
The ngako (essence) of the Toi Te Kupu panel was that it was necessary to display Maori spaces in Maori. This includes the long-term thinking of Kaitia Kitanga (guardian).
“This mahi is to understand our obligation to historical knowledge and how to maintain the mana of the process beyond the announcement date,” says Tipene, who grew up around weavers and Caicorello.
Heta, a child of Kapahaka from the age of four, said:
“As an indigenous people, people all over the world are experiencing pain. I hope my mahi can help alleviate it.”