Nancy is at the door. An older PÄkehÄ woman, she has called into the Tim Melville Gallery in central Auckland to discuss a group visit to the exhibition Mind That MÄori. “I came to look. But I’m a bit intimidated by the MÄori at the entrance,” she says.
“Good,” Tim Melville replies quietly, with a gentle laugh. Melville (Te Arawa, Te Atiawa) is not setting out to intimidate anyone. He says his gallery is a conduit to the artists who will “show us the way”.
Showing us the way at the entrance is the “intimidating” sculpture in question, Kaitiaki: an angular warrior in cast bronze, about a metre high, proud on his plinth. The sculptor, Chris Bailey (NgÄti Hako, NgÄti Paoa, Te AupÅuri, NgÄti Porou), was one of 12 MÄori artists in the show that ran in February and March.
Mind That MÄori, the work that inspired the title of the group exhibition, is a crocheted statement in black and white by Lissy Robinson-Cole (NgÄti Hine, NgÄti Kahu) and Rudi Robinson-Cole (NgÄti Paoa, NgÄruahine, NgÄti Makirangi, NgÄti Tu, Te Arawa). It’s in stark contrast to their vast neon wool sculpture Wharenui Harikoa (House of Joy) that attracted more than 40,000 people in 100 days to Waikato Museum recently. “‘Mind’ that MÄori or ‘watch out for’?” asks Melville. The art may be black and white wool, but interpretation lies in the grey area. “You’re seduced into wanting to touch it and find out what it is because it’s so lovely, soft, gentle, and then you receive the message almost by osmosis.
“We are brought together by artists doing their job.”
ãã®èšäºã¯ New Zealand Listener ã® April 13-19, 2024 çã«æ²èŒãããŠããŸãã
7 æ¥éã® Magzter GOLD ç¡æãã©ã€ã¢ã«ãéå§ããŠãäœåãã®å³éžããããã¬ãã¢ã ã¹ããŒãªãŒã9,000 以äžã®éèªãæ°èã«ã¢ã¯ã»ã¹ããŠãã ããã
ãã§ã«è³Œèªè ã§ã ?  ãµã€ã³ã€ã³
ãã®èšäºã¯ New Zealand Listener ã® April 13-19, 2024 çã«æ²èŒãããŠããŸãã
7 æ¥éã® Magzter GOLD ç¡æãã©ã€ã¢ã«ãéå§ããŠãäœåãã®å³éžããããã¬ãã¢ã ã¹ããŒãªãŒã9,000 以äžã®éèªãæ°èã«ã¢ã¯ã»ã¹ããŠãã ããã
ãã§ã«è³Œèªè ã§ã? ãµã€ã³ã€ã³
Ewes know it
'It has been my life's work,\" I announced grandly and quite possibly pompously the other day to Greg, no other audience being available, \"to advocate for the advancement of sheep.\" He pointed out that this was patently untrue. If it was true, he said annoyingly, although quite possibly reasonably, I'd have started my life's work a bit earlier, given that I had taken up this selfless work only seven years ago, the length of time we have been at Lush Places.
A moral panic
America's top doctor wants smoking-style warning labels for social media platforms.
Give and take
We're likely to reciprocate if someone's nice to us unexpectedly.
Culture club
Whether you make yoghurt at home with your own starter or buy a commercial brand, the health benefits remain roughly the same.
Now for the news
How will Stuff's take on broadcast news match up to its polished predecessor?
Time to rewind
A leaner NZ International Film Festival programme still offers promising local debuts and some art cinema classics.
Come dancing
Albums from Anna Coddington and Peggy Gou are smart and sassy. Bonny Light Horseman leans on heartache.
Calling on the muse
Kiwi journalist Garth Cartwright recalls his audience with the late Françoise Hardy in Paris.
Artist of high standing
Waiheke Island sculptor Anton Forde talks about creating the largest contemporary pou installation of his career.
'You were salvation'
A repurposed supply vessel provides a lifeline to migrants who risk their lives to cross the Mediterranean in a desperate bid for a new life.