Artists Talk
artspace-aotearoa.nzA Planting Talanoa; from Material to Gender is an artist panel with Nikau Hindin, Vaimaila Urale, Sione Monu and Manuha'apai Vaeatangitau, Tanya Edwards (Zoom) and Lady Tunakaimanu Fielakepa (Zoom). Mediated by Kolokesa Mahina.
A Planting Talanoa brings together the minds and experiences of seven artists working through the three subtitles of Koloa, Women, Art, and Technology. Questioning the direct use of the terms Women, Art and Technology, the artists will share their view on the futurity of gender, politics of the place of production and the future of materials.
Through different lenses, we get a chance to learn more about the mark making practices at the core of this exhibition. In a time where we can also see a revival of ‘barkcloth’ practices, how do we need to frame this growing interest beyond materiality alone? If the knowledge of and on koloa needs to be kept for the future, what kind of ‘holders’ do we envision to produce? Rooted in the places of community that have produced koloa, we also discover the complex perspective of the diaspora, always relating back to home, but never being the same. What then can happen here that cannot happen elsewhere and vice versa?
Price
- Free
Date
- Fri 18 Dec
Time
- 1:00 pm — 2:00 pm
Address
- Ground Floor, 292 Karangahape Road
- Newton, Auckland
A Planting Talanoa; from Material to Gender is an artist panel with Nikau Hindin, Vaimaila Urale, Sione Monu and Manuha'apai Vaeatangitau, Tanya Edwards (Zoom) and Lady Tunakaimanu Fielakepa (Zoom). Mediated by Kolokesa Mahina.
A Planting Talanoa brings together the minds and experiences of seven artists working through the three subtitles of Koloa, Women, Art, and Technology. Questioning the direct use of the terms Women, Art and Technology, the artists will share their view on the futurity of gender, politics of the place of production and the future of materials.
Through different lenses, we get a chance to learn more about the mark making practices at the core of this exhibition. In a time where we can also see a revival of ‘barkcloth’ practices, how do we need to frame this growing interest beyond materiality alone? If the knowledge of and on koloa needs to be kept for the future, what kind of ‘holders’ do we envision to produce? Rooted in the places of community that have produced koloa, we also discover the complex perspective of the diaspora, always relating back to home, but never being the same. What then can happen here that cannot happen elsewhere and vice versa?
