434 the contemporary pacific • fall 2004 many people have commented, suffers ARTPIX 3: Aotearoa/ New Zealand. the “waning” of its historicity (Fred- cd-rom, 2001. ARTPIX, A Journal eric Jameson, Postmodernism, or The of Contemporary Art . Editorial: Ian Glennie and 1991). Our problem, says Huyssen, Fredericka Hunter; projection coordi- is not the hypertrophy (or excessive nation: Molly Cumming; design: growth) of historical consciousness Mats Hakansson; programming: but its atrophy, a condition he, like Bruce A Epstein/Zeus Productions. Jameson, attributes to the hypermedi- isbn 0-9668010-2-4. us$30.00. ated culture of “late capitalism” with “its continuing frenetic pace, its To review a journal of contemporary media politics of live information and art in cd-rom format was a unique quick oblivion, and its dissolution of experience for me. I must admit that public space in ever more channels of I still use my computer as a glorified instant entertainment” (1998, 37). typewriter and was not at all sure Significantly, Graham’s installation what I was doing, or what I was sup- occupied the Adam Art Gallery simul- posed to do. However, it didn’t take taneously with two other exhibitions much to put the cd in and begin my equally concerned with the way the journey through four very different historical past has shaped the present, “exhibitions” that collectively tapped and equally committed to exploring into the pulse of New Zealand art in ways in which contemporary media 2001. As both an outsider and insider both structure consciousness and (having immigrated to New Zealand might yet be turned against their over- eight years ago, but having focused whelming role in our forgetfulness to my research on contemporary art provide cogent and genuinely affec- since my arrival), I felt at home with tive encounters with the past. (Bombs the opening karanga ra (call of wel- Away was a group show responding come). This immediately placed my to French, American, British, Russian, consciousness (which tends to wander and Chinese nuclear propaganda films the world) firmly in New Zealand. produced during the cold war, while Aside from the flashing colors (which Remembering Toba Tek Singh, by got my attention), I was impressed Indian artist Nalini Malani, was a with the quality and quantity of infor- multimedia installation dealing with mation that the cd held. While I was the historical division of India and uncomfortable with the format, I Pakistan in 1947, after the end of found it quite easy to navigate and British colonial rule, and its subse- quickly came to enjoy what that for- quent impact on their nuclear testing mat could offer. ARTPIX 3 combines programs and national rivalry.) text, still image, and moving image peter brunt to provide background information, access to more ephemeral types of Victoria University of Wellington knowledge (television ads and music), *** as well as an interactive play with the exhibitions themselves. It took about two hours to examine (one could book and media reviews 435 easily do this in smaller increments play into and off this construct. of time). Leonard’s “This Is New Zealand” ARTPIX works with the concept (which resembles an article more than that a “professional from the field of an exhibition) offers the historical contemporary art is invited . . . to and art historical background for contribute to each issue. In turn, con- contemporary art practice in New tributors have the option of present- Zealand. Through the interactive text, ing the work of an individual artist or one can both read the “article” and artists, selecting or curating a group experience the work of the artists exhibition or proposing an artist to included, as well as view moving create a special multimedia project.” image clips that support and enhance The purpose of ARTPIX 3 was to the written word. Hearing and seeing “comment on the current state of the television advertisement “Sailing arts in New Zealand” (ARTPIX credits Away” (a Bank of New Zealand tele- folder). No further information was vision advertisement created by Fred provided as to how these art profes- Fink to support New Zealand’s Amer- sionals were chosen, either by ARTPIX ica’s Cup Challenge in 1986) enables or the curators. Unlike a printed jour- the viewer (even the non–New Zea- nal, which may have a special focus lander) to see the obviousness of this and frequently an editor’s explanation ad in its creation of a utopian ideal. for that focus, the four components In contrast is the song “Blam Blam of this cd are presented without Blam” (written by Don McGlashan explanation. and Richard von Sturmer in 1981), Together, the four exhibitions work whose tongue-in-cheek acceptance of to complement one another, each this ideal clearly subverts its reality. offering a glimpse of the complexity Leonard uses the interactive format of contemporary art practice in New brilliantly, bringing text, song, and Zealand. They include: “This is New moving image together to create a Zealand” (Bill Hammond, Michael sense of the hypocrisy in the utopian Parekowhai, Ava Seymour), Robert belief. Having set this groundwork, Leonard, curator; “Ta Moko Is not Leonard then utilizes the art practice Tattoo” (Shane Cotton, Jacqueline of three well-known artists to demon- Fraser, Lyonel Grant, Rangi Kipa, strate how contemporary art practice Ngahiraka Mason, Lisa Reihana, subverts this ideal. Saffronn Te Ratana), Julie Paama- The other curators offer multiple Pengelly, curator; “Te Ao Tawhito. and different perspectives on this Te Ao Hou/Old Worlds. New Worlds” notion. “Moko Is not Tattoo” (John Pule, Lisa Reihana), Megan enables its collective to investigate the Tamati-Quennell, curator; and “Part importance of this cultural practice Umbra Penumbra” (Chiara Corbel- and to demonstrate that it is not a letto, Graham Fletcher, Andrea Low, surface phenomenon, but one that Peter Roche), Jim Vivieaere, curator. remains a foundation for many con- Robert Leonard addresses the con- temporary Mäori artists. Wanting to cept of a Utopia—clearly a fictitious undermine the norm—to tease out construct—while the other curators not only the implications of moko in 436 the contemporary pacific • fall 2004

New Zealand but also the racism strates the continuum of curatorial that is its companion—Julie Paama- practice. Pengelly creates a “vibrant, evolving, As I was so quick to “fess up” diverse expression of positive Maori about my lack of computer skills, identity. Each of the artists in this I will also note that I found reading exhibition shares a unique insight Leonard’s text on a computer screen into another world—their world— was not my preference. Using the honouring Maori cultural struggle, interactive aspects of that piece cultural diversity and artistic excel- brought the text to life, and I must lence” (“Ta Moko is not Tattoo”). now admit that I was glad that the Again the format enables a different other exhibitions had less text. The perspective than print copy would, as cd offered a lot of information and the images are allowed to move and the format works well for the inter- interact with one another. The cura- pretation of art. However, it was best tor’s desire to delve deeper into the suited to those exhibitions that were Mäori psyche relating land, moko, less didactic. As a novice to this and whare (house) is accomplished medium, I also found it difficult to as these images coalesce. know how to cite information from Both Megan Tamati-Quennell and the texts from the cd. Clearly this is Jim Vivieaere use sound and moving part of the process. This cd carries and still imagery to demonstrate the valuable information and brings diversity of practice among Mäori, insight into the art production of a Pacific Island, and Päkehä New nation. It is a well-constructed tool Zealand artists. In these exhibitions, that will work exceptionally well in moving image and poetry are placed a classroom or teaching situation. within artistic practice; as Jim Vivieaere comments, it is the “cura- karen stevenson torial intervention that determines the University of Canterbury, relationship” (“Part Umbra Penum- New Zealand bra”). In these exhibitions the viewer is afforded their own time—they *** create the relationships, they take whatever they find in the work—no Night Is a Sharkskin Drum, by hand leads us through the process. Haunani-Kay Trask. Honolulu: Thus, ARTPIX 3 offers us a contin- Tanaloa: Contemporary Pacific Liter- uum: the traditional article with its ature and University of Hawai‘i Press, historical framework (yet incorporat- 2002. isbn 0-8248-2570-5, xi + 70 ing all the technologies available); pages, glossary. Paper, us$13.95. the exhibition with didactic material to lead us to the curatorial conclusion; I cannot read this book dispassion- and the exhibition/performance that ately simply because it is so passion- one experiences and, if intrigued, ate. The poetry here draws on the asks more questions. This cd not spiraling continuum of the language only gives us a sense of contemporary and histories of ancient and contem- art in New Zealand, it also demon- porary Hawai‘i. Lessons are drawn