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Artists have always sought to imitate or represent real life, so it’s no surprise that digital technology is now inspiring them. Internationally digital technology was explored at two major art exhibitions recently - one at Whitney Museum and the other at San Francisco Museum in the U.S.
Miles away in Aotearoa - New Zealand, the subject is being explored specifically in relation to the country’s Maori artists.
Techno Maori - Maori Art in the Digital Age is an exhibition that was curated by Jonathan Mané-Wheoki
and Deidre Brown. The exhibition brought together work by a selection
of contemporary Maori artists, expressing the diverse ways in which
they are using or inspired by digital technology in traditional, modern
and contemporary media.
The exhibition had a number of artists participating with rising
international reputations. These included Berlin-based Peter Robinson,
who, together with tribal compatriot Jacqueline Fraser, represented New
Zealand
at the Venice Biennale.
Michael Parekowhai, whose celebrated installation 10 Guitars is shown at The Andy Warhol Museum in Pittsburgh as part of Popular CultureS (October 6 - February 9 2002) also took part in Techno Maori.
Techno Maori was held concurrently at two major public galleries in the country’s capital Wellington: City Gallery, Wellington and Pataka Porirua
Museum of arts and cultures. Both explored the cultural
opportunities opened up by technology. A CD-ROM and website also acted as shared third ‘virtual’ exhibition space binding together the two physical spaces of the exhibition.
“Just as, when European technology and materials first arrived in Aotearoa, our ancestors embraced and acculturated them,” said guest co-curator Jonathan Mané-Wheoki, “and just as their descendants embraced and acculturated the artforms, materials and techniques of western modernism; so a new generation of Maori artists is utilising digital media.”
For artist Darryn George, the computer has replaced the sketchpad as a
tool to test different compositions and colour combinations before he
commits paint to canvas. It also offers new artistic possibilities,
allowing him to download source material and images from the
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internet. He is also able to test the scale of work by pasting virtual paintings into images of existing gallery spaces. Here, kowhaiwhai (Maori scroll) painting and tukutuku (lattice wall panels) are obvious influences.
Olivia Haddon is the youngest and one of the most technologically adept artists contributed to Techno Maori. Interestingly, her fully electronic work (from conception to completion to display) revealed the least apparent 'techno' aesthetic. Her work exhibited a simple but fluid 'drawing' style that is reminiscent of Maori rock drawing. It also represented a significant technological step forward in the development of an ancient art form.
Senior artist Darcy Nicholls says the combination of Mäori art and new technology is a new beast.
“There is no disputing the fact that the work in Techno Mäori was created by Mäori,” said Nicholls. “They have a heritage that anchors them to this land and its ancient Mäori people.“
“Yet, there is something strangely exciting about bringing this new beast, Techno Mäori …this exhibition highlights a major movement in time for Mäori people. It challenges the very essence of Mäori art and at the same time challenges the very essence of who we are as a people.”
Techno Maori was held at City Gallery, Wellington and Pataka Porirua Museum of arts and cultures, Wellington from September 28 - December 2 2001.
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