1/8 The Surrealism exhibition at @Te_Papa represents an enormous wasted opportunity. Te Papa could have drawn on its permanent collection & put European masterpieces alongside the Pacific art that inspired them. Instead, surrealism is misrepresented & our region ignored (thread)
2/8 The Surrealists revolted against European capitalism, whose rationality & clock-time they associated with the First World War. They looked to the colonised world, & especially the South Pacific, for alternatives. Surrealist leader Andre Breton was obsessed with Melanesia
3/8 Paul Eluard made the Surrealists' affection for the Pacific clear in his famous Surrealist Map of the World. He shrunk Europe, & expanded islands like Rapa Nui & New Guinea. Surrealist artists & poets acquired & studied Pacific sculpture.
'You frighten. You astonish' wrote Breton in his poem Uli, about a Mandak sculpture from New Ireland. Pacific artworks were 'repositories of the dreamlike and the magical', that transcended European oppositions between past and present, human and animal, death and life.
5 In the Exhibition of Surrealist Objects that Breton curated in 1936, sculptures from New Guinea, New Ireland, and the New Hebrides stood beside Surrealist artworks and artefacts of modern American consumer culture. They were a critique.
6 Te Papa has pulled a small, trivial Dali work from its own collection to join this travelling exhibition. But the museum holds many hundreds of powerful artworks from the Pacific, that could be juxtaposed with & illuminate the masterpieces of the Surrealists.
7 Te Papa & outlets like the Listener have presented surrealism as a bygone movement, part of European history. But the dialogue between European & Pacific surrealism continues in our region, in works like Andy Lelei's Ufological paintings & Tevita Latu's Selekarian provocations.
8 Te Papa offers us a genteel, Eurocentric show the Surrealists themselves would despise. If anyone wants to see the living spirit of surrealism, they'd be better advised to look at contemporary South Pacific art. Jamie Berry's Whakapapa/Algorithms 23 is at Papakura gallery now.
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1/5 Pacific history is always part of global history. When three young Niueans hacked their tormentor Cecil Hector Larsen to death in his bed in 1953, many palagi interpreted their act thru the prism of Kenya. The Mau Mau, they feared, had come to Niue.
2/5 I’ve been reading Caroline Elkins’ book to get a sense of the way the empire’s defenders were feeling in 1953. It’s hard not to find parallels between the dystopia Resident Commissioner Larsen ran on Niue & the Kenyan order the Mau Mau wanted to smash.
3/5 Today Niue’s prison rarely has more than a couple of guests. In 1949, tho, Larsen, who was judge jury & government on Niue, convicted 1,500 islanders of crimes. He put prisoners to work building roads, growing his food, & building him a golf course.
1/7 MAGA is melting down as the movement's lumpenproletarian base rages against tech bros' talk about American mediocrity & the superiority of migrant workers. I'm reminded of a story Tongan-based American sociologist Maikolo Horowitz told me about Trumpism.
2/7 Horowitz grew up in NYC's Trotskyist community; Allen Ginsberg was a playmate. Later he hung out with Warhol & Lou Reed & turned down a job managing the Velvets. He was too busy helping run legendary protest group Students for a Democratic Society.
3/7 He's spent most of the last 30 years in Tonga, & collaborated for many years with its great educationalist & philosopher Futa Helu. Horowitz used a memory of his SDS youth to illuminate the frustration & resentment that fuel MAGA.
22/30 No one familiar with the history of Aotearoa in the 1840s could take the bill's claims seriously. One only has to read William Colenso's notes of the discussions in Waitangi to see the absurdity of the idea that Maori surrendered all claims to sovereignty in 1840.
23/30 No chief talked about giving up sovereignty. Rangatira talked obsessively about the chaos & land loss caused by Pakeha settlers in the north, & the need for Hobson to control his people. But Act's bill is not about history. It is about psychology.
24/30 By pretending that Maori entered into a mystical union with two thousand Pakeha settlers in 1840 Act has created a sort of origin myth & psychic balm for Pakeha conservatives still unwilling to face the fact of Maori difference, & still in denial about colonialism.
1/30 Te Pati Maori's haka in parliament has been greeted with disgust, anger, & fear by many conservative Pakeha. Like Act's Treaty Principles Bill, this response to the haka is the expression of a massive, long-brewing identity crisis.
2/30 Since the 19thC Pakeha have shown an intense ambivalence towards Maori culture. Lacking a culture unique to these islands, we have alternately suppressed and appropriated Maoritanga.
3/30 During the wars of the 1860s Maori culture was dangerous. Wharenui were burned & wahi tapu systematically desecrated. By the end of the century, tho, Pakeha were turning to Maoritanga as they tried to define themselves.
1/4 Act could help settle the debate about the Treaty of Waitangi by republishing & circulating this little book by William Colenso, which contains his detailed notes on the speeches Maori chiefs made at Waitangi in 1840. But the debate wouldn't be settled the way Act wants.
2/4 Act claims the chiefs inexplicably ceded their sovereignty to a handful of Brits at Waitangi, but anyone who reads Colenso's notes will notice that the chiefs never mention doing that. Nearly all the korero focuses on the problems caused by settlers in the north.
3/4 Riotous behaviour by some settlers & the alienation of land are themes. It is very hard indeed to read Colenso's notes & not feel that the pro-Treaty chiefs wanted to empower Hobson to govern the settlers, not the rest of Aotearoa. That's why many Pakeha disliked the Treaty.
1/60 Martin Phillipps contained multitudes. He leaves an oeuvre that is vast & varied, & that can be interpreted in various ways. I see him as someone who extended & updated a distinctively Pakeha cultural tradition.
2/60 Like the music of Douglas Lilburn, the poems of Ruth Dallas, Charles Brasch & Allen Curnow, & the paintings of Bill Sutton & Rita Angus, many of Phillipps' best songs are powerful responses to the land & seascapes of southern NZ.
3/60 I'm not arguing that Phillipps was necessarily directly influenced by the names I've mentioned. He didn't need to be. He responds to the same landscape, is part of the same history, and dealt with the same dilemmas.