Pātaka Art + MuseumPorirua, New Zealand

11 August - 24 November 2019

Pātaka Art + MuseumPorirua, New Zealand

11 August - 24 November 2019

Te reo Māori definition:

Here 1. (verb) (-a,-ngia) to tie, tie up, fasten with cords, bind, oblige 2. (noun) string, cord, obligation, condition, limit, restriction, legal restriction

English definition:

Here 1. (adverb) towards or at this locality or place in time 2. (noun) this place, this point in time

Here: Kupe to Cook

I tēnei tau, ka huri te tau 250 i te taenga mai oKāpene James Cook rātou ko ōna kaumoana o te Endeavour ki Aotearoa. Ka ara ake tēnei kaupapa i te pae, ka hoki ngā whakaaro ki ngā hītori a tō tātou whenua me ngā kōrero tuku iho mō te kitenga tuatahi o tēnei whenua.

E noho mārire ana tētahi punga kei muri i a koe, e mau ana i ngā kōrero nui mō te pōkai whenua. I takea mai tēnei punga i Hawaiki, ka whakatakotohia ki Porirua e Kupe, te kaitoro rongonui o Te Ao o Kiwa, he kaiwhakatere waka nō tērā kotahi mano tau. Pērā i a Cook, hei tā ētahi, nā Kupe rātou ko ōna kaumoana kē i ‘kite tuatahi’ i a Aotearoa. Heoi, kia pono te kōrero, ehara i a Cook, i a Kupe rānei te kitenga tuatahi o Aotearoa. Heoi, ko tā rāua kē, he whakamahere i ēnei motu, he kau i ngā wai e tae putuputu mai ngā reanga o muri ki konei.

Kei te wetewete te whakaaturanga o Here: Kupe to Cook i ngā pōhēhē mō te kitenga tuatahi o Aotearoa. Ka ruku ngā mahinga toi ki roto ki te hōhonutanga o aua kōrero, e mārama ai tātou ki ngā tāngata me ngā rohenga o Te Moananui-a-Kiwa.

I te reo Pākehā, ko te kupu ‘here’ he tūwāhi, he kupu e tohu ana hoki i te wā. I te reo Māori, ko te ‘here’ he mea tuitui, e rangitāmiro ana i tētahi mea ki tētahi wāhi, ki tētahi taputapu, ki tētahi kaupapa rānei. Koia ko te ngako o tēnei whakaaturanga, he tūhura i ngā punga e whakaū ana i te tangata ki tēnei whenua me ā tātou ake kōrero tuku iho, e taea e tātou te kī, nō konei ahau.

This year marks 250 years since the arrival of Captain James Cook and the crew of the Endeavour in Aotearoa New Zealand. This significant anniversary provides an opportunity to look back at the history of our nation and the narratives of discovery.

Sitting quietly behind you is an unassuming anchor stone that speaks volumes to this idea of discovery. The stone came from Eastern Polynesia and was left here in Porirua over a thousand years ago by Kupe, the great Oceanic explorer and navigator. Like Cook, Kupe and his crew are often credited for ‘discovering’ Aotearoa New Zealand. The truth is that neither Cook nor Kupe discovered this country. What they did do was to map these islands and create pathways across the sea for successive waves of migration and settlement.

Here: Kupe to Cook is an exhibition that dismantles misconceptions about the discovery of Aotearoa, providing deeper analysis to help us to more fully understand our connection to the people and places of Te Moananui-a-Kiwa, the Pacific Ocean.

In the English language, the word ‘here’ is a marker of location, denoting a time or place. In te reo Māori, ‘here’ refers to the act of binding, or being bound to a place, object or obligation. These ideas of location and connectedness sit at the heart of this exhibition, exploring the ways people have anchored themselves to these lands and the tales we tell ourselves to uphold our right to be here.

KUPE'S ANCHOR STONE

Ko Maungaroa tētahi o ngā punga e rua i kawea mai ki Aotearoa e te kaitoro rongonui o te moana nui, arā, ko Kupe, nui atu i te kotahi mano tau ki mua. Kei te taunakitia ngā kōrero tuku iho e ngā mahi whaipara tangata, arā, i takea mai tēnei punga i a Tatara-a-punga, he kōhatu ki Maungaroa i Rarotonga. Ka mauria mai mā runga waka-hourua, arā, ko Matahōrua, ka tukuna ki konei, ki Porirua, ka tapaina ki te ingoa Te Huka-a-Tai. Otirā, ka kīia tonu e ētahi o te hau kāinga, ko Maungaroa, hei whakamahara i te takenga mai.

He tini ngā wāhi i tapaina e Kupe i te rohe o Te Whanganui-a-Tara, arā, ko te motu o Te Mana-o-Kupe-ki-Aotearoa tētahi. Nō te tapanga o ngā wāhi nei e ia, ka riro i a ia te mana o aua wāhi, waihoki nō te whakatakotoranga o te punga, nōna hoki te mana o Porirua.

Ka roa tēnei punga e takoto ana ki te whanga o Porirua, ā tae noa ki te tauranga atu o ngā hōia Pākehā ki Paremata, kātahi ka tīmata rātou ki te haehae i te punga i te wā o ngā pakanga a Te Rangihaeata ki Pōneke. E kīia ana, nō muri tata atu ka toremi aua hōia.

He tino taonga tēnei punga, he nui tōna rahi me tōna mana. Ka pā te ringa ki te punga nei, ka hoki ngā mahara. Heoi, ehara i te mea nō te ao tawhito anake tēnei. Nō ināianei hoki āna kōrero, arā, kei a tātou hoki ngā kōrero mō tēnei wā.

Maungaroa is one of two punga (anchor stones) brought to Aotearoa New Zealand by the great Oceanic navigator Kupe over one thousand years ago. Archaeological evidence supports oral history accounts of the stone being sourced from the Tatara-a-punga stone at Maungaroa in Rarotonga. Brought here on the waka-hourua (double hulled ship) Matahōrua, it was deposited here in Porirua and renamed Te Huka-a-Tai, although locals still affectionately refer it as Maungaroa in memory of its home origin.

Kupe named numerous landforms in the Wellington region including Te Mana-o-Kupe-ki-Aotearoa (Mana Island). In naming these sites, the mana of Aotearoa was claimed by Kupe, marked also by the placement of this anchor stone here in Porirua.

The punga stayed in Porirua harbour for many centuries until European-New Zealand soldiers stationed at Paremata Redoubt started chipping pieces off during the time of Te Rangihaeata’s battles in the area. These soldiers are said to have drowned soon after.

As a taonga (treasured object) this punga exerts a great weight, both physically and symbolically. To touch it is to travel through time, but not to the past. Rather the past becomes present here, in our time, as we become part of its story.

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ISRAEL TANGAROA BIRCH I AM WAI 2012 Wānihi horihori ki runga maitai Lacquer on steel Nā tētahi kohinga tūmataiti Private Collection

Ko wai au? Who am I? Ko Wai au. I am Water.

E rua ngā mata o te 'wai' ki roto i tēnei mahinga toi. Ko te pātai mō te takenga mai o te tangata, ko te whakatangatatanga hoki o te wai. Ko tā te ringatoi, ko tā Israel Tangaroa Birch, he whakapuaki i te hononga o te Māori me ngā tāngata o Te Moananui-a-Kiwa ki te wai.

Hei tā ngā iwi o te Moana, kei te tūhonotia te tangata me te wāhi e te wai. He tirohanga motuhake tēnei nō ngā iwi o Te Ao o Kiwa. He rerekē anō i te tirohanga o te Uru ki te moana, arā, he ārai kē te wai hei kapare atu, he mea e whakawehewehe ana i te tangata.

Kei I AM WAI, kei te whakatairanga a Israel Tangaroa Birch i tōna hononga ki te moana me tōna tūhonotanga ā-whakaaro, ā-whakapapa hoki ki a Tangaroa. He mea nui tēnei, i te mea, i ngā wā tata nei, kua whakatangatahia te whenua me te wai, kei te tiakina ki raro i te ture hei taonga, kaua hei rawa noa nō te taiao.

Ko wai au? Who am I?Ko Wai au. I am Water.

In te reo Māori the word ‘wai’ has a dual meaning. It can be translated as ‘who’ or ‘water’. Artist Israel Tangaroa Birch uses this duality to make a statement about the connection that Māori and other peoples of Te Moananui-a-Kiwa, the Pacific Ocean, have with water.

For Moana communities, peoples of and from the sea, the ocean is perceived as a conduit, a means of connection between peoples and places. This unique Oceanic perspective of the sea is distinct from the traditional Western attitude towards the ocean as an obstacle to be overcome or a divide that separates and distances people.

In I AM WAI Israel Tangaroa Birch states the importance of his connection to the sea, locating a philosophical and genealogical connection through Tangaroa, the divine personification of the sea. This statement has become increasingly significant recently as natural land forms and waterways are starting to be recognised as living entities in need of specific legal protection.

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JOHN WALSH Wharewaka 2017 Hinu ki runga kānawehi papa-kore Oil on unstretched canvas He kohinga tūmataiti, nā te Gow Langsford Gallery, Tāmakimakaurau Private collection, courtesy of Gow Langsford Gallery, Auckland

Kei te pikitia o Wharewaka, ētahi waka nō Te Ao o Kiwa e tū ana i te kohu ki tētahi whanga ātaahua. Ānō nei he wāhi nō tētahi moemoeā kāore e tino māharatia ana. Kei te āhua mōhiotia te whenua me ngā tāngata, heoi, he uaua te āta tohu atu ko wai rātou, kei hea hoki tēnei wāhi.

Kei te whakawhiti tātou i te moana mā runga te waka o John Walsh. Mai i tētahi whanga ki tētahi, mai i tētahi motu ki tētahi anō. Kei te whakawhiti hoki tātou i ngā pae o mahara, i ngā takanga o te wā.

He mātau a Walsh ki te kōrero pūrākau mō ngā kōrero tuku iho a ōna iwi nō Te Aitanga-a-Hauiti me te iwi Āirani ki Aotearoa. He hokinga mahara tēnei peita ki te wā i toroa ngā moana me te whenua e ngā tūpuna mā runga waka nunui. He haerenga nui ēnei. Ka arahina ngā tūpuna e ngā tipua me ngā taniwha o te moana.

Wharewaka presents a misty vision of Oceanic sailing vessels moored in a pristine harbour. Like a fragment of a dream partially remembered, details of distant lands and people look strangely familiar but are impossible to identify with clarity.

John Walsh’s waka transports us on journeys across physical oceans, from harbour to harbour, island to island. It also carries us across thresholds of consciousness and dimensions of time.

Walsh is a master storyteller, basing his narratives on tales handed down to him from his Te Aitanga-a-Hauiti and Irish-New Zealand heritage. In this painting, he recalls a time when connections to the sea, and to peoples across the sea, were enabled by fleets of waka on grand voyages of Oceanic discovery. Within this mystical seascape, gods and creatures of legend live and interact with human beings, guiding them along the journey.

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YUKI KIHARA Takitimu Landing Site, Waimārama 2017

Mātātuhi arotahi korikori ki runga papa Lenticular photographic print on panel Nā Yuki Kihara me ngā wharetoi o Milford, Ōtepoti Courtesy of the Yuki Kihara and Milford Galleries, Dunedin

Nā te tikanga mātātuhi arotahi korikori, kua tahuri tētahi whakaahua noa ki tētahi whakaahua korikori tino hōhonu. Ko te ringatoi tēnei, ko Yuki Kihara e tū ana mō te kiripuaki o Salome. Kei te paringa o te tai, kei te kite tātou i te whakatutukinga o tētahi kaupapa, arā, kua huraina mai ngā hononga whakapapa o Salome ki Aotearoa.

E whai ana tēnei whakaahua i ngā kōrero tuku iho a te Māori nō Aotearoa, nō Rarotonga anō, mō te hanganga o tētahi waka tawhito ki Hāmoa. E kīia ana ko te waka o Tākitimu, nāna i kawe mai ngā tūpuna o Ngāti Kahungunu ki Waimarama, nō te puku o Te Matau a Māui, i tērā kotahi mano tau.

Nā te whakaahua a Kihara (he ringatoi nō Hāmoa, nō Nihona hoki), kua huraina mai ngā hononga i waenganui i ngā iwi o Te Ao o Kiwa. Kua whakawehea rātou e ngā āraitanga o te ao ōhanga me te ao tōrangapū, heoi, nā te takinga mutunga kore o ngā au o te moana, kei te rangona te hōhonutanga o ngā whakawhitinga moana i roto i ngā tau.

Transforming a photograph into a haunting, moving image, this lenticular print depicts artist Yuki Kihara in character as Salome. Standing in the incoming tide, we are privy to a moment of reconciliation, where Salome’s ancestral connections to Aotearoa New Zealand are revealed.

The photograph references Māori and Rarotongan oral histories that document the creation of an ancient seafaring waka in Sāmoa. This vessel became known as the Tākitimu waka and it carried the ancestors of Ngāti Kahungunu to Waimarama in central Hawke's Bay, over one thousand years ago.

As an artist of Sāmoan and Japanese heritage, Kihara’s photograph evokes a feeling of revelation, of connection between Oceanic peoples. Separated by imposed economic and political borders, the tide’s endlessly-repeating rhythm suggests a more fluid sense of connection across the sea, and across time.

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MARGARET AULL Seek Utopia, The Way Home series 2013 Rākau, maitai, kirimārō, tūhua Wood, steel, enamel, obsidian Nā te ringatoi Courtesy of the artist

Kei tēnei puninga toi nā Margaret Aull, tētahi tohu tiriti e takoto noa ana i runga i te papa. He mea tope. Ānō nei he kāpehu, kei te tohu atu ngā pito ki ngā hau e whā, ki Hawaiki, ki Hawaiki-nui, ki Hawaiki-roa, ki Hawaiki-pāmamao. Ko ngā ingoa ēnei o te kāinga o ngā mātua tūpuna.

Nā te whakamahinga o te kupu 'Hawaiki' e Aull, ka huri ngā whakaaro ki ngā motu nui ki Te Moananui-a-Kiwa e mau ana hoki i taua ingoa, arā, ko te motu o Hawai'i me te motu o Savai'i i Hāmoa. He tohu ēnei ingoa o te kaha o te hononga o ngā iwi o Te Moananui-a-Kiwa ki te moana – kaua hei whakawhitinga nui noa iho, engari hei kāinga-rua mō te katoa.

Ki te whakatairitehia tēnei mahinga toi ki tērā a Greg Semu, arā, ko The Arrival, he urupare tēnei puninga toi ki te pōhēhē 'i te ngaro noa (ngā tūpuna) i te moana', arā, he mea tūpono noa te kitenga me te tauranga mai o ngā iwi o Te Moananui-a-Kiwa ki ngā motu o reira me Aotearoa. Kei te arohaehaetia tēnei whakaaro kaikiri e Aull. Kua topea te tohu tiriti a te Pākehā, pērā i te pou haki o Waitangi i topea e Hone Heke i te tau 1844.

In this installation by Margaret Aull we see a toppled signpost lying on the ground. Like a compass, the signs point in four different directions, indicating the directions to Hawaiki, Hawaiki-nui, Hawaiki-roa and Hawaiki-pāmamao. These are the names of the ancestral homelands of Māori prior to the settlement of Aotearoa New Zealand.

Aull’s use of the Māori word for home, Hawaiki, points to other important islands in Te Moananui-a-Kiwa, the Pacific Ocean, with similar names and meanings. These include the island of Hawai’i and the island of Savai’i in Samoa. This reference to multiple homelands across the ocean demonstrates the strength of connection that Pacific peoples have with the sea, not as an expanse that separates, but as an extension of home across the sea.

Seen in relation to Greg Semu’s The Arrival, this sculpture can be seen to address the ‘lost at sea theory’ which suggests that Aotearoa New Zealand and other island nations in the Pacific were discovered and settled by accident. Here Aull critiques this racist ideology, symbolically cutting down this Western marker of location with an act reminiscent of Hone Heke and the Waitangi flagpole in 1844.

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TAWHAI RICKARD Cook Discovers Aotearoa 1769 2019

Rākau hangarua, peita kiriaku, shellac, konganuku Reclaimed wood, acrylic paint, shellac, metal Nā te ringatoi me PAULNACHE, Tūranganui-a-Kiwa Courtesy of the artist and PAULNACHE, Gisborne

Ko te tohutohu nui ki a Kāpene James Cook rātou ko tana ope i tana taunga mai ki Aotearoa i te tau 1769, me whakaratarata atu ki te tangata whenua. Ka tūtū te puehu i ngā tūtakinga tuatahi ki te Māori ki Tūranganui-a-Kiwa nā te urutomokanga o ngā hēramana o Kuki ki ngā rohe o te Māori. Ka ātetehia a Kuki mā e ngā taua Māori, ka pakō ngā pū a te Pākehā, ka mate ngā rangatira pērā i a Te Mārō, i a Te Rākau rātou ko ētahi atu.

He tōtara wāhi rua ngā kōrero mō taua wā, nā, kua tahuri a Tawhai Rickard ki te kimi i tētahi whakatutukinga mō te kaupapa i roto i āna tārainga. Kua ahu mai te āhua o tana mahi peita i te rautau 18, nō te whare o Te Whānau a Hinetapora, e tū ana ki te taha rāwhiti o Ruatōrea. He tirohanga whakamuri āna mahi, ki ngā āhuatanga i pā i roto i ngā whakawhitinga o taua wā. Waihoki, ehara i te mea kei te hunaia ngā take tautohetohe.

Kei tēnei tārainga, kei te whakaatuhia e Rickard te HMB Endeavour, he kaipuke pūtaiao nō te terenga tuatahi a Kuki i Te Moananui-a-Kiwa. Hei tā Rickard, ehara a Cook i te kaitoro matua o Aotearoa, engari he hōia kē, e whai ana i ngā tohutohu o te Whare Ariki o Piritana.

When Captain James Cook arrived in Aotearoa New Zealand on the Endeavour in 1769, he and his crew were under strict orders to establish friendly relations with any inhabitants they met. First encounters with Māori in Turanganui-a-Kiwa were however marred by incidents of violence. Cook’s crew intruded into protected territories and were repelled by Māori forces, leading to gunshots and the death of rangatira such as Te Mārō, Te Rākau and others.

In his painted sculptures, Tawhai Rickard seeks to reconcile the two sides of this history. Referencing an 18th century figurative style of painting derived from Te Whānau a Hinetāpora, a meeting house just east of Ruatōria, Rickard’s artwork retrospectively considers the circumstances surrounding these interactions. His works do not shy away from controversy, but neither do they vilify Cook as a person of malicious intent.

In this sculpture Rickard presents the HMB Endeavour, the ship that Cook sailed on his first voyage to the Pacific. Rickard portrays Cook, not as a ‘Founding Father’ of Aotearoa New Zealand, but as a military officer acting under orders from the British Crown.

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JOHNSON WITEHIRA Captain Cook 2012

Mātātuhi matihiko Digital print Nā te kohinga o Porirua City Council Collection of Porirua City Council

He ringatoi whakairoiro a Johnson Witehira, he whakapapa Māori, he whakapapa Pākehā hoki tōna. Ko te kaupapa o te nuinga o āna mahi, ko ngā tirohanga rerekē ō te Māori me te Pākehā ki te nohotahitanga ā-motu me te tuakiri o Aotearoa. Ko te kaupapa o tēnei mahinga toi, ko ngā maharatanga mō Kāpene James Cook.

E whakanuia ana a Cook ki Ingarangi, ki Aotearoa anō hei tino toa o te motu, arā, nāna i "kite tuatahi" ngā whenua hou, nāna hoki te tatau o tēnei whenua i huaki ki te ao whānui. Heoi, ki te nuinga o ngā iwi taketake, nō te taunga mai o Cook ki Te Moananui-a-Kiwa, ka pakaru mai tētahi pakanga tino wehi hei patu i a iwi kē – mā te riri, mā ngā tahumaero me ngā mahi nukurau o te ao tōrangapū.

Nō tana taunga tuatahi mai ki Aotearoa, he tini ngā rangatira Māori i kōhurutia, i patua kinotia rānei e ngā tāngata o Cook ki Tūranganui-a-Kiwa. Kāore a Witehira i whakaae kia whakatairangatia a Cook. Ko tāna kē, he whakaahua i a ia mā te tirohanga o te Māori. Kei te tohea ngā tirohanga me ngā kōrero rongonui a te Uru mō ngā mahi a Cook me āna tūtakinga ki te Māori.

Hei tā Witehira, 'Mai anō i te taenga mai o te Pākeha, he maha tonu ngā moetanga i waenganui i ngā iwi rerekē. Heoi, kāore tonu tātou i te tino mārama, ko wai pū te tangata he nui āna herenga ā-iwi. Ānō nei e kumea ana koe e ngā ao e rua, hei kanohi mō te ao Māori, mō te ao Pākehā rānei.'

Johnson Witehira is a graphic artist of Māori and European New Zealand heritage. His work often addresses differences between Māori and European-New Zealanders' perceptions of Aotearoa New Zealand nationhood and identity. In this artwork, Witehira is interested in the way that Captain James Cook is remembered.

In England and in Aotearoa New Zealand, Cook is often lauded as a cultural hero—someone who 'discovered' new lands and opened this country to the world. For many Indigenous peoples however, Cook’s arrival in the Pacific heralded the beginning of a violent and malicious genocide, one that sought to clear the land of human occupation through war, disease and political impropriety.

On his first landing in Aotearoa New Zealand, Cook’s men killed and seriously injured a number of Māori leaders in Tūranga, modern day Gisborne. Rather than canonising Cook, Witehira frames Cook within a Māori worldview, challenging dominant Western perspectives and narratives of Cook’s exploits and encounters with Māori.

As Witehira states. ‘The mixing of races has been common in Aotearoa New Zealand since the arrival of Europeans. However, what it means to be someone of mixed identity remains ambiguous. Being of mixed heritage often feels like you are pulled between two worlds, either representing Māori or Pākehā.’

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JO TORR Pinxit Waistcoat 2006 Pinxit Coat 2006

Wūru, hiraka, aho reiaku Wool, silk and rayon threads Nā te ringatoi Courtesy of the artist

Nō te reo Rātini te kupu Pinxit. Ko te whakamārama ko 'nāna i peita'. E hāngai ana taua kōrero ki ngā pua kōwhai me ngā rau i peitahia e te ringatā o te ao koiora, e Sydney Parkinson. He mea kohikohi ērā ki Ūawa, e pā tata ana ki te tauranga tuatahi o te Endeavour ki Aotearoa, i te terenga tuatahi a Cook ki Te Moananui-a-Kiwa.

E 22 tau noa te pakeke o te kaipūtaiao o te terenga, o Joseph Banks. Nāna a Parkinson i tono hei ringatā huahua, hei ringa peita hoki mō ngā koiora i kohikohia e rāua ko te kaimātai tipu, ko Daniel Solander. Ko te mahi a Parkinson, he āta tā i ngā āhuatanga o ia tipu, ā ka tae atu rātou ki Ingarangi, ka tāngia te katoa o taua tipu. Heoi, ka mate kē a Parkinson i tō rātou hokinga ki te kāinga. E 26 tau noa iho tana pakeke.

Kei te mihi a Torr i taua ringatoi – he rangatahi noa i taua wā – i roto i āna tuituinga o ngā tānga a Parkinson ki runga i ngā papanga kākahu nō te rautau 18. He tohu āna tānga mō te hononga i waenganui i te tangata, i te wāhi me ngā taputapu nō te ao tūroa.

In calling her work Pinxit, a Latin word meaning ‘he painted it’, Jo Torr references paintings of kowhai flowers and leaves by botanical illustrator, Sydney Parkinson. The specimens were collected at Tolaga Bay, near the site where the Endeavour first landed in Aotearoa New Zealand, during Cook’s first voyage to the Pacific.

The scientific patron of the voyage, Joseph Banks, was only 22 when he recruited Parkinson to make detailed sketches and paintings of the specimens he collected with his botanist, Daniel Solander. Parkinson’s role was to accurately record the important details of each plant, which he could then develop into full illustrations back in England. Parkinson unfortunately died on the return voyage, aged just 26.

Torr pays tribute to this young artist by embroidering versions of Parkinson’s illustrations onto eighteenth-century clothing panels, representing the relationship between people, places, and objects from the natural world.

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MEGAN JENKINSON The Florentina Pectora (Flowering heart) 1987

Toipiripiri cibachrome, pouaka rākau, taitapa karaehe Cibachrome collage, wooden box, glass frame Nā te kohinga o te James Wallace Arts Trust Collection of the James Wallace Arts Trust

Kei Florentina Pecotra, kei te mahara a Megan Jenkinson ki ngā tipu i kohia e Joseph Banks rāua ko tōna kaimātai tipu, ko Daniel Solander i te terenga tuatahi o Kuki ki Aotearoa i te tau 1769. Nui atu i te 30,000 ngā momo tipu me ngā momo kararehe i kohia e rātou ko Sydney Parkinson, he ringatā tipu nō runga i te Endeavour. Ko ngā tānga a Parkinson ētahi o ngā tauira tuatahi o te toi nō Ūropi, nō Aotearoa hoki. Ināianei, kei ngā kohinga o Te Papa me Tāmaki Paenga Hira ngā tānga me ngā tipu i kohia i taua wā.

Kei ētahi pouaka karaehe ngā kohinga a Jenkinson e āta mau ana – pērā i ngā tipu e āta mātaihia ana i ngā muhiama. He tohu tēnei mō te tirohanga toi me te tirohanga pūtaiao o te Pākeha i tō rātou taenga tuatahi mai ki Aotearoa. Mā tēnei mahinga toi, e kite ai tātou i te ahunga mai o ngā hononga o te tangata ki ngā āhuatanga o te taiao, arā, he mea āta whakarite, he mea kapo ake hoki i runga i te ahurea o te tangata.

In The Florentina Pectora, Megan Jenkinson references botanical specimens collected by Joseph Banks and his botanist, Daniel Solander, on Cook's first voyage to Aotearoa New Zealand in 1769. Working with Sydney Parkinson, a botanical illustrator aboard the Endeavour, the party collected over 30,000 specimens of plants and animals. Parkinson’s drawings are among the earliest examples of European-New Zealand art, and some of these illustrations and botanical specimens are now held in the collections of Te Papa Tongarewa and the Auckland War Memorial Museum.

Jenkinson’s delicate assemblages are presented in a glass case like botanical specimens in a museum, commenting on the European artistic and scientific lens through which Aotearoa New Zealand was first viewed and scrutinised by Western eyes. Through this complex cultural prism, the work suggests that human connections to natural objects might be impressed upon people through cultural processes.

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BILL HAMMOND Unknown European Artist 2004

Kiriaku ki runga kānawehi Acrylic on canvas Nā te kohinga o Mark Stevenson The Stevenson Collection, Picton

Kei te pikitia o Unknown European Artist tētahi whenua rākau-kore. E tū ana ētahi manu, he rite te hanga ki te tangata, ki tētahi pari, e tatari ana, e mātakitaki ana i te pae. He mea pōhewa noa tēnei whenua, nō mua i te taenga mai o te tangata ki ēnei motu. Kei konei tētahi tāne, ko te whakapae, ko te Unknown European Artist tērā, he tangata iti noa, e mau ana i te hūtu. He angaanga wehi te upoko.

Kua ahu mai te ngākaunui o Hammond ki te mātai manu i tana haerenga ki Motu Maha, arā, nā te korenga o te tangata, ka mīharo ia ki te nui o ngā manu.

Kei te whakaahua ngā peita a Hammond i te pānga o te tangata ki te taiao, otirā, ka kitea hoki te wāhi ki te ringatoi, e hopu ana i te ngarohanga o ngā rākau māori me ngā kāinga o ngā manu i Aotearoa. Kei te tino rangona te hononga o ngā tikanga toi a te Māori, a ngā iwi o Te Moananui-a-Kiwa me ērā nō Ūropi, ki te whenua me ngā wai o Te Moananui-a-Kiwa. Heoi, ko te ngarohanga o ngā kīrehe māori me ō rātou nōhanga te utu.

Unknown European Artist presents a deforested landscape, populated with human-like birds standing at the edge of a cliff, waiting, and watching the horizon in anticipation. It’s an imagined landscape from a time before the arrival of humans to these isles. A man, we assume to be the Unknown European Artist, is portrayed as a tiny, suited figure with a deathly skull for a head.

Hammond’s interest in ornithology (the study of birds) can be traced back to a journey to the remote Auckland Islands when, in the absence of human activity, he was amazed by the abundance of birdlife.

Hammond’s paintings depict the human impact on nature and, ironically, illustrate the role of artists in documenting the destruction of native botanical and ornithological environments in Aotearoa New Zealand. Māori, Pacific and European-New Zealand artistic traditions demonstrate a strong connection to the land and waterways of the Pacific, yet our proliferation on these islands has come at a high price to native species and habitats.

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GREG SEMU The Arrival 2016

Mātātuhi whakaahua C type photograph Nā te kohinga o Porirua City Council Collection of Porirua City Council

E whai ana The Arrival nā Greg Semu i te tauira o tētahi o ngā peita rongonui o Aotearoa, arā, ko The Arrival of the Maoris in New Zealand nā Louis John Steele rāua ko Charles F Goldie i te tau 1898. I takea mai taua peita i te mahi peita rongonui a Theodore Géricault nō te tau 1819, arā, ko Raft of the Medusa, e whakaatu ana i ngā hōia o Wīwī e pōteretere ana i runga i te moana i muri mai i te whakatotohu o tō rātou waka taua ki tai. I whakanuia taua peita i te mea, i tino kitea te wairua toa o ngā morehu.

Ko tā Steele rāua ko Goldie, he whakaatu atu i ngā taumahatanga ki runga i a Kupe mā i a rātou e whakawhiti ana i Te Moananui-a-Kiwa. I tino mihia tā rāua mahi peita e ngā Pākehā tuatahi, heoi, kāore i pai ki te Māori. Kua tino hē te āhua o te nuinga o ngā mea i roto i te pikitia; mai i te waka taua, arā, ehara tērā i te momo waka e tika ana ki te toro i te moana, tae atu ki te whīroki o ngā kaitoro i runga i te waka. Nā ngā whakaahuatanga a aua Pākehā, ka tino kitea ngā waiaro kaikiri o ngā Pākehā tuatahi, e pōhēhē ana nō te ao kōhatu anake ngā iwi o Te Moananui-a-Kiwa, kāore i te mōhio ki te whakatere waka huri noa i te moana.

I haere a Semu ki Rarotonga ki te waihanga anō i te terenga mai o te Māori mai i te tirohanga o te Pākehā. Kei te mahinga toi a Semu, kua hangaia te moana e te tāporena kahurangi me ngā papanga kirihou kōataata, e tino kitea ai ngā wāhanga hori o te piktia – e arohaehae ana tērā i ngā tikanga toi a te Uru me ngā pōhēhē e pā ana ki ngā iwi o Te Moananui-a-Kiwa.

The Arrival by Greg Semu recasts one of the best-known paintings ever produced in Aotearoa New Zealand—The Arrival of the Maoris in New Zealand by Louis John Steele and Charles F Goldie completed in 1898. The original painting was based on Theodore Géricault's famous 1819 Raft of the Medusa that depicted French soldiers adrift in the ocean after their frigate was wrecked at sea. Both of these paintings were celebrated for illustrating the hope of rescue and survival.

Steele and Goldie hoped to depict the imagined suffering which they believed Kupe and other Pacific navigators experienced sailing across Te Moananui-a-Kiwa, the Pacific Ocean. The painting was popular amongst colonial artists and settlers—however, this scene was highly offensive to Māori. Almost everything in the image was incorrect, including the emaciated look of the travellers and the waka-taua (war canoe) that was incorrectly depicted as a double-hulled ship. These types of Western imaginings reflected colonial settler attitudes that perceived Pacific peoples to be primitive and incapable of navigating the vast expanses of the Pacific Ocean.

For this photograph, the artist Greg Semu travelled to Rarotonga to recreate this imagined scene. In Semu’s version we see the illusion of the sea recreated through the use blue tarpaulin and clear plastic sheets, intentionally revealing the fictional aspects of the image as a critique of Western art and perceptions of Pacific peoples.

Right: Greg Semu, The Arrival, 2016, C type photograph, 126.5 x 168.7cm, courtesy of the artist

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Ko te 間 (Ma) he kupu Nihona mō te wāhi i waenganui i ngā hanganga e rua. He āhua rite pea ki ngā kupu ‘Tā’ me te ‘Vā’ nō Te Moananui-a-Kiwa, koia hoki te ‘Wā’ me te ‘Wāhi’ i te reo Māori.

Nā runga i ngā āhuatanga o te reo me te whakaaro, ka kite tātou i te nui o te hononga i waenganui i ngā iwi me ngā wāhi o Te Moananui-a-Kiwa.

Nā te rahi o ngā mahinga toi i roto i tēnei wharetoi, ka rongo tātou i te nui o ngā hononga, waihoki te whānui me te hōhonu o ngā kōrero mō te moana. Ko te mahi o ia ringatoi, he toro atu ki ngā mahinga toi me ngā tikanga tuku iho o tōna anō iwi hei waihanga i ngā tūtohu toi hei whakaahua i te wā me te wāhi.

間 (Ma) is a Japanese word that can be roughly translated as the space between two structures. In central Polynesia, ideas of ‘Tā’ and ‘Vā’ express a similar spatial awareness of connection across time and space. For Māori, the word ‘Wā’ expresses a notion of time that is also inherent to the idea of place (Wāhi).

These linguistic and conceptual similarities suggest that connections between people and places in Te Moananui-a-Kiwa, the Pacific Ocean, are far greater than we may realise.

The grand size of the artworks in this gallery address this idea of connection, expressing the expansiveness of the ocean and the histories contained within. The artists draw on the artistic and philosophical traditions of their cultures to create visual markers of time and space.

KAZU NAKAGAWA Carving Water Painting Voice 2016

Toi puni, kōnae whakarongo nā Helen Bowater Installation, audio composition by Helen Bowater Nā te kohinga o Hui Te Ananui A Tangaroa Collection of the New Zealand Maritime Museum

Kei tēnei whakaaturanga nā Kazu Nakagawa, e tārewa ana tētahi vaka nō Niue ki runga ake i tētahi kohinga hoe. He pango te tae. Kei te rere ngā reo, anō nei ko ngā ngaru o te moana.

Nā tētahi tohunga whakairo nō Niue tēnei vaka i tārai. Ko Taumafai Fihinui tōna ingoa. Ka pakaru te vaka i tētahi whakawhitinga o Tīkapa Moana. Ka whakarērea mō tētahi wā, kātahi ka tukuna ki ngā ringa rehe o Nakagawa. Ka āta whakatikaina tēnei vaka e te ringatoi. Rite tonu tana haere ki te Maritime Museum i Tāmakimakaurau ki te rangahau i ēnei tūmomo waka. Kua tuituia ngā hoe (he mea whakairo nā Nakagawa) ki tētahi pāpāhotanga nā Helen Bowater. Kua waipuketia te whare toi e ngā waiata me ngā kōrero ā ngā manene e whakapuaki ana i ā rātou wheako i roto i ō rātou ake reo.

I tipu ake a Nakagawa ki Tokyo. Ka hūnuku mai ia ki Aotearoa i te tau 1986. E whakakotahi ana a Carving Water Painting Voice i ngā ariā mō te 間 (Ma), he kupu Hāpanihi mō te āputa i waenganui i ngā hanganga e rua, me te 'Vā' nō Te Moananui-a-Kiwa, he kupu mō te hononga o te wāhi me te wā.

Nā tōna toronga o te wāhi, o te tawhiti me te whakawhitinga o te mātauranga mā te mahi auaha, kei te whakaatu mai a Nakagawa i te tuakiri o ngā iwi maha nō ngā wai o Te Ao o Kiwa

In Kazu Nakagawa's installation a Niuean vaka hovers above a sea of blackened paddles, washed in an ocean of voices.

Originally carved in Niue by master craftsman Taumafai Fihinui, the vaka was badly damaged on a voyage across Auckland’s Hauraki Gulf, falling into disrepair before being passed into Nakagawa’s skilled hands. The artist meticulously restored the vaka, frequenting the Maritime Museum in Auckland to study similar vessels. The intertwined paddles carved by Nakagawa are woven into an immersive soundscape composed by Helen Bowater, washing the gallery with songs and stories of immigrants to Aotearoa New Zealand.

Growing up in Tokyo and immigrating to Aotearoa New Zealand in 1986, Nakagawa’s Carving Water Painting Voice brings together Japanese and Pacific philosophies of 間 (Ma), a Japanese word referring to the space between two structures, and Pacific ideas of 'Vā' which express a similar spatial awareness of connection across time and space.

Exploring space, distance, transmission and knowledge-sharing through creative practice, Nakagawa expresses a sense of identity that is located on and of the sea as a space shared by Oceanic peoples.

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DAME ROBIN WHITE & RUHA FIFITA We are the small axe 2015

He ngatu (hiako) nō Tonga, kano one, kano tipu Tongan ngatu (barkcloth), earth pigments and plant dye Nā te ringatoi me te wharetoi o McLeavey, Te Whanganui-a-Tara Courtesy of the artists and McLeavey Gallery, Wellington

Kei te aronui a We are the small axe ki te tahiwi o tētahi waka ki runga i tētahi tauira tukutuku o ngā ngaru o te moana. E mau ana te tahiwi ki ngā tini utauta, e takoto ana te manu, te ika me te tipu i te taha o tētahi rama āwhā, o ngā pouaka tī nā Bell me ētahi atu ō. Kei te arahina te waka e ētahi tuna nui e heke ana i te rua o Rangitahua i Aotearoa ki te tō rātou wāhi whakaputa hua ki Tonga.

He tini hoki ngā whakamārama mō te taitara o te mahi, arā, ko te whakahirahira o ngā tikanga tārai toki a Te Moananui-a-Kiwa, ko te hua nui anō ka puta i te tangata e tino arotahi ana ki tana kaupapa. Nō roto i ēnei whakaahua me āna tohu, kei te whakaputaina e White rātou ko ōna hoamahi, ngā tini kōrero mō te mahi hokohoko, mō ngā hekenga tāngata me ngā nōhanga ki Te Ao o Kiwa.

I te tau 2011, ka haere a White ki ngā motu o Rangitahua, ka mīharo ki ngā tohu ora o te tangata ki reira, mai i ngā māra kai o ngā whakatipuranga maha o ngā kaitoro o Te Moananui-a-Kiwa, ki ngā uru hua rākau i whakatōkia e ngā manene nō Ūropi. He tohu whakamahara te tīpāta me ngā kapu ki te whānau Bell. I te wā o ngā tau 1870, ka ngana rātou ki te whakatū pāmu ki reira.

We are the small axe is dominated by the open hull of a waka, centred on a grid of repeating angular waves. Compartments of cargo, including birds, fish and plants, are stored on board alongside a hurricane lantern, cartons of Bell Tea and other provisions. Large eels accompany the vessel as they migrate along the Kermadec trench from Aotearoa New Zealand to their breeding habitat near Tonga.

The title of the work is equally layered, referencing the significance of adze-making traditions in the Pacific, while also metaphorically referring to the potential of people with sharpened intent. Through these layered images and symbolic references, White and her collaborators speak to complex histories of Oceanic trade, migration and habitation.

In 2011, White travelled to the Kermadec Islands and was impressed with the signs of human habitation there, from edible vegetation planted by sequential generations of Pacific voyagers to more recent groves of fruit trees established by European migrants. The teapot and teacups in particular pay tribute to the Bell family who attempted to establish a farm on Raoul Island in 1870s.

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GLEN WOLFGRAMM Site 2012 Kiriaku, waituhi Īniana, wānihi ki runga kānawehi Acrylic, Indian ink and varnish on canvas Nā te ringatoi me te Wharetoi o Orex Art Courtesy of the artist and Orex Art Gallery

I te reo o Tonga, ko te 'Tā', te kupu mō te rere o te ngīra tā moko, mō te takitaki o te patu hiako rānei, arā, ko te 'tā-tutu' me te 'ike'. Kei te kitea ēnei tohu o te wā me te wāhi i roto i te mahi peita a Glen Wolfgramm.

He whakapapa Tiamana, Airihi, he whakapapa Tonga hoki tō Glen Wolfgramm. Kei te kitea ngā tikanga toi āhuahanga tūrehurehu a te Uru, heoi, kei te ū tonu te hanga me te āhua o āna mahi ki te ngatu (hiako) me te lalava (he whiringa taura) nō Tonga.

Kei te kitea tōna mātau ki te manawataki me te wāhi i roto i āna peita. Pērā i ngā tauira kua āta whakatakotohia ki ngā tuituinga o te lalava, kua tuituia hoki ngā kōrero tuku iho ki runga i te mata o ngā peita a Wolfgramm – kua herea tātou ki tana tukutuku, ki ngā rārangi, ki ngā wāhi, ki ngā hanganga. Kei tēnei peita ngā ngaru e rere ana i te ahopae me te ahopou, e whakawhitiwhiti ana i ngā rārangi me ngā tohu whakatere waka. Ko te otinga atu, ko tētahi whakaaturanga mō te whenua, mō te moana me te rangi o Te Ao o Kiwa.

In the Tongan language, the word 'Tā' is often used in reference to the rhythmic beating of a tattoo needle, a tā-tatau, or the repetitive pounding of a barkcloth beater, a tā-tutu or ike. These markers of time and space can be seen at work in Glen Wolfgramm’s paintings.

As an artist of German, Irish and Tongan heritage, Glen Wolfgramm’s paintings operate within the traditions of Western abstraction, while also retaining a strong aesthetic and conceptual relationship to Tongan ngatu (barkcloth) and lalava (rope binding) forms.

His paintings demonstrate an expert command of rhythm and space. Like intricate patterns created from the complex algorithms of lalava binding, we see histories woven into the surface of Wolfgramm’s paintings, binding us into its matrix of line, space and form. In this painting we see waves of longitude and latitude interwoven with navigational lines and markers, creating an Oceanic representation of land, sea and sky.

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7558 COLLECTIVE Hūtia 2019 He puninga toi korikori pāhomatarau Multimedia moving image projection installation Nā te ringatoi Courtesy of the artists

He kāhui toi matarau a 7558 Collective, ko āna mema ko Jamie Berry rātou ko Pikihuia Haenga, ko Leala Faleseuga, ko Te Kahureremoa Taumata.

He whānui ngā momo rauemi me ngā tirohanga ā-iwi e hāpaitia ana e tēnei kāhui toi. Kua whakawhanakehia e rātou tētahi tauira e whakawhiti ana i ā rātou raupapa pītau ira 23 ki ngā rārangi puoru. Ko te otinga atu, ko tētahi whakaaturanga oro e takitaki ana i ō rātou hononga ki a Papatūānuku.

E mātoro ana hoki tēnei whakaraupapatanga i ngā wā o mua, i tēnei wā tonu, otirā i ngā rā o anamata. Kei te tūhura i ngā tikanga ā-iwi me ngā tikanga toi a Te Moananui-a-Kiwa me Aotearoa.

Mā te whakapapatanga o te raranga, o te whai, o te kōwhaiwhai, o te waiata me ngā tānga pikitia ka kitea te hononga i waenganui i te whānau me te mokopuna. Nā te ringatoi matarau, nā Miriama Grace-Smith ērā mahi.

Nā te tuituinga o ngā toi matarau, ka whakaaroaro te tangata mō tēnei mea te mahara, te tuakiri, ngā whakawhitinga o ngā tūpuna ki konei, ngā hononga whakapapa, te whenua me te moana. Ko te hua o tēnei mahinga toi, ko tētahi wāhi whakaaroaro, he wāhi whakarauora, he wāhi e puta mai ai ngā wawata mō anamata me ngā tūmanako nui.

7558 Collective consists of multidisciplinary artists Jamie Berry, Pikihuia Haenga, Leala Faleseuga, and Te Kahureremoa Taumata.

As a collective, 7558 work across a range of media and cultural paradigms. The artists have utilised a specially developed algorithm that translates their 23rd chromosome DNA sequences into musical compositions, creating soundscapes that map their connection to Papatuanuku (Earth mother).

This process of mapping extends to an exploration of past, present and future, and of cultural and artistic practices from the great Pacific Ocean of our ancestor Kiwa and Aotearoa.

Here Māori raranga (weaving), whai (string games), kowhaiwhai (painting), waiata (song) and illustrations that depict the bond between whānau and mokopuna, by multidisciplinary artist Miriama Grace-Smith are layered together.

Various threads of creative practice converge to meditate on ideas of memory, identity, waves of migration and inter- connectivity through bloodlines, whenua (land) and moana (ocean). The resulting work conjures a space for contemplation and healing, as well as futuristic dreaming and hope.

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RACHAEL RAKENA / JOHNSON WITEHIRA Disrupted Symmetries 2019

Kiriata korikori matarua, maitai kōawaawa uhi hungahunga, rākau Dual screen moving image projection, enamel on corrugated iron and timber Nā te ringatoi Courtesy of the artists

Kei te mahinga toi o Disrupted Symmetries, kei te whakaatuhia ngā kōrero mō te whānau marama. Ko ngā kāhui whetū nei te whakatinanatanga o ngā atua, e ārahi ana i te terenga o ngā waka, e tohu ana i te huringa me te tīmatanga atu o ngā wāhanga o te tau. Kei raro iho i te whānau marama, tētahi waka-hourua e whakawhiti ana i Te Moananui-a-Kiwa.

E whakaata iho ana tēnei whakaaturanga i ngā koringa o ngā ngaru pango ki runga i te kahu o te moana. He mea waihanga te tārainga i te maitai kōawaawa, e whai ana i te tauira o ngā mahi a Ralph Hotere rāua ko Bill Culbert, i tō rāua tūhuratanga o ngā āhuatanga ā-toi, ā-iwi hoki o te ao me te pō i Aotearoa.

Ko te whāinga a tēnei mahinga ngātahi a Rachael Rakena rāua ko Johnson Witehira, ko te wāwāhinga o ngā kōrero mō te "kitenga" o Aotearoa e Cook. Otirā, kei te whakatōkia kētia ngā kōrero a ngā tūpuna mō te terenga o te Moananui e ngā iwi maha o Te Moananui-a-Kiwa.

In Disrupted Symmetries we see an interpretation of the night sky depicted through Māori cosmological narratives. Stars and constellations, personified as deities, mark navigational coordinates, signalling also the passing and arrival of new seasons. Beneath this star-lit canopy, a waka-hourua, a double-hulled ship, sails across the vast expanse of Te Moananui-a-Kiwa, the Pacific Ocean.

Reflections of this scene are cast down onto an ocean-like surface of undulating black waves. Made from corrugated steel, the sculptural element of this work references the collaborative investigations of Ralph Hotere and Bill Culbert’s collaborative investigations into the artistic and cultural meanings of light and darkness in Aotearoa New Zealand.

A collaborative installation by Rachael Rakena and Johnson Witehira, Disrupted Symmetries seeks to dismantle narratives around Cook’s 'discovery' of Aotearoa New Zealand. It supplants these perspectives with an overtly Māori view of the longer history of Oceanic navigation and exploration by Pacific peoples.

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LALA ROLLS Tupaia's Endeavour 2012-2019

Nā Lala Rolls i tohu, i whakaputa, i wāwāhi Directed, produced and edited by Lala Rolls 20 miniti Pakipūmeka wāhunga 20 minute excerpt of Documentary Feature Film

Kei te huraina mai e te ringatoi, e Michel Tuffery rātou ko Kirk Torrance (he kaiwhakaari), ko Paora Tapsell (he kaimātai tikanga tangata) ngā kōrero tuku iho mō Tupaia, te tohunga nō Tahiti nāna i ārahi i a Cook rātou ko ōna kaumoana ki runga i te waka Endeavour, mai i Papeete ki ngā wai o te tonga. Nō tōna ekenga ki te kaipuke o Piritana, ka tū a Tupaia hei kaiwhakawhiti reo, hei kaitakawaenga, hei ringatoi me te kaiwhakatere waka.

Mā ngā mahinga toi a Tuffery me te kōrero a Tupaia's Endeavour, kei te kawea te kaimātakitaki i tō rātou ake mātorohanga o Aotearoa. Kua tāpirihia e te kaimātai hītori, e Kahurangi Anne Salmond, ētahi kōrero mō te tūranga nui o Tupaia i te terenga tuatahi o Cook ki te tonga o Te Moananui-a-Kiwa, hei tāna,".... he nui ake tōna tūranga i tō Cook."

I takea mai tēnei pakipūmeka i tētahi kaupapa pouaka whakaata, e toru ngā wāhanga. Ka whakaatuhia ki Whakaata Māori, ka whakawhiwhia hoki ki tētahi tohu whakahōnore. Otirā, kua wāwāhia anōtia a Tupaia's Endeavour e te ringatohu, e Lala Rolls, kia heke te roa ki te 1 haora, e 55 meneti. Ko ētahi o ngā wāhanga, he mea tīpako ake mō tēnei whakaaturanga anake. Ka whakaatuhia te roanga o te pakipūmeka mō Tupaia's Endeavour ki Pātaka hei te mutunga o te marama o Whiringa-ā-nuku.

Artist Michel Tuffery, actor Kirk Torrance and anthropologist Paora Tapsell uncover the story Tupaia, the Tahitian navigator who in 1769 joined Cook and his crew on the Endeavour to sail south from Papeete. Once on board the British ship, Tupaia served as interpreter, diplomat, artist and navigator.

Incorporating some of Tuffery’s artwork, Tupaia’s Endeavour takes the viewer on their own voyage of discovery. Historian Dame Anne Salmond comments in the film that Tupaia played a pivotal role on Cook’s first journey to the South Pacific, “… he was more important than Cook,” she says.

Originally made as an award-winning three-part mini-series and screened on Māori TV, director Lala Rolls has re-edited Tupaia's Endeavour into a 1 hour and 55 minute feature film, a 20-minute excerpt of which has been cut for this exhibition.

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Kei te whakanuia a Kāpene James Cook rātou ko ngā kaumoana o te waka o te Endeavour i ā rātou māhi hei kaitoro, hei kaipūtaiao hoki. Kei te whakanuia hoki a Joseph Banks i āna mahi hei kaimātai taiao, hei kaimātai tipu me te kaituku rawa.

Heoi, kāore e āta rangona ngā kōrero mō te mātau o Joseph Banks ki ngā rongoā mō te mate koroputaputa me te pānga o ngā mate tauhou ki te tangata. Kāore hoki e āta kōrerotia ana ngā tukitukinga a Cook ki ngā Iwi Taketake o Amerika ki te Raki, te tū rānei o te Endeavour hei kaipuke taua e mau ana i ngā kēnana nunui, i ngā kēnana iti me tētahi ope taua moana e mātau ana ki te ao o Tū.

Ki te āta wānangahia ēnei kōrero me ngā matenga i puta ake i ngā tūtakinga kino i waenganui i ngā tāngata o Cook me te Māori, waihoki, te hōrapatanga o ngā tahumaero nā te mahi hokohoko, mahea te kite atu, ehara ēnei āhuatanga i te mea tūpono noa. Heoi, he mea āta whakarite kē, he whakaekenga o tētahi ope taua ki runga i ngā whenua kei raro i te mana o iwi kē.

He wā tōna ka whakawāteahia tātou e te kupu, he wā anō ka whakataumahahia. Ka whāngaia ngā kōrero tuku iho mō ngā tūtakinga ki iwi kē mā te kupu. Mā te kupu, ka mōhio ki ngā kōrero o mua, waihoki ki tō tātou tū i te ao o nāianei. Kei ngā mahinga toi i roto i tēnei wharetoi ētahi kōrero tuku iho e mau ana, mō Aotearoa, mō Te Moananui-a-Kiwa. Kei te karangahia tātou ki te āta wetewete i ngā kōrero e mōhio nei tātou, me te pānga o aua kōrero ki te āhua o tēnei motu.

Captain James Cook and the crew of the Endeavour are often celebrated in Aotearoa New Zealand for their work as explorers and scientists. Joseph Banks is equally applauded as a naturalist, botanist and philanthropist.

What we don’t often talk about is how educated Joseph Banks was on smallpox inoculations and the impact of introduced diseases. We also often neglect to mention Cook’s military experience and war campaigns with and against First Nations peoples in North America, or that the Endeavour was armed with technologically-advanced cannons, swivel guns (small cannons) and a crew of highly-trained marines.

When these facts are considered in relation to the fatal encounters between Cook’s crew, Māori and other Indigenous peoples throughout the Pacific, the deaths that occurred can be seen more clearly as intentional consequences of violent military incursions into sovereign territories.

The language we use to tell stories of cultural encounters can either liberate or repress our knowledge of history, and consequently our understanding of who we are today. The artworks in this gallery address these lesser-known histories in Aotearoa and elsewhere in Te Moananui-a-Kiwa, the Pacific Ocean. They ask us to reconsider the narratives we have been told and the impact this has on the image of who we are as a nation.

MICHEL TUFFERY The Messenger from Raiatea to Uawa 2018 Taiato and young Nick, the adventurer’s arrival in Aotearoa, 1769 2018 Cookie meets Cook Strait 2018 Te Maro and Solander te Rua intellectuals from opposite sides of the world, 1769 2018 Parkinson’s Kākābeak (Clianthus Puniceus) 1769 at Uawa outside Tupaia's Cave 2018

Kiriaku ki runga kānawehi 5 works in acrylic on canvas He kohinga tūmataiti Private collections

He uri a Michel Tuffery nō Hāmoa, nō Rarotonga, nō te iwi Ma'ohi hoki o Tahiti hoki. He ringatoi ia e noho ana ki Aotearoa. I tōna taha Tahiti, he hononga ā-whakapapa tōna ki a Tupaia, nā whai anō, he tirohanga motuhake tōna ki ngā kōrero mō tēnei tipua o mua. Ko Tupaia te takawaenga mō ngā whakawhitinga i waenga i te Māori me ngā kaumoana o te Endeavour i te wā o te terenga tuatahi o Kāpene James Cook ki Aotearoa.

I te wā i tāia ēnei peita, i te mahitahi a Tuffery ki a Nick Tupara (he ringatoi Māori, he kairangahau hoki) mō tētahi pakipūmeka mō Tupaia. He uri a Tupara nō Te Mārō rāua ko Te Rākau. I kōhurutia te tokorua rā e ngā tāngata o Cook i te tūtakinga tuatahi ki te Māori i te tau 1769.

E whakaatu ana ēnei peita i ngā rangatira nō ngā taha e rua o taua tūtakinga. Kei te kitea hoki ngā rākau me ngā manu māori i kitea e ngā tāngata o Cook ki Aotearoa. Kua mau i ngā peita a Tuffery te rerehua o te ao o ō tātou tūpuna, waihoki ko ngā tūkinotanga i pā ki tēnei whenua 'taurikura' i taua wā.

Michel Tuffery is an Aotearoa New Zealand-based artist of Samoan, Rarotongan and Ma‘ohi Tahitian heritage. Through his Tahitian heritage he has familial ties to Tupaia, giving him a unique perspective on the story of this legendary historic figure, who played such a pivotal role in mediating relationships between Māori communities and the crew of the Endeavour during Captain James Cook’s first visit to Aotearoa New Zealand.

When he painted these artworks, Tuffery was collaborating on a documentary film about Tupaia with Māori artist and researcher Nick Tupara, a descendant of the rangatira Te Mārō and Te Rākau who were killed by Cook’s men on the first encounter with Māori in 1769.

These paintings depict rangatira on both sides of this affray, as well as referencing native flora and birdlife Cook’s crew encountered in Aotearoa New Zealand. Tuffery’s paintings reflect the beauty of the world our ancestors inhabited, while also confronting the tensions and atrocities that occurred here.

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JO TORR Transit of Venus lll 2004

Siapo (hiako), anga, kano māori Siapo (barkcloth), shells, natural pigment Nā te ringatoi Courtesy of the artist

He kaka a Transit of Venus lll e hangaia ana e te hiako, e whai ana i te tauira o ngā kaka o Ūropi nō te wā o te terenga tuatahi a Kuki ki Aotearoa i te tau 1769. He tohu tēnei kaka o ngā mahi hokohoko ā-rawa, ā-iwi hoki, i waenga i ngā iwi o Ūropi me ērā o Te Moananui-a-Kiwa i taua wā.

I te tuatahi, ka tukuna a Cook ki Tahiti ki te mātai i te rere o Kōpū (arā, ko te whawhitinga o Kōpū mai i a Papatūānuku ki Tamanuiterā). Me mau i a ia ngā inenga hei āwhina i ngā kaipūtaiao ki te ine i te tere o te aho, e mārama ai rātou ki te rahi o te whānau a Tamanuiterā. Ka rere a Kōpū i te wā o Matari'i (ko Matariki) ki Tahiti— nō te taenga atu a Kuki mā ki reira, ka piki ake ngā mahi whakanui o te wā ki tētahi atu taumata.

He nui ngā rawa i tukuna e ngā iwi e rua hei tohu whakahoahoa. Ko te hiako tētahi i āta tāpaea ki a Kuki i te mea ko ia te rangatira o tana ope. He mea nui, he mea tākai ki te hope. Ka tuku hoki te Pākehā i ētahi o āna rawa papai ki te iwi o reira.

Hāunga te wairua whakakoakoa, kei konei anō tētahi wairua pōuri i te mea, he āhua rite te hanga o tēnei kaka ki ngā kākahu mate o te rautau 1800. Waihoki, nā ētahi o ngā mea i takohangia e Kuki rātou ko āna tāngata, ka hōrapa ngā moroiti tahumaero i Te Moananui-a-Kiwa. Hei tā te kōrero, i te wā i mate a Kuki, i tana terenga whakamutunga i Te Moananui-a-Kiwa, i te waihanga tana wahine, a Elizabeth Batts Cook i tētahi wēkete (he rite te taera ki ērā ō Ūropi) i te hiako.

Transit of Venus III is a dress made from barkcloth that is fashioned after a European style of women’s gown from the time of Captain James Cook’s first voyage to Aotearoa New Zealand in 1769. As an object this garment represents the exchange of commodities and cultural sensibilities that took place during early interactions between European and Pacific peoples.

The title of this work references Cook’s first instruction to sail to Tahiti to observe the transit of Venus (where Venus passes between the Earth and the Sun) in order to record measurements that scientists would later use to measure the speed of light, and to understand the scale of the solar system. The transit of Venus occurred during Matari’i (Matariki) cosmological observations in Tahiti, and seasonal festivities were heightened when Cook and his crew arrived.

Many goods were exchanged to establish good relations, including a large gift of Tahitian tapa (barkcloth) that was ceremonially unwound from the waist of the wearer and offered to Cook as a distinguished guest. Similar gifts of European materials were offered in return.

The celebratory aspects of this work are counterbalanced by a sombre undertone, when we consider the resemblance of this garment to 18th century style mourning dresses. Some materials gifted by Cook and his crew spread germs and diseases throughout the Pacific, and Cook’s wife, Elizabeth Batts Cook was also said to have been making her husband a European style vest from barkcloth when he was killed on his final voyage across the Pacific.

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RANGI KIPA IMMOBILIZE 1999

Rākau, maitai Wood, steel Nā te ringatoi Courtesy of the artist

He kaitoro nō Piritana a Kāpene James Cook (1728–1779), he ringatā mahere, he kāpene hoki i te Taua Moana o Piritana. Ki Aotearoa, ka whakanuia a Cook, i te mea koia te Pākehā tuatahi i tau mai ki te taha rāwhiti o Ahitereiria, ki ngā motu o Hawaii, me te Pākehā tuatahi i huri taiāwhio i ngā motu nui o Aotearoa.

Ki te whakanuia ēnei mahi āna, tērā ka pōhēhētia he toa a Cook – heoi, he kanohi taiaha tōna, ki te whakanuia anake, kāore e āta kitea ana te kino me te wehi o tēnei tangata. Hei tauira, i te terenga tuatoru o Cook ki Te Moananui-a-Kiwa, ka ngana ia ki te kawhaki i te ali'i nui (arikinui) o Hawaii, arā, ko Kalani'ōpu'u, hei utu i tētahi poti iti i tāhaengia mai i tētahi o ngā kaipuke o Cook.

He kaha a Cook mā ki te kawhaki me te hokohoko tāngata i a rātou e toro haere ana i Te Moananui-a-Kiwa. Koia te kaupapa o IMMOBILIZE nā Rangi Kipa, e kitea ai tēnei mahi me ngā momo tūkinotanga o Cook rātou ko āna kaumoana i a rātou i Te Moananui-a-Kiwa.

James Cook (1728-1779) was a British explorer, navigator, cartographer, and a captain in the British Royal Navy. In Aotearoa New Zealand we tend to celebrate him as the first European to make contact with the eastern coastline of Australia and the Hawaiian Islands, and the first European to circumnavigate our country.

By celebrating these achievements, we present a heroic but one-sided mythology of Cook that neglects, or at best minimises, the cruel and malicious nature of some of his actions. For instance, on Cook’s third voyage to the Pacific, he attempted to abduct the Hawaiian ali’i nui (paramount monarch) Kalani'ōpu'u with the intention of ransoming him for a cutter (a small boat) that had been taken from one of Cook’s ships.

This practice of abducting and ransoming high-ranking people was common during Cook’s travels in the Pacific. IMMOBILIZE by Rangi Kipa alludes to this and other reprehensible acts committed by Cook and his crew during their time in the Pacific.

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CHRISTINE HELLYAR Red Cloud 2012

Hiraka, papahune, wūru Silk, cotton & wool Nā te ringatoi Courtesy of the artist

He kohinga aikiha a Red Cloud e iri ana i runga i te pakitara. Kua āta tuia ngā ingoa o ngā hēramana i runga i te terenga tuatoru o Kuki ki Aotearoa ki runga i tēnā me tēnā aikiha. Nā te hokohoko aikiha ki Tamatea, ka hōrapa tētahi mate ki waenganui i te iwi Māori, he mate e kore e taea e rātou te kaupare atu.

Ahakoa, e ai kī ngā kaituhi hītori, i puta mai aua tūtakinga kino i te 'kūware' me te 'tūpono noa', ki te whakaaroaro tātou mō te mātau o Joseph Banks ki te Mate Koroputaputa me te pānga o ngā tahumaero ki ngā tāngata kāore anō kia whai rongoā āraimate, ka tere puta mai te whakatau – ehara pea ēnei 'tūponotanga' i te mea tūpono noa.

Ko te takoha rīpene, pire me ngā momo hangahanga noa tētahi tikanga whakahoahoa a tauiwi hei whakaratarata i ngā iwi taketake. Heoi, i taua wā, he huarahi anō hoki tērā e hinga ai te iwi taketake i tētahi pakanga ā-koiora.

Ka tāwaitia e Hellyar ngā aikiha, ngā napikena me ngā kāmeta (he mea kite noa nāna) ki te whero hei tohu i ngā whakawhitinga kino o ngā momo mate mā ngā papanga kua pāngia e te tahumaero me te mahi ai i te wā o ngā terenga mai o Kuki. He tohu whakamahara a Red Cloud, mō te riri ā-koiora – he mea tūpono noa, he mea āta whakarite rānei – a ngā mana tāmi o tauiwi, hei patu i ngā iwi taketake i te urutomonga ki ō rātou whenua i te rautau 18.

Red Cloud, an assemblage of red handkerchiefs and ribbons floating upon the wall, examines the human price of trade. The work references handkerchiefs and other commodities of trade that introduced illness and venereal disease to Māori in Dusky Sound. These transactions spread germs to which Māori had no resistance.

While historians often write about these fatal encounters as ‘unwitting’ and ‘unfortunate’ exchanges, when we consider that Joseph Banks was very knowledgeable about smallpox and the impact of disease on unvaccinated populations, it seems unlikely that these incidents were accidents.

The custom of gifting ribbon, beads and other material trinkets was an established practice to create rapport during first encounters with Indigenous communities, but it was also a well-established method of conducting biological warfare at that time.

Hellyar decided to dye her found handkerchiefs, napkins and scarves red to reference the often fatal transmission of disease via infected textiles and sexual intercourse during Cook’s voyages. Red Cloud is a reminder of the biological warfare, be it careless or intentional, employed against Indigenous peoples by invading colonial powers during the 18th century.

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JASON O’HARA The isle is full of noises 2016

Rau nīkau, aho hī ika Photographic print Nā te ringatoi Courtesy of the artist

I tangohia ngā whakaahua e rua i roto i tēnei mahinga toi ki te motu o Raoul, arā, ko tētahi o ngā motu e tū ana kei te taha raki rā anō o ngā wai o Aotearoa. Kua ahu mai te taitara o te mahi i te Caliban, te tipua nō te motu i roto i tētahi o ngā kōrero a Shakespeare, arā, ko The Tempest. Kei te whakaatu atu ēnei whakaahua e rua i tētahi moutere kua tūkinotia e te tukinga o te ao tūroa me te tangata.

Kei te whakaatu atu te whakaahua i te taha mauī i te pānga nui o te kurahau-awatea o te tau 2016. E marara ana ngā rākau nīkau nunui ki runga i te ara ki Denham Bay. Kei te whakaatu atu te whakaahua i te taha matau i tētahi wāhi mārire ki Denham Bay. Kei taua wāhi mārire te takotoranga whakamutunga o ngā tāngata nō Tokelau, kotahi rau te nui, i kawhakina, ā i kawea mā runga te kaipuke herehere o Rosa y Carmen ki te motu o Raoul. Ka tukuna noa ngā herehere ki reira i te 15 Maehe 1863, nō muri mai i te pakarutanga mai o te mate kōea ki runga i te kaipuke. I kawhakina rātou nā ngā kaimau herehere o Te Moananui-a-Kiwa, ka whakarērea ki reira mate ai. E whakaata ana tēnei mahinga toi i ngā whakaaro mō te 'taurekareka pai' o Te Moananui-a-Kiwa, waihoki e whakahaua ana tātou ki te āta wetewete i tērā whakaaro, arā, ko wai mā kē ngā tino taurekareka o Te Moananui-a-Kiwa?

This artwork consists of two photos taken on Raoul Island, one of the northern-most islands in the territorial waters of Aotearoa New Zealand. The title of the work is a quote from Caliban, the island monster in Shakespeare’s The Tempest. These two images show an island savaged by a collision of natural and human forces.

The image on the left shows the force of the 2016 cyclone, with giant tattered Nikau palms strewn across the track to Denham Bay. The image on the right shows a calm spot in Denham Bay. This calmness cloaks a mass grave where on 15 March 1863 the slave ship Rosa y Carmen dumped more than two hundred Paciifc Islanders abducted from Easter Island, the Cook Islands, and Tokelau on Raoul Island after dysentery broke out aboard the ship. Kidnapped as part of the Pacific slave trade, they were left there to die. This diptych reflects on ideas of the “noble savage” in the Pacific, asking us to reconsider who the true savages of the Pacific were.

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Digital catalogue published for the exhibition: Here: Kupe to Cook 11 August - 24 November 2019Pātaka Art + Museum, Porirua, New Zealand

Curated by Reuben Friend and Mark Hutchins-Pond

Artwork and exhibition installation photography courtesy of Mark Tantrum 2019 Catalogue design by Stu Forsyth

Image detail right: Tawhai Rickard, Cook Discovers Aotearoa 1769 2019, reclaimed wood, acrylic paint, shellac, metal, courtesy of the artist and PAULNACHE, Gisborne

Film excerpt from He Whenua Rangatira. A Māori Land. He Tohu, presented by Archives New Zealand Te Rua Mahara o te Kāwanatanga at the National Library of New Zealand Te Puna Mātauranga o Aotearoa, 2017