Luke Willis Thompson
spray paint, garage doors from Mahia rd, Manurewa
"My last work was a set of three garage doors that were tagged by a Maori youth who was chased down and stabbed to death by the property owner, a white middle-aged vigilante. The doors were monuments and mute witnesses to an episode that many people in New Zealand really wanted to forget, but the details of the killing were achingly familiar in their design, almost to the point of being prototypical. So the project intentionally asked moral questions, though the only answer it offered was that the museums that exhibited the work helped to conserve the material evidence, so maybe the question could continue to be examined."
Arriving at the gallery to see inthisholeonthisislandwhereiam the audience is redirected by an invigilator to a taxi that will deliver them to a house in Epsom. Nobody is home, but participants of the artwork sense that people live here. Further, they gather from the objects around the house that the family is of Pacific Islander descent. Once the epistemological excursion has concluded the viewer is returned to the quiet of the gallery to think again. In a later extension of the artwork, the taxi took guests to a panel beater’s workshop to view a screening of a short film Thompson made about his Fijian father’s funeral. Esche labelled inthisholeonthisislandwhereiam a ‘quite extraordinary intrusion of art into daily life (that) cuts through the protocols of the exhibition system like a knife … its formal qualities, to speak in art critical terms, require a commitment in time and thought’. (via ARTAND | News | News | Luke Willis Thompson wins 2014 Walters Prize)
Kristina Norman is half Russian and half Estonian. She devoted three years to the project After-War, investigating the conflict surrounding the statue of the Bronze Soldier in Tallinn. In St. Petersburg, she is introducing a sculpture of a Christmas tree outside the Winter Palace in the midst of summer as a part of her research critically interrogating the notion of historical ‘truths’. The project is also testing different possibilities to make visual and semantic connections to the main squares in other cities of the former Soviet Union and in particular Maidan in Kiev and depicting the site as a place for permanent negotiation in post-Soviet society. (via Kristina Norman “Souvenir” | Manifesta 10)