There is something very satisfying about being at the halfway mark of our four week crowdfunding campaign and sitting on 50% of our target of $10k…
Satisfying, and filled with gratitude, but slightly daunted about the prospect of raising the remaining $5k in 14 days. Can we do it? Can we do it with your help??
As has been shared throughout this campaign, this project is not filled with ‘knowns’. The outcome of Genevieve Pini and Niu Lemalu’s solo exhibitions is yet to be developed; this fund will enable them the time and space, support and materials to get to that point.
Genevieve and Niu are both relatively unknown in the wider awareness of Moana Pacific artists; in both cases, most of the creative work has happened in South Auckland, within grassroots settings, or within exhibitions that I’ve curated. Genevieve is a multiple award-winner from what was our annual design competition, Villa Maria Cult Couture and was profiled on Fresh TV here, and I featured three of Niu’s paintings in a pop-up exhibition series I made in 2015 called the PIMPI Winter Series; his interview was the most popular page on the website offering excellent insights to the mind of this painter, check it out here. In fact, both Genevieve and Niu made work for the PIMPI Winter Series in 2015, which I discussed on Radio New Zealand here.
I’ve had faith and been excited by both Genevieve and Niu’s art practices for almost 20 years. Niu made his first solo show at Fresh Gallery Ōtara when he was only 21 years old; Genevieve and I first met at Manukau School of Visual Arts in 2002 aged 19. It is this depth of familiarity, of knowing, that gives me total faith that this investment will enable them both to bring exciting, post-pandemic, deeply marinated ideas to the table… and I can’t wait to see what is produced!
I’ve asked some peers to help endorse this project’s kaupapa, and Ōtara-based artist and educator Leilani Kake offered a moving message about the importance of making solo shows here, and celebrated curator Nigel Borell MNZM, offered an insight about my curatorial practice and the act of making shows in South Auckland here. This week across social media, I published another testimonial by another award-winning peer, Tanu Gago MNZM – check it out below. I’m so grateful to this community of practice that surrounds Vunilagi Vou, and every project we produce and artist we work with.
Tanu mentions one thing at the beginning of this video that is sometimes not easy to really articulate. The act of curating Tanu Gago’s first solo shows wasn’t just because I had total faith in him, his visual language and what he had to say (as I do with Niu and Genevieve), but that curating his work was an act of fortifying a time and space for him in the art world, and in the case of Tanu, a time and space that became a launchpad for a tremendous trajectory.
The intention when curating Moana Pacific artists into exhibitions, whether group or solo endeavours, is never about the pursuit of fame, sales or fortune, but always about enabling artists to see themselves in a wider art world that mostly doesn’t look or sound like us. As a curator, my role has always been to enable artists to feel their voices are valid and important. To be affirmed, and know that someone is listening and hyping you, to know that you don’t stand alone, and that imposter syndrome can always be countered when we move together.
In essence, this crowdfunding effort is about more than two solo exhibitions. The donations and support from our communities so far has already shown these two artists the belief people have in what they do and what they will do. It is that investment that I know will have the most powerful impact on them, today and into the future. That shift in feeling supported, valid and worthy of investment is what will create some really powerful work in 2023.
Hitting our $10k target will enable all this good stuff to happen with a bit more ease. In the case of both artists, applying for CNZ arts grant investment has never really felt like an option. The process itself is a barrier, the competition for funds is aggressive, and as Nigel Borell states in his video, making art is so often a 3rd, 4th even 5th priority for working folx.
As a curator who is interested in the power and potential of sometimes the quietest voices, and a curator who has seen artists grow and flourish in abundant, art history shifting ways, I hope the next two weeks can show us how much faith our communities can generate for not only these two excellent artists, but also Moana Pacific curating as a mode of service and of decolonisation.