Three days shy of the most inauspicious of Australian calendar observances, Re-Stor(y)ing Oceania opened on 23 January 2025. Co-commissioned by TBA21-Academy in Venice, the first iteration of this powerful Pacific-led enterprise coincided with its 2024 biennale. Curated by Bougainville-born artist Taloi Havini, the artworks by Elisapeta Hinemoa Heta and Latai Taumoepeau offer space to coalesce and convalesce. This review occurred in between orchestrated activations, during which visitors are invited to generate their own. The immersive installations appear to be a call-to-action, for us to each play a role in a post-colonial rejuvenation of Oceania.
In this second version, Heta’s The Body of Wainuiatea (2024) is split in half with an ‘atea‘ positioned in the atrium of Artspace. Earthen bricks are laid around an existing wooden pillar. Using the sun, understated black wooden seats are set at ‘cardinal points‘. From the ceiling above, white woven fabric banners are draped. They honour the marriage between the sky father, Ranginui, and the goddess of the ocean, from whom the artwork takes its name. This installation, inspired by a creation myth, resembles a stage set for a ritual. Yet, it exudes a reverence while materially unoccupied.
At the other end of Artspace, earthen bricks are pyramided into an altar. Upon its steps, a series of fragrant oil-filled coconut cups have been placed. A wooden oar lies in the raised centre. A lullaby plays intermittently.
This sensuous yet solemn artwork engages through simple geometry and a seductive selection of textures and scents. An even more enticing artwork, which viewers are invited to activate, has been curated in the intervening gallery space. Deep Communion sung in minor (ArchipelaGO, THIS IS NOT A DRILL) by Taumoepeau, considers the effects of over-fishing and mining. Here too, appear wooden paddles. But, these are meant to be physically handled.
Offered is an opportunity to partake in a ‘Me’etu’upaki‘. Each stroke activates a recording of chorals which is – as the title suggests – ‘sung in minor’. The installation can accommodate a quintet. Although, the recordings are identical, synchronic interaction results in a layering of song. Before the composition, footage featuring corals – of the reef variety – is projected onto screens. This is the ocean floor beneath Tonga.
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For visitors without Oceanic heritage, the exhibition provides an invigorating insight into the post-colonial recovery of the region. Whereas Heta poignantly pays homage to ancient Māori mythology, Taumoepeau demonstrates the adaptability of her Tongan people. Re-Stor(y)ing Oceania demonstrates not only cultural resilience, but also the flow-on ecological effects of returning sovereignty to its First Nations people.
You can participate in Re-Stor(y)ing Oceania at Artspace Sydney until 6 April 2025.
