ART & FACT ARTIST RESIDENCY
PASCAL DAUDON (Fr) - RANGI KIPA (NZ)
April-August 2005
Any productive examination of an environment through visual arts is predicated on a sound knowledge of that place and its history as well as the capacity to detach oneself critically from an environment one may be completely integrated within. An artist risks, when working within their own environment, not reaching a sufficient level of criticality; conversely, a critical ‘foreigner’ risks treating the subject superficially.
In Taranaki, with its experience from the nineteenth century onwards of encounter between Māori and Pākēha, traditional forms of life and art in Māori culture is challenged by the utopian idea of recommencement in a new land. In Taranaki, the production of ideal town plans forms but one trace of this hope applied to the problem at hand.
Of course, this region is microcosmic of an entire phenomenon in New Zealand and its encounter with travellers who arrive with preconceived notions, a poor grasp of the native tongue and a desire to impart culture rather than to learn from the pre-European peoples.
We proposed to re-enact this scenario through artistic collaboration—between a Māori artist of Taranaki and a French artist—but without the utopian innocence of the nineteenth century and without any certainty of who learned more from the process.
We took as a context the city of New Plymouth, and introduce Bordeaux artist Pascal Daudon to Māori artist Rangi Kipa. Working in different traditions, two dimensional compositions for the former and carving and sculpture for the latter, both artists engaged directly with evidence of the past in their respective territories, conducting a form of cultural archaeology performed through their art practice.
Collaborating in isolation for a period of four months prior to the Taranaki Festival of Art, the two artists, separated by language and culture, interrogated the region of the Taranaki. For Daudon this involved the application of a French cultural paradigm to a foreign territory; for Kipa, this necessitated seeing his own land again with clear eyes, indeed the eyes of a foreigner. And the converse is true also, for both artists: Daudon changed by his experience of this territory and Kipa’s relation to it, while Kipa was forced to rethink his own practices and perspectives in light of this ‘conversation’. For either artist, the process resulted in critique or endorsement of the other’s practice; however, both results have an equally productive impact on understanding better the territory of their collaboration.
As the consequences of this collaboration are less the works that emerge but the collaborative process itself.
The project was staged by the French-New Zealand collaboration atelierworkshop in the city of New Plymouth as an exhibition as part of the Taranaki Festival of the Arts 05—with the help of architectural writer Andrew Leach—who theorized the results of this project by way of commentary on the process and its consequences to the knowledge of place.