PATAKA EDUCATION – Term 4 2016 & term 1 2017
Kia ora koutou,

Explore our exhibitions with our teacher-trained staff who offer quality education programmes that will kick off and enhance your school inquiry. We are Ministry of Education funded and our programmes link with a wide range of curriculum areas. Please note that we are no longer invoicing schools post-visit and we require you to make payments at our Pātaka reception during your visit. Our costs are $1 per student from the Porirua region and $2 per student from outside Porirua.

Contact the Education Team we are keen to support your school programmes  patakaeducation@pcc.govt.nz

Join us on facebook https://www.facebook.com/PatakaEducation

pataka education team 2016
Margaret, Esmé and Linda
Pātaka Education team


CURRENT EXHIBITIONS

TUATARA GALLERY – Shapes and symbols
Oct 2016 – May 2017

shape and patterns in tuatara gallery
Tuatara Gallery. Photo by Mark Tantrum 2016

Explore the cultural significance of a variety of shapes and symbols with our new Tuatara gallery exhibition. The exhibition features art works from our collection including a Fijian Masi and a Cook Island tivaevae. Make the connection between maths and the visual arts with a hands-on programme and gallery activities.


BRIDGET REWETI – Tauutuutu

9 Oct 2016 – 27 Nov 2016

Still from hotline bling 2016_bridget reweti and suzanne kite
Still form Hotline Bling 2016, Bridget Reweti and Suzanne Kite

What does it mean to exchange ideas, knowledge and objects? Bridget Reweti has explored this with 10 indigenous artists from Canada where she exchanged dance moves, violin scales, guitar chords, drawings and other skills and objects. Explore a programme with us where we exchange some skills, ideas and creations.


NGAHINA HOHAIA – Tools of Oppression and Liberation 

09 Oct 2016 – 12 Feb 2017

ngahina hohaia te kahu o te karauna this is why i wont stand for the national anthem 2014 photo by mark tantrum 2016
Ngahina Hohaia, Te kahu o te karauna / This is why I won’t stand for the national anthem 2014. Metal chains, frame and saw blade. Photo by Mark Tantrum 2016

Ngahina Hohaia was born in Taranaki and raised at Parihaka Papakāinga. In Tools of Oppression and Liberation , Hohaia presents us with three installations, including a major new installation, De-fence. De-fence casts a critical eye on the humble farm fencepost. As a seemingly inane part of the New Zealand landscape, the fencepost has played a huge role in the division and dispossession of Maori lands throughout our nation’s relatively short history. In working with this material, Hohaia reflects on the use of the term ‘post’ as a marker of time, space and context. Our programme will look at peace, protest and resistance.

Pre and Post visit ideas
>
Find out about the significance of Parihaka in Aotearoa’s history
> Research the Parihaka leaders Te Whiti-o-Rongomai and Tohu Kākahi and find out about their non-violent and non-cooperation resistance around ancestral  land confiscation
> Discuss what passive resistance means
> Make a Peace day event at your school and decorate your school with banners and activities that reflect this theme
> Watch the film TatarakihiThe Children of Parihaka and have a discussion
> Find out why the Raukura feathers are a symbol of passive resistance for Taranaki

> Find out about other key protest events that have happening in New Zealand, Aotearoa and discuss them with your class. Have a debate over an issue related to one of those protest events.

Ngahina Hohaia Tools of Oppression and Liberation is supported by the Deane Endowment Trust through the Pātaka Foundation

 

WI TAEPA – Retrospect
09 Oct 2016 – 12 Feb 2017

wi taepa parautanga plough from the kauhuri cultivation series c 2005
Wi Taepa Parautanga plough, from the Kauhuri Cultivation series, c. 2005. Anagama fired red raku with terra sigillata. Collection of Wi Taepa. Photo by Jeff McEwan 2016

How can we be creative with clay? Wi Taepa is one of New Zealand’s leading ceramic artists. This exhibition brings together a collection of Taepa’s major series of works made over the past 30 years. Our programme will examine what has influenced the artist and the materials and techniques he has used.

Pre and Post visit ideas
>
Set up a still life of different vessels, pots and containers, make charcoal drawings of them
> Learn about the story of HIneahuone, the first human formed by clay in Kurawaka
> Make a vessel using coiling and pinching techniques
> Paint kowhaiwhai patterns and create a story with the patterns onto a pot or vessel form
> Create an inquiry board in your classroom on Nga Kaihanga Uku, the contemporary Māori clay artists group
> Experiment with different drawing media; pencil, charcoal, marker pens, ink, chalk
> Try drawing something that is moving, use lots of expressive lines
> Use science to find out what is in clay? Source some clay from where you live


JAMES ORMSBY – 
Whakapapa
09 Oct 2016 – 12 Feb 2017

james ormsby_uncles examination large drawing number 23_2009
James Ormsby Uncle’s Examination (Large Drawing-#23) 2009. Courtesy the artist and PAULNACHE, Gisborne. Photo by Mark Tantrum 2016

Drawing is a passion for James Ormsby, he describes it as his first language and he is a master at it. In an era when artists are increasingly experimenting with new technology, James prefers to work with the traditional organic materials that his ancestors, both Tangata Whenua and Scottish, would recognise as he explores the significance of the visual symbols they chose to depict. James affiliates with the iwi Ngāti Maniapoto, Waikato, Te Arawa and Ferguson Clan. Symbols and signs in drawing create a language that we will explore in a drawing-based programme.

Pre and Post visit ideas
>
Make a sketch book and do a daily drawing
> Identify an important person in your community and ask them to be your portrait model. Ask them to talk about themselves and then write a story about them to accompany the portrait – this would make a great exhibition
> Make a drawing using tone, blending, contour lines, and textures using charcoal, pencil or graphite
> Create symbols that represent your pepeha or mihi
> Make a diagram that shows the proportions of the face
> Create an inquiry board that shows different styles of portraiture


IF WE NEVER MET… Works by First Nation Canadian artists and performers
09 Oct 2016 – 12 Feb 2017

Jordan bennett ice fishing 2016
Jordan Bennett, Ice Fishing 2016

If we never met brings together a group of First Nation Canadian visual artists and performers and places them alongside Māori and Pacific Island artists and performers from Aotearoa.

In a world where we find ourselves increasingly influenced by global trends and politics, the need to explore our own uniqueness and sense of self is increasingly important. For indigenous artists, this means acknowledging international networks of like-minded communities, while also asserting those characteristics that make our cultures unique.

If we never met… is co-curated by the Urban Shaman Aboriginal Art Gallery Winnipeg, Canada, Pātaka Art + Museum and supported by Canada Council for the Arts


FUTURE EXHIBITIONS

JULIE NAGAM – where white pines lay over the water
02 Dec 2016 – 12 Feb 2017

julie-nagam-white-pines-ocad-2015
Julie Nagam where white pines lay over the water (installation still)

How do you connect Toronto, Canada with Porirua? Indigenous Canadian artist Julie Nagam brings a collection of storytelling, images and documents that are a part of an exhibition, where white pines lay over the water.

Pre and Post visit ideas
>
Collect maps and diagrams of your school plans and location
> Talk to people in your school community who have lived in the region and record their stories about your school or community
> Find out about the Tangata Whenua in your region and the stories connected to them
> Take photographs of important landmarks in your community and find out who named them
> Present an inquiry board with information about your school and community and its history

WALLACE ART AWARDS
26 Feb – 7 May 2017

What does contemporary art practice look like? The Wallace Art Awards present a great overview on what New Zealand has to offer in contemporary art. Explore a wide variety of art-making processes and approaches and introduce your students to hands-on gallery response activities.


FREEDOM AND STRUCTURE

26 Feb – 21 May 2017

Why was cubism a radical style of painting and what impact did it have on New Zealand painting? Cubism was a style of painting that started with artists Pablo Picasso and George Braque in the early 1900s. This style was new and revolutionary. Instead of painting realistic views of subjects, artists wanted to show objects from many angles at the same time. This style spread globally and influenced other art forms including design, architecture and fashion. Our programme focusses on what cubism is and making a still life cubist collage/sculpture with card slotting.

Pre and Post visit ideas
>
Find out what Cubism is and who the key artists were
> Make a cubist self portrait
> Set up a still life and make sketches from 5 different viewpoints, you can then cut them up and make one picture to paint or colour
> Create cubism zentangle cards and play a drawing game with them
> Make a 3-dimensional cubist sculpture


ROGER MORTIMER

26 Feb – 21 May 2017

roger-mortimer-aotearoa-2016
Roger Mortimer, Aotearoa 2016

Roger Mortimer’s paintings are deceptive. When you take a closer look there are references to popular culture and social commentary specific to Aotearoa, New Zealand. Influenced by history and legends, Mortimer uses medieval seafaring charts, maps, illuminated manuscripts, oriental silk painting and religious imagery in his paintings. Our programme will explore themes around identifying what is contemporary and traditional in Mortimer’s paintings

 

 

 

 

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