artists & participants
press release only in german
Koloa: Women, Art, and Technology
December 7, 2019–February 23, 2020
￼ Para Site is proud to present the exhibition Koloa: Women, Art, and Technology, an unprecedented international presentation based on the life-long research of Tunakaimanu Fielakepa, the Dowager Lady Fielakepa, the Kingdom of Tonga’s foremost knowledge-holder of "koloa" or customary women’s arts in Tonga. The exhibition in Hong Kong marks the second presentation of the exhibition, which was launched in August this year as a partnership between Para Site and the Langafonua ‘a Fafine Tonga, a historic centre for women’s customary arts, established by Queen Sālote Tupou III in 1953 in Nuku’alofa. The Dowager Lady Fielakepa has often been consulted and has written for major international research and museum projects, but this will be the first exhibition that presents her exceptional work and perspective to both Tongan and international audiences under her acknowledged authorship.
The exhibition thus features a rich array of Tongan textile art practices and focused upon the main categories constituting koloa: ngatu or bark cloth making and fine weaving such as ta’ovala garments and ceremonial mats, as well as kafa or woven rope. The presentation includes prized, heirloom pieces as well as newly produced examples specially commissioned for the exhibition. For its international presentation at Para Site in Hong Kong, the exhibition expands its scope with a parallel, curated presentation of three women artists, Tanya Edwards, Nikau Hindin, and Vaimaila Urale, that further reflects upon the status of Pacific textile as inseparable manifestations of art and technology.
The artistic practices of koloa indexes a political geography of eco-social relations through both the materiality and the motifs of particular pieces. Through a ceremonially orchestrated system of exchange, the arts of koloa are a crucial component in politically, socially, and culturally binding an extensive maritime geography of the some 170 islands of Tonga. Exchange also extends to neighbouring nations such as Fiji and Sāmoa, and beyond, maintaining close historical ties in trading and familial relations despite the enforced partitions of the colonial era and the enclosed and bordered formation of the modern nation-state. The exhibition thus presents examples of textile arts from the Pacific region, highlighting the specialisation of techniques and styles, as well as various efforts of revitalisation. As part of the exhibition’s broader affirmation of the need for establishing a horizontal platform for reading contemporary artistic practices of various lineages, this accompanying presentation includes examples of bark cloth and textiles from greater Asia, Latin America, and Africa—associating pieces based on their shared influences but also on their similar visual qualities, social function, and historical narratives, in a manner emphatically aligned to contemporary art curating principles rather than traditional ethnographic selections.
Organising this exhibition within a contemporary art institutional framework affirms a commitment to expanding what is acknowledged as contemporary artistic practices. It responds to this political agenda to decolonise our taxonomies and perspectives and to move beyond the category of art as defined by the colonial legacy, by attending to artists working with and from within multiple aesthetic and cosmological perspectives and meanings, manifesting the multiplicities that construct our kaleidoscopic global reality. This includes as a matter of urgency practices that have been systematically excluded from the realm of art and designated by a colonial ethnographic gaze as craft, folklore, or at best, "traditional" art. The presentation and reception of such work in the changing and critical field of contemporary art recognises the evolving nature of these practices as well as their critical reflection of their contexts.
While the inaugural exhibition at Langafonua in Nuku’alofa focused upon a social activation of koloa as a vivid aesthetics and technics, the inclusion in the Hong Kong iteration of three contemporary artists from the Pacific broadens and deepens this conversation. With reference to distinct knowledge repertoires and practice archives such as Sāmoan tatau (body-marking), Māori ocean and celestial navigation charts, and the incorporation of modern technology into existing infrastructures such as ngatu, works by Tanya Edwards, Nikau Hindin, and Vaimaila Urale pries open the powerful relation of art and technology with a grounding in women’s knowledge and practice.
Koloa: Women, Art, and Technology is curated by Tunakaimanu Fielakepa, the Dowager Lady Fielakepa, and co-curated by Cosmin Costinas and Vivian Ziherl, with additional works by Tanya Edwards, Nikau Hindin, and Vaimaila Urale.
Para Site Art Space is financially supported by the Art Development Matching Grants Scheme of the Government of the Hong Kong Special Administrative Region. The content of these activities does not reflect the views of the Government of the Hong Kong Special Administrative Region.