An in-depth conversation on the inspirations, processes, and cultural significance behind the 60th International Art Exhibition of La Biennale di Venezia installation
Mataaho Collective, Takapau, 2022. Installation (polyester hi-vis tiedowns, stainless steel buckles and j-hooks). Site specific reconfiguration Museum of New Zealand, Te Papa Tongarewa. 60th International Art Exhibition – La Biennale di Venezia, ‘Stranieri Ovunque – Foreigners Everywhere’. Photo by: Marco Zorzanello. Courtesy of the La Biennale di Venezia.
The Mataaho Collective of 4 Māori women was established in 2012 and has produced multiple large-scale installations since then. Takapau, is the evocative installation showcased at the 60th International Art Exhibition of La Biennale di Venezia, for which they received the coveted Golden Lion for participation in the main exhibition. In this conversation, the artists delve into the profound influence of traditional Māori whāriki takapau (woven rugs, carpets or mats) on their conceptual development. They reveal how meticulous material research, extensive studies at Te Papa Tongarewa, and insights from revered experts shaped their creative process. The work, rich in symbolism, reflects the realms of Te Pō (The Perpetual Night) and Te Ao Mārama (The World of Light) through its spatial design and use of light. The choice of unconventional materials like polyester hi-vis tie-downs and stainless steel buckles underscores a narrative that bridges tradition and modernity. With mentorship from distinguished figures like Dr. Maureen Lander and Kura Te Waru Rewiri, the artists’ journey is marked by collaboration and cultural resonance. Join us as we explore the intricate layers of Takapau, which invites viewers into a transformative experience, emphasising the evolving nature of Māori culture in contemporary art.
ART AFRICA: Can you elaborate on how the traditional Māori whāriki takapau (woven rugs, carpets or mats) inspired the conceptual development of your work Takapau for the Venice Biennale?
Mataaho Collective: As a starting point for our research, we investigated whāriki within the collection. We were interested in studying patterns and how whāriki are constructed. Often, we might see something in a collection that sparks our interest, and it opens up other avenues of research. Another essential part of our learning is our material research. In the context of Takapau, it included a lot of experimentation with reconstructing elements of whāriki we saw in the collection to learn the patterns and how they might behave with the materials we were interested in using.
Mataaho Collective underneath Takapau, 2022. Commissioned 2022 by Te Papa Tongarewa
Your research involved visiting Te Papa Tongarewa and consulting various experts. How did these experiences and insights specifically influence the design and execution of Takapau?
An essential aspect of weaving is whakapapa, which is the transfer and building of knowledge and experience. We’re not trained weavers, so to learn a technique, we reach out to people who can share that knowledge with us. Maureen Lander has always been generous with teaching skills and loves discussing project ideas. We approached Kura specifically to ask her about her experience designing the work for the floor area of the marae atea in Te Papa in the 90s and what that was like being the only woman working on the Rongomaraeroa project. These interactions influenced the design and execution of Takapau in different ways; ultimately, all of our conversations, material research and tests get thrown together and simmered down until we have a resolved plan.
Takapau is described as creating a division in the gallery space, symbolising different realms. Can you discuss the significance of these realms (Te Pō and Te Ao Mārama) and how they presented themselves in the work?
Te Pō (The Perpetual Night) and Te Ao Mārama (The World of Light) represent different phases of creation. We were interested in drawing on those concepts through how light is dispersed within the space. When Takapau was installed at Te Papa, one could view it from above and below. We made the space below a darker enclosed space and the area above lighter and more open. The reflective nature of this material also allows for the interplay of light and dark. Whāriki can be big projects created by many hands. They have the power to change the energy of a space. Everyday mats are neutral – but ceremonial mats can hold life-changing moments of births, deaths and marriages. For us, elevating the whāriki to create a woven womb-like structure relates to a threshold, the transition from Te Pō (The Perpetual Night) and Te Ao Mārama (The World of Light).
Mataaho Collective, Takapau, 2022. Installation (polyester hi-vis tiedowns, stainless steel buckles and j-hooks). Site specific reconfiguration Museum of New Zealand, Te Papa Tongarewa. 60th International Art Exhibition – La Biennale di Venezia, ‘Stranieri Ovunque – Foreigners Everywhere’. Photo by: Marco Zorzanello. Courtesy of the La Biennale di Venezia.
The materials used in Takapau are unconventional for traditional weaving. What was the reasoning behind choosing polyester hi-vis tie-downs, stainless steel buckles, and J-hooks, and how do they contribute to the overall narrative of the piece?
The taonga that we visit in museum collections are usually constructed with natural fibre like muka and harakeke, and we’re very drawn to those materials and the methods used to construct them. We’ve used industrial materials in our practice as they reflect the materials we see around us – used in interesting and industrious ways by our communities. The reflective webbing in Takapau references the reflective tape that you will see on safety gear in the labour workforce. Intended for high visibility and often paired with fluorescent colours, designed for high visibility but usually rendering wearers nearly invisible. The industrial webbing, buckles and hooks provide the technology to enable us to tension the work across the gallery. However, these materials also reference truck tie-downs and how they are used in our communities like they are in many places around the world: a tool of security to help carry heavy loads, to be tied and woven around moving cargo.
How did the mentorship and previous collaborative experiences with artists like Dr Maureen Lander and Kura Te Waru Rewiri shape your approach to this installation?
Mentorship, previous collaborative experiences and discussions with artists like Dr. Maureen Lander have profoundly shaped our approach to this installation. We wouldn’t be here if it were not for the support of these influential teachers and mentors. Professor Bob Jahnke guided us as art students and into our careers, fostering our understanding of Māori art and its contemporary expressions. Dr. Maureen Lander’s mentorship has pushed us to innovate with light as a medium in our installations, enhancing our exploration of materials and their interactions with light and space. We haven’t collaborated with Kura Te Waru Rewiri. Still, as mentioned above, we met with her for this project to discuss her work for the marae atea at Te Papa Tongarewa in Marae Rongomaraeroa. These experiences have collectively enriched our practice, encouraging us to blend traditional techniques with contemporary approaches and create culturally resonant and visually compelling installations.
Mataaho Collective, Takapau, 2022. Installation (polyester hi-vis tiedowns, stainless steel buckles and j-hooks). Site specific reconfiguration Museum of New Zealand, Te Papa Tongarewa. 60th International Art Exhibition – La Biennale di Venezia, ‘Stranieri Ovunque – Foreigners Everywhere’. Photo by: Marco Zorzanello. Courtesy of the La Biennale di Venezia.
The work allows for multiple perspectives and ongoing creation. How do you hope viewers will engage with and interpret Takapau, especially considering its unfinished, evolving nature?
Takapau is intended as a threshold, inviting viewers into a transformative space. We hope that people will feel comfortable pausing and immersing themselves in the environment it creates. Often, people will reach out to us and let us know how they experienced Takapau, sometimes sharing a memory or story that the work invoked for them. They’re all different; everyone engages with work on their own terms; it’s a personal experience. That is part of the joy of creating work for exhibition; once the work is up and we’re out of the gallery, it takes on a life of its own, and each person becomes a collaborator in their own way, blending their response in relation to their own life experiences.
As a collective that often integrates Māori knowledge systems into your art, what message or reflection about Māori culture and contemporary art do you hope to convey through Takapau at the Venice Biennale?
We aim for viewers to experience Takapau as observers and as participants who activate the space through their presence. This interaction encourages them to hold space, fostering a moment of connection. Through this engagement, we want to highlight the innovation in our customary weaving practices, showcasing how traditional techniques can be reimagined and brought to life in contemporary contexts. Given the Venice Biennale’s global audience, the impact of numerous visitors from around the world experiencing Takapau is significant. We hope this exposure will create a broader appreciation for Māori art and its evolving traditions. We aspire for visitors from other indigenous cultures to draw connections to their own weaving practices. We are fostering a cross-cultural dialogue that may inspire a deeper understanding and celebration of Indigenous art forms worldwide, reinforcing the importance of preservation and innovation in these practices.
The 60th International Art Exhibition of La Biennale di Venezia, entitled ‘Stranieri Ovunque – Foreigners Everywhere’, curated by Adriano Pedrosa, will be on view until the 24th of November, 2024. For more information, please visit the Mataaho Collective.
