Posts tagged ‘Mangere’

2017 was a year of hard hustle! Through five curatorial projects and a solo show, a three month residency with a three year old, a little bit of heartbreak and a manifesto, these are a few of the stand-out memories of 2017…

Researching Pacific artists + creative entrepreneurship

In a short research project commissioned by British Council New Zealand and Tautai Trust, I had the opportunity to undertake a series of in-depth interviews with Pacific artists in Auckland who work full-time as creative professionals. With the hope of feeding into the development of a customised capacity building programme, interviewees shared vital insights towards understanding the struggles and opportunities of finding the sweet spot between financial sustainability whilst maintaining artistic and cultural integrity.

“Still trying to find a way to operate within a framework that doesn’t care too much whether we’re there or not.” ~ PCE Needs Analysis Interviewee

The research was revealing, and sobering. The work that Pacific creative entrepreneurs do amazes and inspires me; many projects have deep cultural significance and have been personally and emotionally transformative. It’s the kind of work that I think many people would never imagine being paid to do, which reminded me again of the privilege of being attuned to one’s creative potential, and the privilege of public funding that enables so much of this enquiry. For many Pacific artists, a creative practice is unavoidably a community and collective pursuit, so the benefits are rarely for individual gains.

The challenges of being undervalued, structural racism, discrimination and stereotyping and a disregard for the Pacific creative process, are lingering issues surrounding many practitioners. Sometimes, the organisations and clients who benefit the most from the cultural integrity of Pacific artists, are the worst offenders.

The impact of this research for me personally has been significant. As an arts manager and curator, I understand more about my peers and our realities, the value of building and nurturing communities of practice, the powerful potential of collaboration and the vital roles Pacific artists play in the social, political and economic development of our Pacific communities.

Hello, my name is Vinesh

Having worked together on projects for more than a decade, I loved curating Vinesh Kumaran’s first solo exhibition, Hello, my name is Vinesh this year as the first exhibition in the PIMPI Winter Series. From 2015-16, Kumaran shot and shared a portrait a day, made in and around his work and rest time, in South Auckland and beyond. He had wanted to hone and test his skills and passion for portraiture, and throughout the year, his photographs and their narrative weight grew stronger and stronger. The Instagram format helped to perfectly curate the series and as the collection grew, the audience for his work diversified and deepened in their engagement. The series was originally intended for a large scale exhibition at Mangere Arts Centre but translated beautifully to Lime Espresso Bar & Eatery in Ōtāhuhu, produced with support from the Māngere-Ōtāhuhu Local Board.

Employing the same approach, Vinesh went on to shoot a series of portraits for Paperboy magazine, featuring on the front cover of the 7-13 September issue. Working together again, we have another project in the pipeline for 2018 profiling individuals involved in creative and commercial businesses in the Māngere-Ōtāhuhu area. Watch this space!

The Perpetual Flux of Transitional Otherness

Exhibiting with two of my closest friends, Margaret Aull and Leilani Kake, was one of my favourite exhibition experiences. We encouraged and supported each other, shared ideas and individually produced cohesive bodies of work that seemed to complement each other effortlessly.

The exhibition was produced for Olly, the coffee and donut shop co-owned by Chlöe Swarbrick, who went on to be a hugely valuable addition to the New Zealand Green Party in the 2017 general election. The exhibition was inspired by and produced to tautoko this young politician who rose to notoriety for her courageous bid for the Auckland mayoralty in the 2016 local government elections. The last painting in my Poedua series was eventually traded with Sāmoan tattoo practitioner, Tyla Vaeau-Ta’ufo’ou who gave me a beautiful custom piece based on the leaves of the Tavola tree (Terminalia catappa).

Tā-Vā (Time-Space) Theory of Reality in Māngere

In July, the esteemed Hūfanga Dr Ōkusitino Māhina and the Kula Uli Publishing team hosted the launch of a Special Issue of the Journal of Pacific Studies (published by Brigham Young University Hawai’i) dedicated to the Tā-Vā (Time-Space) Theory of Reality. The Māngere Arts Centre galleries were packed to capacity as the publication’s New Zealand-based contributors spoke to the influence of Māhina and how Tā-Vā (Time-Space) Theory of Reality has shaped their work and thinking.

A complex discourse between natives, fobs and academics

After a haunting intergenerational group performance of fangufangu (nose flute), the publication’s contributors responded to probing questions about the relevance and implementation of Tā-Vā (Time-Space) Theory of Reality in academia, at grassroots levels and as a lens on New Zealand national culture.

In the process of seeing Hūfanga in the midst of this highly conceptual but grounded discussion, it hit me how precious these times are – it is such a privilege to share intellectual energy and dialogue with courageous thought leaders who push boundaries and re-shape histories. The publication is a special resource, but being present within these exchanges, as Māhina put it, “a complex discourse between natives, fobs and academics“, in the cultural context of both Tongan hospitality and art, made this moment incredibly meaningful.

Konile Fusitua, a quiet muse

Through my daughter, Konile Fusitua is my 16 year old nephew. He relocated from Portland, Oregon to South Auckland last year and has spent his first full year at Papatoetoe High School. I started following Konile on Instagram and became an instant fan of his bold aesthetic, blending symbols of popular culture and Pacific cultural imagery, tracing the expansion of his world and his place within it.

Konile is constantly refining, editing and curating his Instagram feed, which I find fascinating; the chronological archive has perhaps become archaic within the philosophy of Snapchat ephemerality. I love his fascination with Gucci, and his fresh appreciation for the Pacific Island cultural saturation of Southside. I included Konile’s work in the PIMPI Winter Series exhibition, #CHANGES in July; it was his first show, and I hope, first of many.

Femslick – Akashi Fisiinaua

Photo credit: Jermaine Dean

Akashi Fisiinaua’s solo show, Femslick debuted as the first work in FAF SWAG’s 2017 residency partnership with Basement Theatre in central Auckland. In a short season that added the essential flavour of FAF SWAG to the Auckland Pride Festival programme, Fisiinaua directed a stunning audience experience as close to ball culture realness as you can get. As the chanter of FAF SWAG’s Vogue balls, Fisiinaua transitioned the role into a narrative tool that brought the electric energy of ball culture to a potent, intimate and intense theatre experience.

Fisiinaua is a recent graduate of Toi Whakaari’s renowned Performing Arts (Acting) degree programme. The technical skill, lyricism and performative awareness she brings to FAF SWAG Vogue ball culture was translated seamlessly to a theatre setting, a first iteration of iconic and disruptive storytelling that continued beautifully throughout FAF SWAG’s residency with Fa’aafa by Pati Solomona Tyrell and Neon Bootleg by Moe Laga.

The remarkable momentum of artist Pati Solomona Tyrell

Photo credit: Hōhua Ropate Kurene

Fresh out of art school, Pati Solomona Tyrell has had an incredible year! Working commercially, his photography of strong, culturally powerful Pacific Islanders has made some of the most iconic Paperboy magazine covers yet. His work as a photographer and performance artist has been shown nationally and internationally and in June, ST PAUL St Gallery staged a massive solo exhibition of his work called Fāgogo.

Through FAF SWAG, Pati has been in the engine room working on everything from event coordination, large scale photoshoots, cross-cultural collaborations, documentaries and an incredible new app that is set for release in the new year. For a young artist, this has been a wild first year of post-art-school life, but along with the massive highs, a bitter blow intended to derail his practice was dealt from an unexpected source. Fortunately, that effort was met with a significant rally of support from our communities, and the utmost respect has been thrown down for Pati as he navigates new waters. His many successes are his dignified response and his future is unbearably bright!

Twitter < IRL

This year has been the eighth year I’ve used the social media platform, but the culture of Twitter has changed for me. What was once a relatively safe space, used by a relative minority of people from everyday life, has become so mainstream in New Zealand that the same voices, tone and attitudes you might hear in mainstream media, or in the comments section of the New Zealand Herald, seem to uncomfortably eclipse with my consciousness on an all too regular basis.

There’s this interesting accusation that has arisen time and time again of brown Twitter users of existing in bubbles, a similar line of criticism of the kind of Trump-ish politics where bias, opinions and hate speech dominate facts and research. The problem with this, and it has been directed at me more than once, is that the communities we’re part of on and offline, are often communities of shared beliefs, values and likeness that create supportive networks and intellectual ecosystems. It’s disturbing to me that these vital systems of survival and support, particularly for marginalised people living in dominant culture New Zealand, are seen in such a negative light.

On Twitter, where the conversations I’m part of revolve around race, racism, everyday politics, gender, parenting, localism and cultural identity, the line between right and wrong, truth and realness, is simultaneously multi-dimensional and non-existent. I’m tired of getting into Twitter beefs with faceless handles, particularly in the case where those individuals wouldn’t approach, engage or confront me in real life.

Twitter isn’t the safe space it once was.


Pacific arts managers changing the game in 2017

I’m uplifted when I see Pacific people in positions of influence in the arts and cultural sectors in New Zealand. Pacific arts managers bring unique intercultural competencies, fresh ideas and engaged intergenerational communities. 2017 has seen some excellent appointments of Pacific arts managers across gallery management and strategic leadership, curatorial programming and events, check it out…

Ioka Magele-Suamasi
Ioka Magele-Suamasi was appointed as Learning and Outreach Manager at Auckland Art Gallery in October. She vacated the role of Outreach Coordinator which was recently secured by rising star, Jasmine Te Hira. The role coordinating Education and Family Programmes is also now held by Emily Mafile’o.

Jep Savali
Jep Savali was appointed Entertainment Manager for SkyCity, where he had previously worked as manager of the SkyCity Theatre. Jep is bringing a distinctly Pacific awareness to the live music and entertainment that takes place within and around the venue. Recently, the notoriously entertaining, Cindy of Samoa dazzled in a sold out solo show and the annual New Years Eve party boasts an impressive programme of Pacific musicians from Che Fu and King Kapisi to Three Houses Down, Sammy J, Sons of Zion and Malcolm Lakatani.

Simonne Likio
Simonne Likio was a well-known face at Fresh Gallery Ōtara until she was appointed in a new role within the restructured Funding and Capability Services team at Creative New Zealand as a much needed Auckland-based Pacific arts funding advisor.

Margaret Aull
Margaret Aull was appointed to a new role as Curator and Gallery Manager for Te Puia and the New Zealand Māori Arts and Crafts Institute (NZMACI) in November. She had previously worked as Curator and registrar of the collection of Te Wānanga o Aotearoa and has just completed a year of freelancing and studying to complete a Post-Graduate Diploma of Business Management.

Clinton Hewitt
In September, Clinton Hewitt was appointed Gallery Coordinator for Fresh Gallery Ōtara, a facility of Auckland Council in the Ōtara Town Centre. Clinton studied Visual Arts at Manukau Institute of Technology after working for several years as a carver and interdisciplinary artist both in the Cook Islands and South Auckland. His company Tribal Designz specialises in customised 21st keys and ukulele.

Lana Lopesi
Lana Lopesi was appointed Editor-in-Chief at The Pantograph Punch in July. She was previously the Visual Arts Editor, and had been editor for #500Words from 2012-16.

Anapela Polataivao
Award-winning actress and director, Anapela Polataivao has taken on the role of Director of Performing Arts at Nathan Homestead, a multi-use facility of Auckland Council in Manurewa, South Auckland. The outdoor summer season of Think of a Garden by American Sāmoan playwright, John Kneubuhl opens on January 25th, tickets available here.

2018: it’s on like donkey kong

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In the spirit of Vinesh Kumaran’s solo exhibition, Hello, my name is Vinesh, join us for a night of fairly chilled out speed networking! Grow ideas and projects, share skills and inspiration, and meet like minded South Auckland creatives!

The #PIMPIWinterSeries speed networking night is for creative people to mix and network, or be awkward together, break bread and build community around the creative hustle – trying to make art, make money, survive and thrive in Tāmaki Makaurau today.

This event is part of the PIMPI Winter Series, a suite of three exhibitions and public programme events produced site-specifically for Lime Espresso Bar & Eatery in Ōtāhuhu, South Auckland with support from theMangere-Otahuhu Local Board.

Keen to come along? Come! Bring a friend!

When: 6pm, Saturday 1 July
Where: Lime Espresso Bar & Eatery, 507 Great South Road, Ōtāhuhu, South Auckland
Cost: Free

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The first exhibition of the 2017 PIMPI Winter SeriesHello, my name is Vinesh opened at Lime Espresso Bar & Eatery on Saturday 17 June. Photos were taken by Gopal Aupouri and Julia Mage’au Gray – thank you! The public programme event for this exhibition is a speed networking night, South Auckland stylee – it’s on Saturday 1 July, mor details coming soon!

 

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The 2017 Pacific Dance Festival launched last night in Māngere, South Auckland with a showcase of new and recent works by five women choreographers, Ojeya Cruz Banks (Guam), Tepaeru-Ariki Lulu French (Cook Islands), Julia Mage’au Gray (Papua New Guinea), Losalio Milika Pusiaki (Tonga) and Tia Sagapolutele (Sāmoa). 

The poster, featuring an image by Julia Mage’au Gray, who features in the upcoming PIMPI Winter Series exhibition, Lovers Rock, reflects the refreshing regional diversity of this year’s programme. This image of the unique storied markings of Papua New Guinea tattoo on curving brown skin, juxtaposed against concrete and right-angles, is part of Mage’au Gray’s series, Mela out of context, made in response to her recent relocation from Darwin, Australia to Auckland.

The photographic element of Mage’au Gray’s practice was further explored in her choreographic work in the programme, Found Words. As a solo dance work, Mage’au Gray herself performed in response and harmony with a video projection of powerful stop-motion performances, and a moving audio track featuring the late, Dr Teresia Teaiwa reading her poetry, including her iconic, Fear of an Estuary…

Fear of an Estuary
By Teresia Teaiwa

I think I know what a coconut feels like after floating for so long in salt water
And suddenly entering an estuary
This sinking feeling I’m feeling it again
This sinking, sinking feeling

Have you ever heard of a coconut drowning?
I am afraid of estuaries
Somewhere told me they are rich feeding grounds for sharks
I’m not afraid of sharks
I am afraid of estuaries
If I were a coconut I would not want the ocean to meet a river
If I were a coconut you would be salt water
In calm or storm I could always float with you breathe in you until you met fresh water
And then I would sink, sink, sink

If I were a coconut and you were salt water
I would sink, sink, sink when you met fresh water
I would sink, sink, sink

But the wise one said I will not drown

© Teresia Teiawa

The voice and presence of Teresia Teaiwa, who passed away suddenly and tragically earlier this year, was triggering of so many tears. I was left reflecting again on the deep impact Teresia made on the writing and thinking about Oceania and what a privilege it was to know her. I was left with salty tears, and Teresia’s words – We sweat and cry salt water, so we know that the ocean is really in our blood (Teresia Teaiwa, As quoted in Hauʻofa, Epeli. We are the Ocean: Selected Works. Honolulu: University of Hawaiʻi Press, 2008).

The large scale projection screen at Māngere Arts Centre was ideal to experience Ojeya Cruz Banks‘ short dance film, Tåno’ shot on location in Guåhan/Guam. Her words, representing a Chamorro and Micronesian perspective, and the solo dancer’s arching body in crackling, shady vegetation, with a tar seal highway and the ocean in the background, shot almost as if from the point of view of the forest, made this work mesmerising to watch.

Tai Akaki by Tepaeru-Ariki Lulu French evoked the ocean in beautiful, waves of movement and rhythm, deep hues of blue in lighting and textures. The work spoke to the urgency of rising sea levels and the connectedness of our Islands with a pan-Oceania vocabulary of movement.

Photo courtesy of Raymond Sagapolutele

Tia Sagapolutele’s work, Ave was a force! Part Parris Goebelesque fierceness blended with the grace, awareness and sometimes awkardness of negotiating Sāmoan culture, its practices, stories and boundaries. An energising, heart thumping mash-up of siva Sāmoa, voguing, badass formations and brown girl magic!

Photo courtesy of Raymond Sagapolutele

The final performance of the night was a Tongan extravaganza! Choreographer, Losalio Milika Pusiaki, bought an intergenerational, feast of epic whole-community proportions! I loved it! All colour, no compromise on the length and presence of each component of the story. The men danced, the women danced, the children danced; the costumes from hair comb to ankle ornamentation were exquisite. There is no doubt, Tongans don’t do things by halves. I felt so close to this work, seeing traces of the relationship between Fiji and Tonga, in movement and regalia, in its truth and connectedness between past, present and future.

Photo courtesy of Raymond Sagapolutele

Thank you to Pacific Dance New Zealand; this opening night was uplifting, inspiring and moving. I’m not someone who engages much in the world of dance, but having this festival here in Manukau, South Auckland, and being able to support and share space with these brave creatives, dancers, storytellers and musicians, it means a lot.

Vinaka vakalevu!

Don’t miss out – tickets still available here!

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Hello, my name is Vinesh opens this weekend at Lime Espresso Bar & Eatery as the first exhibition of the 2017 PIMPI Winter Series. Photographer, Vinesh Kumaran and I have been working together on projects for more than a decade!

The first exhibition I produced with Vinesh’s work was called (Re)Locating Home, a group show that was  staged in Suva, Fiji and at Fresh Gallery Ōtara in 2006. Vinesh’s work was a single wall-mounted image and a beautiful book of photographs documenting a highly personal journey retracing his family’s historical migration from India to Fiji and on to South Auckland. I witnessed his work drawing people in, sharing insights to a journey many would only dream of.

Vinesh and I have since collaborated on photographs for exhibitions, public display, publications and online galleries, but this is the first time we’ve made an exhibition about photographs Vinesh took on an iPhone!

Hello, my name is Vinesh is a title devised over a few drinks with Vinesh, designer Edgar Melitao and curator Nigel Borell. The original concept for the exhibition was developed for Māngere Arts Centre but the exhibition didn’t eventuate. Using the impressive artistic direction of Edgar Melitao and a tag team of curators, we had hoped to help Vinesh realise this important project in the most beautiful way, symbolically in the neighbourhood he grew up in.

One year on, Hello, my name is Vinesh has been re-born, produced by just me, but informed by those initial brainstorms with the Vinesh Kumaran dream team! This special show breathes life into the 2017 PIMPI Winter Series as the first exhibition of the series. It is a complete privilege to help see this exhibition come to life and we are both super grateful for the support of the Māngere-Ōtāhuhu Local Board.

Hello, my name is Vinesh opens at 6pm on Saturday 17 June and runs from Monday – Friday, 7am – 3pm and Saturdays, 9am – 2pm, until Friday 7 July at Lime Espresso Bar & Eatery, 507 Great South Road, Ōtāhuhu, South Auckland.

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The third exhibition in the 2017 PIMPI Winter Series takes its name from the title track of Sade’s concept album Lovers Rock.

For curator, Ema Tavola, the lyrics and melodies of the album formed the soundtrack of a period of awakening, of flipping the script and transforming youthful anxiety and torturous and media-saturated negative self-image to powerful, self empowerment. It was played on CDs, contemplated on worn mattresses, in humid afternoons and rainstorms; it was the music that fuelled the decision to leave home and embark on the adventure of moving to Aotearoa.

This exhibition, Lovers Rock, is an homage to radical, transformative self love.

It is a tragedy that the act of truly loving the bodies we inhabit is a form of rebellion, a political position, a choice to consciously reject the media messaging that attaches worth and value to prescribed and narrow ideals that often don’t match our physical and environmental realities.

As pathways and platforms to perform and engage in the act of self love, artists explore, reclaim and unpack the politics of the gaze, unapologetically centralising the brown body, in the frame, in the centre; creating visibility where it didn’t exist. Lovers Rock taps into the necessary re-authoring of the narrative of brown bodies, unburdening the language of our curves and textures, our rhythms and shade.

Practices in Self-Love is the exhibition’s public programme event. In a unique Pecha Kucha inspired sharing format, the exhibition’s artists will share personal approaches for channeling self love and practicing self care. All welcome!

Image credit: Invisible series (2016) by Julia Mage’au Gray

Lovers Rock

Featuring: Melissa Cole, Julia Mage’au Gray, Pati Solomona Tyrell, Serene Timeteo, Jacinda Pini
Opening: 6pm, Saturday 29 July
Practices in Self-Love: 2pm, Saturday 5 August
Exhibition Dates: 31 July – 19 August 2017

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The first three exhibitions I’ve visited this year have got me thinking…

Waikato-based visual artist Margaret Aull (Te Rarawa, Tūwharetoa, Fiji) presented her Master of Fine Arts graduating work this week at Whitecliffe College of Arts & Design in central Auckland (read more here). Cook Islands choreographer Tepaeru-Ariki Lulu French has curated an impressive exhibition at Fresh Gallery Otara, and down the road at Mangere Arts Centre, there’s a long summer exhibition called Agiagiā, which is a Samoan title for an exhibition on the late Pākehā artist, Len Lye.

In the way that so many conversations in the diaspora about Pacific art and artists reflect and respond to colonisation, these exhibitions highlight three notions of cultural exchange. The artists critique and respond to the interface of coloniser and colonised, where cultures blend and bleed into each other. Consciously and unconsciously, the exhibitions present commentary on reciprocity, loss, protocol and power.

The entrance to Margaret Aull’s installation, entitled Rules of Engagement, was symbolically lowered. It required audiences to stoop upon entering the space, responding to the Fijian protocol of lowering one’s head as a gesture of respect and deference when in the presence of a chief (traditionally), entering a room or when passing in front of seated people. The installation is the outcome of Aull’s investigations into the notion of tapu, something she describes as “an indigenous liminal space… [existing] by way of knowing and doing, and activated when acknowledging the unknown.” (Rules of Engagement Through The Notion of Tapu catalogue, © Margaret Aull)

The audience experience of this work is an awkward maneuvering around large-scale objects, precarious mirrors and two slightly manic eyeballs. The installation is loaded with Maori mythological symbolism and rooted in Aull’s personal enquiry informed by her dual heritage.

Choreographer and Cook Islands tamure dancer, Tepaeru-Ariki Lulu French has curated an exhibition entitled, The Pacific Muse: The Art, The Dance. It consists of documentation of her ongoing performance piece, The Pacific Muse, from its original presentation during the 2011 Pacific Dance New Zealand Choreographic Lab to Auckland’s 2013 Tempo Dance Festival. From its most recent presentation, a series of stunning staged photographs were produced and are presented as relatively large-scale prints.

Central to the exhibition is the display of the costumes designed and constructed by Valentina Serebrennikova in consultation with French. They are hauntingly beautiful and feel worn, as in imbued with the dance and French’s ongoing research into  Pacific female body politics, stereotypes and the legacy and effects of colonisation.

Mangere Arts Centre’s summer exhibition, Len Lye: Agiagiā runs for three long months, an exhibition timeframe better suited to large public institutions and museums rather than community galleries. Len Lye was a New Zealand artist known for his innovative experimental film practice; co-curator, James Pinker states in the exhibition’s media release that “Lye was one of the first Pākehā artists to appreciate indigenous cultures around the world.” *side-eye*

The galleries are painted black. The exhibition consists of framed drawings, kinetic sculptures and videos. Whilst there is a lengthy introductory wall text, the exhibition lacks any interpretive text and moving throughout the space, my guest and I felt detached and emotionless at the lack of information and assumed importance of the works. Whilst a museum has a duty to inform and educate its customers, galleries seem to have less accountability for an exhibition’s transmission, a problematic dynamic in the case of a ratepayer-funded community gallery.

Len Lye’s notoriety as an artist is not common knowledge even amongst arts educated audiences; the value of his work is not mutually translatable. He used Pacific imagery in some of his work, and the exhibition has a Samoan title, but the relevance to the Pacific, and potentially Pacific Island audiences, is superficial. Mangere Arts Centre’s audiences are diverse but I find it frustrating that a publicly funded community gallery clearly prioritises for industry and academic audiences before considering the experience and expectations of its local community.

Whilst attendance numbers and mainstream media reviews will translate to bureaucratic boxes ticked, measuring engagement rarely reflects the reality of disengagement. Mangere Arts Centre doesn’t have a suggestions box and there are rarely opportunities to provide feedback on their programming. I’m not alone in wishing that such a well-equipped facility and resource could better serve the community and context it sits within; disappointment and frustration is evident at a community level, but rather than complain, people just don’t go back.

So, 2014 – here we go, here’s to another year of art projects and real talk!

 

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HOME AKL FREE BUS

There is a free bus service running from Mangere Arts Centre – Ngā Tohu o Uenuku in South Auckland to Auckland Art Gallery Toi o Tāmaki in Central Auckland each Saturday in August!

See life through the eyes of Auckland’s Pacific artists in the new exhibition, Home AKL – the first major group exhibition of contemporary Pacific art developed by Auckland Art Gallery!

The bus departs at 12pm from Mangere Arts Centre – Ngā Tohu o Uenuku, located in the Mangere Town Centre at the corner of Bader Drive and Orly Avenue. Park in the rear car park at the corner of Orly Avenue and Waddon Place.

The bus goes directly to Auckland Art Gallery Toi o Tāmaki arriving around 1pm, in time to participate in weekly public programme events.

The bus returns at 3pm – the pick-up is from Wellesley Street, by Albert Park.

WHAT DOES IT COST

The bus is free, and entry to Auckland Art Gallery Toi o Tāmaki – however, Home AKL is a special exhibition that has an entry fee. Ticket pricing is as follows:

Single Admission $5
Concessions (Student, Beneficiary, Senior Citizens, Groups over 10) $3
Children 14 and under FREE 

A season pass can also be purchased for $20 – this enables visitors to visit as many times as they like!

Read more about this initiative here

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