Ana Sciascia at the 61st Venice Biennale

Earlier this year, I travelled to the Venice Biennale, curious to experience its scale, intensity, and reputation as one of the most significant gatherings in the contemporary art world. What I found was exactly that, but also something more layered: creativity, conversation and contradiction.

Given the current state of world affairs, international geopolitics, and the long-standing power dynamics of the arts, there was an expected agitation across the Biennale. Yet there were also joyous moments of respite, held gently within this year’s exhibition theme In Minor Keys, which invited us to shift to a slower gear for a quiet reflection of our shared humanity. A poignant curatorial ōhākī from the late Koyo Kouoh.

For Aotearoa New Zealand, it was a privilege to see Fiona Pardington representing us on this international stage. Fiona continues a proud whakapapa of wāhine Māori exhibiting in Venice, and her exhibition Taharaki Skyside is beautiful. Her practice of photographing taxidermyed birds are made with such precision, care, and reverence that these museum specimens are transformed back to being uri of Tāne Mahuta.

Whether it is the scale of the works, the lighting of the space, or simply Fiona’s brilliance as an artist, the manu feel alive. I was especially moved by the way she has altered and distorted the eyes to reflect the environments of each bird, suggesting what might sit in the whatumanawa of each manu: memory, grief, longing, and an enduring connection to the taiao. It is a masterful gesture. The soundscape, which includes a mōteatea composed by Dr Hana O’Regan deepens the wairua of the exhibition alongside the presence of Kiri-waerea, the pounamu mauri stone.

Throughout the vernissage there were blessings, previews, openings, and media events surrounding Taharaki Skyside. A particularly meaningful moment was hearing NZ at Venice Kaihautū Puamiria Parata speak to the significance of the site and venue, the Istituto Santa Maria della Pietà. Having paid my respects to Carla van Zon in Ōtaki before leaving for Venice and acknowledging her influential role in establishing New Zealand’s presence at Venice, Puamiria’s kōrero felt especially resonant.

The keynote contributions by Dr Maia Nuku and Dr Hana O’Regan were outstanding. Tū whakahīhī au – it is hard not to stand a little taller when you hear wāhine speak with such clarity, intelligence, and purpose. Their reflections of Fiona’s practice were beautifully crafted, while also directly addressing current issues facing Ngāi Tahu in Aotearoa and Indigenous peoples globally - with a caution, least we end up like the manu in Fiona’s work.

The Venice Biennale continues to hold the attention of the global art community, and it is not difficult to understand why. Whether it’s the history, dating back to the late nineteenth century, or the sheer scale: the national pavilions, the curated exhibition across the Giardini and Arsenale, and the many collateral events spread throughout the city; whatever the reason, the draw of international visitors feels as strong as ever. As for the art itself, some works were incredibly profound and remain with me still. Others were, admittedly, a little out the gate — even for this arts director.

Beyond the art and politics, one of the most valuable aspects of the trip was the space it created for in-depth kōrero and wānanga. Hearing from Gabrielle Goliath, the South African artist who, after being removed from the South African Pavilion, staged an independent off-site presentation of her Elegy project, was powerful.

I was also deeply moved by Australian artist Khaled Sabsabi, whose insight, humanity and spirituality were among the highlights of the Asia Forum, as well as the devotional performance by the Sydney-based Islamic nasheed ensemble, Ahbab Al-Mustafa at the Australian Pavillion.

It was also wonderful to see Te Tuhi present Paerangi: Venice at CREA Cantieri del Contemporaneo, bringing together Kereama Taepa, Neke Moa, John Turi, and Suzanne Tamaki for a series of site-responsive activations during the vernissage. These contributions reinforced the richness and vitality of artists from Aotearoa working in dialogue with global audiences.

Amid protest, resignations, and boycotts, the Biennale was at times overwhelming. But totally worth it. I left feeling challenged, inspired, and proud — and grateful to have witnessed the strength of Indigenous voices carried through Venice.

Next month the Pātaka Foundation is partnering with the Indigenous Curatorial Collective (ICCA) from Canada to support curators Zoe Black, Issac Te Awa, Piupiu Turei and Vanessa Edwards to travel to the Venice Biennale as part of the ICCA Delegation programme to foster international collaboration and cultural exchange. I look forward to hearing of their observations and insights of the Venice Biennale when they return.

[Take a deep breath]
[Exhale]
[Drop your shoulders]
[Close your eyes]

This is an invitation to encounter these words in the immediate physical, meteorological, ambient, and karmic conditions in which they meet you. To shift to a slower gear and tune in to the frequencies of the minor keys. Because, though often lost in the anxious cacophony of the present chaos raging through the world, the music continues. The songs of those producing beauty in spite of tragedy, the tunes of the fugitives recovering from the ruins, the harmonies of those repairing wounds and worlds - Koyo Kouoh

Glossary

ōhākī departing words / final instruction

wāhine women

uri descendant

Tane Mahuta God of the Forrest

manu bird

whatumanawa deep seated emotion / heart

taiao environment

mōteatea chant / lament

pounamu greenstone

kaihautū Cultural leader

kōrero Speech / dialogue

tū whakahīhī au Standing with pride

wānanga collaborative gathering for sharing and co-creating knowledge