Much has been made, since the advent of photography and its documentary aura, of the potential for desensitisation of horrifying images.

Since the publication of the TIMES photographs of Auschwitz, the phenomenon is observed time and time again as we become less affected by images filling our newspapers of should-be horrifying events in far away places.

Exhibit photographs of corpses and we will be shocked – but exhibit tiny corpses in Tupperware composed of bandages and the horror is much more insidious. Leleisi'uao slight sculptures, though unsettling, are themselves born of an awareness of a reality that must be addressed.

The four tiny corpses, named after the times of the year when violence peaks, are sickening. Leleisi’uao indicates, though, that we are far more horrified by his entombed infants when they are in front of us than we are of the statistics that put them there. Doris Salcedo indicated once that the lives of some people, those born into lives of abuse, that ‘their lives acquire death as their only content.’

The tiny bodies that are made entirely of bandages channel this idea, as the imagined lives and meaning of these bodies comes entirely from their being dead. Too young to have developed any other identifying stories, the bodies are defined by the flowers or feathers that shroud them. Their rudimentary interment in plastic storage containers speaks to the proliferation of this abuse in a country that often fancies itself a paradise.

Though extremely challenging, Leleisi’uao’s works are necessary, brave, and a great deal more effective than so many statistics in newspapers.
Amy Stewart

Leleisi'uao's works feature as part of the group exhibition 'Not For Entertainment', Whitespace Gallery, Auckland through May 27.

As has been widely reported, Edvard Munch's1895 pastel 'The Scream' was recently
auctioned for USD120 million at Sotheby's New York Impressionist & Modern Sale. Sales from that
auction generated USD330 million.

Shortley  thereafter, Christie's New York Auction of Postwar and Contemporary Art generated USD388
million topped by a stunning 87 million dollar Rothko.

'The Scream' now becomes the most expensive art work  ever sold @ auction. In all, over a billion dollars
transacted in the New York ContemporaryArt Market in the space of just 7days - with Christe's Modern
Auction the previous Tuesday ratcheting up 177 million and Sotheby's Contemporary Auction
delivering 266 million. 

And as to what was inevitable - posters of The Simpsons
parady of Munch's 'Scream' recieved a lift!

This year Pulse Art Fair switched from its usual early March slot during ARMORY
Week to try out New York’s new art week during the Frieze Art Fair.
View highlights from the fair below and get an inside perspective from
Pulse director Cornell DeWitt.

The first major group exhibition of contemporary Pacific art developed by
Auckland Art Gallery Toi o Tāmaki will open on Saturday 7 July. Home AKL is a
dynamic exhibition presenting works by Pacific artists, most of whom live in
Auckland.

Home AKL reveals the increasingly significant role Pacific art plays in New
Zealand’s identity and cultural landscape, and includes work by more than 20
artists whose heritage derives from the Cook Islands, Fiji, Kiribati, Niue, Samoa,
Tonga and Tuvalu. ‘New Zealand’s contemporary Pacific art reflects many
distinctive voices, storiesand perspectives – it’s urban, biographical and affected
by its grass-roots community,’ says the Gallery’s Senior Curator, New Zealand
and Pacific Art, Ron Brownson.

‘Home AKL is a unique exhibition presenting work by both contemporary and
heritage Pacific artists. Heritage artists use traditional techniques and media while
often incorporating modern materials in their work.’

Artwork by three generations of Pacific artists show how these practitioners use
personal experience to examine concepts of ‘home’ and belonging.

A range of media, including painting, sculpture, photography, video and
adornment has been selected. Alongside artwork from the Gallery’s collection and
loans, Home AKL will feature 13 new commissions, five of which are heritage fine
art.

Artworks include those by prominent Pacific artists – Lonnie Hutchinson, Ioane
Ioane, Shigeyuki Kihara, Andy Leleisi’uao, Paul Tangata and Teuane Tibbo – and
emerging talents such as Leilani Kake, Janet Lilo and Siliga David Setoga. The
five heritage fine art collectives come from Fiji, Kiribati, Niue, Samoa, Tonga and
Tuvalu.

The exhibition is generously supported by Creative New Zealand and art patrons
Rose Dunn and the Friedlander Foundation.

Artists: Edith Amituanai, Graham Fletcher, Tanu Gago, Niki Hastings-McFall,
Lonnie Hutchinson, Ioane Ioane, Leilani Kake, Shigeyuki Kihara, Jeremy
Leatinu’u, Andy Leleisi’uao, Janet Lilo, Ani O’Neill, John Pule, Greg Semu, Siliga
David Setoga, Paul Tangata, Angela Tiatia, Sopolemalama Filipe Tohi, Teuane
Tibbo, Jim Vivieaere

Heritage fine art artists: Fiji – Joana Monolagi, Kiribati – Louisa Humphry, Niue –
Foufili Halagigie, Tonga – Sēmisi Fetokai Potauaine, Kolokesa Kulīkefu and
Hūlita Tupou, Tuvalu – Lakiloko Keakea

Pictured: Angela Tiatia; production still from the video Hibiscus Rosa Sinensis 2010
Courtesy of the artist.

Auckland Art Gallery Media release