Moments after the first SCANZ started – at Owae marae in 2006

The photo above is of the gathered participants at the first SCANZ – just after the powhiri at Owae Marae in 2006. Nina Czegledy, Trudy Lane and Ian Clothier will present on SCANZ 2006, 2009, 2011 and 2013 at Balance-Unbalance.

As part of our Balance-Unbalance presentation on Solar Circuit Aotearoa New Zealand, where we will discuss issues around engaging with science and indigenous peoples, we are wanting to subvert the usual arrangements for presentation.

We would like the audience to download our presentation images to their mobile device. We will then not require the use of a projector with it’s directional emphasis, will be able to sit in a circle, and we will also be able to leave the room and go for a short walk all as part of our presentation.

This emphasis on the physicality of experience, of interrogating the frameworks for activity, and taking alternate approaches all arise from the experience of producing SCANZ in 2006, 2009, 2011 and 2013.

Download the pdf for your mobile device by clicking the link scanzAllweb02

Te Taiao

3rd nature art works

Curated by Ian Clothier, the works in SCANZ 2013 3rd nature exhibition spiral from the Puke Ariki Museum gallery Te Takapou Whāriki o Taranaki (The Sacred Woven Mat of Taranaki) out onto level 2 and around the natural history and geology galleries, down the stairs on to the landing and beyond into Pukekura Park botanic garden.

Exhibitions + Projects

Iwasaki, Hideo cultures cyanobacteria which then photosynthesise according to the light of the moving image work projected from below (from the 3rd nature exhibition)

Iwasaki, Hideo cultures cyanobacteria which then photosynthesise according to the light of the moving image work projected from below (from the 3rd nature exhibition projects and exhibitions

This page has introductory information about projects, which include our biennial project SCANZ, exhibitions in Albuquerque, Istanbul, Rio and in Aotearoa New Zealand.




We are currently working on exhibition projects for Sydney, Albuquerque and Taos and Nga Motu New Plymouth. SCANZ 2015 will be themed Wai (water) and Peace, two significant issues facing humanity.



SCANZ 2013: 3rd nature exhibition

'The electromagnetic sensory world of sharks' by Mike Paulin, a Zoologist was projected onto the mesh of a 'sail', in the galleries which houses traditonal Maori artefacts.

‘The electromagnetic sensory world of sharks’ by Mike Paulin, a Zoologist was projected onto the mesh of a ‘sail’, in the galleries which houses traditonal Maori artefacts.

3rd nature at Puke Ariki integrated museum and library. To see works in the 3rd natureshow, click the image above.



Wai (for ISEA 2012 Albuquerque)

Te Urutahi Waikerepuru, Dine'/Navajo musician Andrew Thomas and his partner, Te Huirangi Waikerepuru, myself, Johnson Dennison, Gordon Bronitsky and Rosemary Dennison just before the ceremonies started.

Te Urutahi Waikerepuru, Dine’/Navajo musician Andrew Thomas and his partner, Te Huirangi Waikerepuru, myself, Johnson Dennison, Gordon Bronitsky and Rosemary Dennison just before the ceremonies started.


Water is essential for life, sacred to many indigenous peoples worldwide and endemic to natural processes. This project connects Maori cosmology, notions of integrated systems, Western art and science in order to reinvigorate our understanding of flow and water. The project reiterates the urgent need to engage with sustainable practices given climate change. It also underlines the importance of listening to the indigenous voice on the environment.

The Wai (Maori for water or flow) project uses technology to connect distant spaces and cultures around the theme of water. Water holds significance for Maori of New Zealand Aotearoa, Navajo/Dine in New Mexico and neighboring regions, and is essential to survival. Isleta Pueblo, Navajo/Dine and Maori ceremonies will be performed as part of the dawn opening for the exhibition.

The project is led by Te Huirangi Waikerepuru and curated by Ian Clothier. It will open September 19th at 516 Arts in Albuquerque. A collective of people spanning four countries and many cultures – Aotearoa New Zealand, USA, Australia, India and representatives of indigenous peoples -are presenting an interconnected project. The collective is known as Te Hunga Wai Tapu (the people for whom water is sacred).

For more information about Wai, check Wai exhibition and Wai participants.



Te Kore Rongo Hungaora Uncontainable Second Nature


Te Kore Rongo Hungaora Uncontainable Second Nature was a project of ISEA 2011 Istanbul. A travelling version has since been formed, for exhibition in Rio de Janeiro.

The exhibition crosses cultural and discipline boundaries. The location of five themes from within European and Maori world views, provides a framework with which to construct a cultural bridge between Maori and European of New Zealand. Culture is usually presented separated and distinct; given the intercultural bridge, works from art and science are recontextualised as cultural texts symbolic of belief systems. Discipline is not fixed, but fluid in a transformational environment. In the exhibition, digital and post-digital exist in a state of hybridity.

Curated by Ian Clothier with an advisory panel of Nina Czegledy, Trudy Lane and Tengaruru Wineera, for ISEA 2011 Istanbul. Supported by:

Exhibited works

Please see here for a list of all the projects involved in the exhibition »


Exhibition Venues

Venue: Cumhuriyet Art Gallery, Istanbul, Turkey
Dates: September 14th – October 12th, 2011
Exhibition Page: Uncontainable: Second Nature
Related Event: Eco sapiens Round Table

Event: CulturaDigital.Br International Festival
Venue: Rio de Janeiro, Brazil
Dates: December 2nd–4th, 2011
Exhibition Page: Rongo Hungaora: Second Nature [Travelling]





inter / place

inter / place



The works in the exhibition inter/place present an attempt to come to grips in some way with the notion of multiplicity and a sense of distributed identity. Rather than gather all the artworks up in one area and present them as a selection of works on one theme, the artists taking part in this exhibition have been free to create their own work and explore different exhibition locations for that work. Subsequently none of these works have been placed in the conventional sites for exhibitions in Puke Ariki museum. There is no claim to novelty in this approach but rather the determination that a view based on distributed and multiple identity has been hybridised to the Puke Ariki location.



Puke Ariki – three works in the museum section and one in the library.
Date: December 2 2010 – February 3 2011.
A link to the catalogue is provided below.




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SCANZ2013:tomo whakaari


Te Huirangi Waikerepuru at this mornings Tomo Whakaari. Beside him is Tengaruru Wineera. Terri Ripeka Crawford choreographed a special accompaniment to the traditional ceremony. Voices from all filled the morning air.



Live cyanobacteria cultured by artist-scientist Hideo Iwasaki is placed into specimen jars in preparation for exhibition

The image above shows preparation work for the 3rd nature exhibition in Puke Ariki. The cyanobacteria was cultured by artist-scientist Professor Hideo Iwasaki of Waseda University, Japan. Professor Iwasaki grows the cyanobacteria in a form derivative of humans, with a head, body, arms and legs.

The cyanobacteria are photosynthetic bacteria, and are ancestors to chloroplasts in plants. A chloroplast captures energy from the sun, and it is said that cyanobacteria helped to make Earth suitable for life. While on exhibition at Puke Ariki the cyanobacteria will be growing slowly, over a period of two months. Instead of the sun, the bacteria will photosynthesise with the light from an animation projected on to them from below.

The work of art and science raises several questions about the boundaries of life and our relationship to living plants. As Professor Iwasaki says: “They will be living at an interface which is hard to be called artificial or natural, drawing complicated patterns, and die.”

SCANZ2013: Paritutu

Rulan Tangen at Back Beach

Rulan Tangen ‘Walking at the Edge of Water’
Sunset at Back Beach, Paritutu, Taranaki Jan 26 2013
Photograph by Terri Ripeka Crawford

This is the middle weekend of the residency. Some went up the mountain, others gathered late in the day at Back Beach Paritutu.


SCANZ2013: Geolocating

Nga Motu Marine Reserve society

Today’s workshop was held in the venue to be used at WITT for the wananga-symposium. Our guest were Mike Ure, Elise Smith and Anne Scott of the Nga Motu Marine Reserve Society. Mike is also part of the Ahu Ahu beach group.

Mike Ure

Mike Ure talked about Maori understanding of the local coastal area

Elise Smith spoke about the little blue penguin project. The society has been gathering data on the penguins, and placing it online using maps. The aim is for Maori knowledge and creative projects to be added to the same online map.

Elise Smith spoke about the little blue penguin project. The society has been gathering data on the penguins, and placing it online using maps. The aim is for Maori knowledge and creative projects to be added to the same online map.

Anne Scott

Anne Scott from the Marine Society discussing the aims of society projects. Thanks to Martin Drury for the images.

SCANZ2013 Keynote: Nina Czegledy – reFraming Nature











Taking an ecological approach to observing patterns in time and space systems is a very current direction to tackle environmental issues. This discussion focuses attention on observations of an historical nature as well as considering emerging patterns in our individual and collective attitude to Nature, ecology and the environment. Recently, several projects – highly evolved in both concept and process- emerged. Some of these case studies are used as primary foci of exemplification in order to explain the dialectics between Humanity and the environment through artistic capture.  These dialectics also bring into relation the significance and future implications of fledgling initiatives in regions where cognition of environmental activism by artists is less advanced. Consequently, this exploratory essay has a long, complex and sometimes elastic time-line, yet nevertheless proposes an underlying correlation tying the diversity of perspective together as a way of indexing Humankind’s relation to Nature on a social and cultural basis. Nowhere is this more apparent than in the main goal of Eco-activist art to re-Frame complex issues so that they maintain essential meaning while the process itself facilitates attitude changes to the environment – mainly through positive social innovation leading to social change.

SCANZ2013: skype bridge

This special session of 3rd nature involves six presentations from Europe.  It occurs on Friday, February 1, 2013 8-9 pm, from Belgium, Germany, Spain and Austria and simultaneously Saturday, February 2, 2013, 8-9 am in Taranaki, Aotearoa New Zealand. This session occurs immediately after the Tomo Whakaari (Dawn Opening) for the 3rd nature exhibition has completed.


  1. Maja Kuzmanovich
  2. Verena Kuni
  3. Lorena Lozano
  4. Reni Hofmuller
  5. Annemie Maes
  6. Lenka Dolanova and Michal Kindernay


Vegetal culture

Maja Kuzmanovich, Brussels, Belgium


At the epicenter of culture, gardening and technology we might be able to see how plants can become organisational principles for human society in the turbulent times of the 21st century. Although we have to scavenge the fringes of contemporary society, we can observe many healing effects that humans can have on their surroundings through a symbiotic collaboration with plants. People offer a helping hand to a struggling habitat through “natural farming” (Fukuoka 1990). Others design whole lifecycle systems inspired by natural processes, based on the art and science of bio-mimicry. However, on a systemic level, we still don’t know how to overhaul wasteful human behaviors en masse. How do we encourage a more resilient culture, so that humans and non-humans can continue living, preferably together? How do we stimulate a fertile entanglement of culture, gardening and technology that can give the rise to diverse and holistic communities of practice? Communities, are capable of forging symbiotic relationships between postindustrial human societies and the rest of the earth. Composting bitterness to grow beauty.

Maja photo


Maja is a generalist, with a background in Design Forecasting and Interactive Media. Maja is the founder, principal invigorator and chef de cuisine of FoAM. Prior to FoAM, she experimented with MR & VR in research institutes across Europe (GMD, CWI, Starlab), lectured (HKU), as well as collaborated with technological arts collectives such as Post World Industries and Pips:Lab. Her particular approach to people & technology has been recognized by the MIT’s Technology review & the World Economic Forum, awarding her the titles of Top 100 Young Innovator (1999) & Young Global Leader (2006). Her current interests span alternate reality storytelling, pata-botany, resilience, speculative culture and techno-social aspects of food & food systems.


Electro-Culture Revisited

Verena Kuni, Frankfurt, Germany


If technologies have always formed and informed our attitudes towards and relationships with nature, this is also true for the way we’re commuting and communicating the latter. But what does this mean exactly when looking at “human-plant relationships in the electronic circuit” – and at (DIY-) experiments with electricity, electronic media and network technologies in gardening and agriculture?

Verena Kuni photo


Verena Kuni is scholar in the field of history and theory of art and media cultures and professor for Visual Culture at Goethe University, Frankfurt Main. Since 1996 she is lecturing, researching and teaching at universities and art academies in Europe and beyond. From 1995 to 1999, she co-curated the video section of Kasseler Dokumentarfilm and Video Festival, where since 1999 she is director of the yearly interfiction summit for art, media, and network cultures. Her research is dedicated a. o. to transfers between material and media cultures; media of imagination and technologies of transformation; alternate realities; urban biotopes; DIY and prosumer cultures; games, play and toys as tools. She has published widely (print & online) on contemporary arts & media, their histories and futures. Since 1997, she also runs her own radio shows.


Econodos, a laboratory in the open fields

Lorena Lozano, Gijon, Spain


Econodos (a laboratory in the open fields) is an open platform for creators, artists and designers working on art and nature relationships. It is a knowledge exchange network that tries to visualize new ways of dialogue with the biosphere and to develop eco-technologies. In an inter-disciplinary and multi-technique way, it integrates design, architecture, biology, music and informatics. It works in the field of communication, social mediation, research, documentation and creation, developing collaborative activities (workshops, exhibitions, artistic interventions, social participation dynamics and public spaces-debates). The nodes operate as a knowledge-net, focused on the ecological, social and technological challenges that today’s society is faced with, while being anchored in three ecological registers –environment, social relations, human subjectivity. Projects developed are based upon new paradigms of the relationship between humans and nature, the increasing importance of urban agriculture and the role of art as innovative imagination and communication instruments.

Members: Lorena Lozano (biologist and artist), Rubén Suárez (designer) and Javier Palacios (marine biologist and programmer)

Projects: ecoLAB:

Is an experimentation laboratory at the intersection between ecology, art and open electronics. It is a project that generates subjectivities and dynamics in relation to the biosphere and its ecosystems, through the implementation of eco-technologies (high-tech and low-tech). it works at LABoral Centro de Arte y Creación Industrial, Gijón, Asturias.  Greencity: Urban recepies in the limits between the urban and the rural; self-sufficiency, autoconstruction, DIY, harvesting the city, greening the surroundings. The same gardens: How are the artistic perspectives used politic tools on the praxis of social and environmental praxis? ¿Can aesthetics play a key role on these processes? How and why contemporary artists use new and emergent green spaces in the cities? To what extent are these visions another utopia fantasy? Biohacking: Reflections abut life, interpersonal relationships and philosophical meaning. How can scientific advances change the way we understand ourselves and our human beings ideals? What does the development of biotechnology mean for the human species in how we relate to each other and perceive the non-human environment? To what extent do the powerful new ways of manipulating life, separate the capacity for production and reproduction of living beings from the environment and the communities that they are historically immersed in?



Graduated in Biology, specialized in Botany, Universidad de Oviedo, Asturias, Spain (1998). BHons degree in Fine Art, specialized in Sculpture and Environmental Art, Mackintosh School of Art, Glasgow University, Scotland (2007) Master in History and Sociocultural Analysis, Universidad de Oviedo (2012). Currently coordinates the project ecoLAB at Laboral Centro de Arte y Creación Industrial (Gijón) and is PhD Universidad de Oviedo in “Nature, Art and Society”. From 2007 to 2010, collaborated in Barcelona with the teams Ciutats Ocasionals, Sitesize and Idensitat on artistic and interdisciplinary projects on landscape and public space in contemporary cities. Have done artist residencies at Museum Manuel Felguérez (2007, Zacatecas, México) and Rubha Phoil Permaculture Centre (2005, Island of Skye). Worked for five years at The Hidden Gardens (regeneration and community project at Tramway, Glasgow). Trained in the fields of landscaping and social work in Switzerland and Majorca from 1999 to 2001.


Aims and objectives of ESC: Production, Work-lab/Communication/Networking, Presentation and Documentation

Reni Hofmuller, Graz, Austria

Possibility Grid

This title is programmatic for all the work we (the whole ESC-Team) do on a daily basis. In daily life, the decisions we take, the way we treat our surroundings, shows who we are. It was also the title of a show in 2011.

The central task of ESC is to produce and present art; the main emphasis is on the precise observation and seismographic capture of artistic processes that examine sociopolitical developments (information technology and biotechnology, socioeconomic systems) and new technologies (hardware and software).

Connected Open Greens

The topic of Connected Open Greens is the implementation of contemporary art pieces by usage of gardening situations, especially looking into micro-sociological and ecological systems related to time as starting points for the development of new artistic practices. Community gardens provide access to fresh produce and plants as well as access to satisfying labor, neighborhood improvement, sense of community and connection to the environment. They are publicly functioning in terms of ownership, access, and management, as well as typically owned in trust by local governments or nonprofits. (Wikipedia) This approach should be used to introduce contemporary time-based art into local communities and environments that usually are not part of the artistic focus. Urban gardening thereby becomes a method to find alternative communication strategies for contemporary art. At the same time, technological and organizational knowledge from artists enters into the world of community-based local work. Inspirations for these strategies are collected from other art project and the TIK-partners, especially from OKNO with their experiences with their open green experiments.

Reni Hofmuller


“I want freedom, the right to self-expression, everybody’s right to beautiful, radiant things.” Emma Goldman”

Based in Graz, Austria, Reni works as a media artist and activist, musician, composer, performer, organizer and  activist in the fields of usage of (new) media, technology and politics in general, engaged in development of contemporary art. Co-founder of ESC (artistic director), Radio Helsinki (community radio in Graz),, member of Institute of Media Archeology, 42 (artists group), /etc.


City Bee Monitoring

Annemie Maes, Brussels, Belgium

It is remarkable to see how a bee population functions and evolves in accordance to the human activites we are developing around them: gardening and urban agriculture. Honeybees are very responsive to the different biotopes that we share they are good bio-indicators. Therefore we want to gather insight into what constitutes the diversity of our surrounding living place and research this on a deeper level. We developed yet different tools for identifying the specificity and relatedness of plants, insects and human activities. Adding new sensor networks to our Connected Open Greens distributed garden database, we hope to portray the surround Brussels Canal Zone, as it is changing over time into a continuous productive urban landscape. With this new project, Corridors, in which city honeybees play the leading role, we want to research how the sustainability of cities can be increased in the future, and how citizens can be actively involved.

Annemie Maes


Annemie Maes, media artist and activist, holds master degrees in fine arts and cultural studies. Her artistic research and cultural activism projects are publicly presented as ‘politics of change’ with a focus on actual topics as ecology and women empowerment. Most of the projects are linked to the problematization of new art in public space, from a socio-cultural background. Annemie Maes is co-founder of Okno, an artist-run organization working with media art and ecology. Her recent research work focuses on Corridors & Connected Open Greens, both transdisciplinary projects at the intersection of art, biology and green technology.


KRA – Kravín Rural Arts

Lenka Dolanova and Michal Kindernay, Kravin, Czech Republic

KRA – Kravín Rural Arts is an emerging residency center based in a former cow-house in a small Czech village. Based in rural area, we are forced to work with “indigenous” people, the “locals”. The necessity to confront various “cultures” is obvious. Our aim is to use the means and tools of arts to challenge the local 3 ecologies (environmental, mental, social, as described by Félix Guattari). We fight the mortification of traditions by inserting new living traditions. We organize walks with artists sonifying fences and trees. Walking is the basic tool for acquiring pieces of local knowledge, “solvitur ambulando”, solving problems by walking and talking. We urge other artists to play on barrels, on the wind, on local broadcasting system. We construct beehives. We input ourselves as artists and researchers, into our community, using camouflage of beekeepers, gardeners, denizens, who we became. While city bees have allegedly more honey than village bees, citizens consume more products from “farmers’ markets” than villagers. The villages are losing their apples, pears and cherries. The diversity, variability and fruit-fullness is what we are fighting for, armed with unholy trinity: ecology + media + art.

– KRA = floe

– KRÁ = “caw” or “kaah”, sound of raven

– KRAVÍN = cowhouse

Lenka DolanovaMichal Kindernay photo


Yo-yo is a non-profit organization started in March 2009 by collective of artists, curators and organizers. Since 2012 it is divided into two interconnected branches – Yo-yo urban and Yo-yo rural -, based in Prague and Hranice u Malče (Vysočina). Yo-yo is initiating and supporting the experiments at the intersection of art, ecology and media, across the rural and urban contexts. Our aim is to explore the new spaces for art, outside of the official art centers. Since 2010, it has been involved in developing the KRA (Kravín Rural Arts) project of residency center in the village Hranice u Malče in Vysočina region of the Czech Republic – a space for creation, meetings, and discussion, dedicated above all to ecological media arts.

3rd nature exhibition background

This image is of the landing on level 2 of Puke Ariki (hill of Chiefs) Museum. In the centre are native insects and birds, and to the right of the middle is the entrance to the Taonga (Treasures) Gallery.

Curatorial statement 01 – background to the exhibition

The 3rd nature exhibition consists of 11 works within the Museum, 3 works in Pukekura Park and 1 in the local environment. How to exhibit work that spans discipline and culture is of primary importance to the conception of the 3rd nature exhibition. This is more straight forward in a public park such as Pukekura or on the coastline, but is a different matter in museums. The heritage of museums is that objects are sorted into categories that match classifications. Interdisciplinary and intercultural projects are predicated on ideas around hybridity and integrated systems, conceptually diametrically opposed to classification and category. So how do we do this? This is the conversation currently underway, between the curator, artists and museum staff.

Exhibiting are: Te Huirangi Waikerepuru, Mike Paulin, Darko Fritz, Hideo Iwasaki, Sonja van Kerkhoff and Sen McGlinn, Jo Tito, Pierre Proske, Damian Stewart, Tracey Benson, Nigel Helyer, Nina Czegledy, Trudy Lane, Halsey Burgund, Kura Puke, Josh Wodak, Janet Laurence and Anne Pincus. Most are exhibiting in Puke Ariki, with Trudy Lane/Halsey Burgund’s work situated inside Puke Ariki and areas immediately outside the museum, Nigel Helyer is in Pukekura Park botanical garden, as are Pierre Proske and Damian Stewart. Jo Tito will work with the Taranaki landscape.

The exhibition therefore spirals outward from Puke Ariki out into the foreshore, on to Pukekura Park and into the natural world.

The images on this page have been assembled for the exhibitors, so they can see the spaces we are talking about.

Puke Ariki

The Coastline Gallery

Puke Ariki photo

Further along the Coastline Gallery

Puke Ariki photo

Looking from the end of the Coastline Gallery to the Geology Gallery

Puke Ariki photo

A view along the Geology Gallery

Puke Ariki photo

From one corner of the Geology Gallery looking towards the end of the Coastline Gallery

Trudy Lane image

A Walk Through Deep Time involves a walk through 4.5 billion years of the Earth’s history. For SCANZ 2013, Trudy Lane and Halsey Burgund have developed a location-sensitive mediascape for smart devices, which weaves together thoughts from participants past and present.

Nigel Helyer image

Nigel Helyer will use Intercreate’s data controlled audio system which is located in Pukekura Park. The above image comes from “The Park Speaks” the Intercreate project that initiated the system.

Bowl of Brooklands

This is one of the proposed sites for Darko Fritz’s work

Bird sanctuary enclosure in Pukekura Park

This is the site for “Brickets” by Pierre Proske and Damian Stewart.

Bird sanctuary enclosure

There is a walkway among trees, and several species of birds living in the trees.

Jo Tito image

Jo Tito will create in the local environment


Background to the exhibition

Integrating indigenous perspectives with creative, environmental, technological and scientific views on reality is essential to a sustainable future. This is the view taken by Intercreate in regard to projects. Of particular importance in our view, is integrating the voice of indigenous people. We are fortunate to live in a time where this focus is shared in many countries.

We are therefore determined to integrate art,science, technology and indigenous knowledge in creative projects. 3rd nature is the third major exhibition resulting from engaging with Dr Te Huirangi Waikerepuru on projects. The first was Te Kore Rongo Hungaora: Uncontainable second nature at ISEA 2011 Istanbul. This reportedly was the first time the work of indigenous peoples had been exhibited in the ISEA (International Symposium on Electronic Art) context. There were difficulties in understanding what process we were engaged with exactly, because there was no map for this kind of activity.

Not only was Māori knowledge incorporated into the exhibition, curatorially the show also crossed the boundary between art and science quite dramatically. A work of direct science rather than an art-science project was included: Associate Professor Mike Paulin’s Computational Visualization of the Electromagnetic Sensory World of Sharks was a computer model of a dogfish and a section of the Earth’s electromagnetic field.

Embedded within the computer model (as conceptual background) is the scientific viewpoint that life emerged from water; the shark’s sensory system is integrated with it’s surroundings including the electromagnetic field which is an instance of integrated systems; and clearly the forces of energy are at play. These three themes – life emerging from water, integrated systems and ‘all is energy’ or energistic conceptions – can be seen in Te Taiao Māori (The Māori Universe) chart by Dr Te Huirangi Waikerepuru.

Having stumbled our way through landing a first exhibition (I recall me and Te Urutahi Waikerepuru discussing honestly not knowing what we were doing) – which received some very positive feedback for it’s approach and some of the works, it was decided to attempt a second exhibition at ISEA 2012 Albuquerque.

From discussion with Dr Waikerepuru throughout and after Istanbul, we understood the importance of engaging with local indigenous peoples. Consequently at the outset, this was integrated with concept of Wai which thematically involved works that engaged with notions of water or flow. This resulted in Navajo/Dineh musician Andrew Thomas contributing to the exhibition and Johnson Dennison a Dineh Medicine Man performing ceremony as part of the opening, a Tomo Wakaari (Dawn Opening).

In terms of integrating indigenous knowledge and science, this was robustly demonstrated not by an arts organisation, but by a semi governmental research centre – The Institute of Geological and Nuclear Sciences of Aotearoa New Zealand. They produced a video Raumoko which consisted of interviews of a scientist and Dr Waikerepuru, discussing their views on earthquakes and volcanoes.

Raumoko played through a data projector which showed a video by Indian artist Sharmila Samant, on water, and made in Taranaki Aotearoa New Zealand. It included an interview with Te Huirangi and others. Jo Tito, a contemporary Māori artist currently studying science at university, contributed two videos which played in between Raumoko and Samant’s The Wasteland. This selection reveals a multinational and interdisciplinary approach to water and flow.

Technology connected audio by Thomas and Darren Ward of Aotearoa. Data readings from a tree in Opunake controlled the audio files played in the gallery in Albuquerque, at once joining data, technology, two indigenous cultures and heritage audio. Sensors made by Andrew Hornblow of Opunake included those for tree voltage, temperature and UV on an internet framework previously built by Julian Priest and Adrian Soundy.

This then is the background to 3rd nature. Several key themes from the above will be evident in the upcoming show: integrating Mātauranga Māori, creative projects involving data, engaging with the environment, interdisciplinarity and intercultural exchange. The exhibition attempts to take the integration of art,science, technology and indigenous knowledge (in particular Māori knowledge) further, by co-locating clusters of works across cultural and discipline boundaries throughout the life and earth sciences galleries of Puke Ariki. We intend discussing with the exhibitors and the guardians of the works and galleries, ways to activate interconnections between the collection and the art/science/technology/indigenous works.

Above are images of Puke Ariki and environs locations, to assist the discussion between exhibitors, gallery and curator. They give an indication of the atmosphere of the level 2 galleries, and the way the works spiral out to the wider surrounding landscape. This page is an evolving manuscript, which will change as more information and confirmation comes to hand.

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