Taiwan On! (Steve in Taipei)

At the beginning of May this year, I conducted a workshop with graduate students at the National Taiwan University of the Arts in Taipei. The workshop was hosted by Dr Lai Ying Ying (seated alongside me below). We’ve had a wonderful relationship with Dr Lai and her faculty since 2008 – and long may it continue!

The Students were asked to prepare a concept description for a range of exhibition themes. They worked in teams and presented their ideas for discussion and criticism.

And what an enthusiastic, talented group of young artists they were! They came from of wide range of Arts studies – from traditional calligraphy to computer animation and arts management – but they put a lot of work into their presentations and were able to assert their feelings about how Museums relate to young Taiwanese.

We visited the Museum of World Religions as a group and then did a serious critique of the Appelbaum exhibitions. I was interested in the lack of connection for these young, literate students. They were able to express why the exhibitions left them cold and what would have made them more engaged.

For me, the process of working with students from a different cultural background was exciting, exhausting and most rewarding. I found myself having to reflect on the decisions behind Story Inc’s ideas and concepts when challenged by these bright young people. Teaching clearly is a two-way street!

One of the graduates, Liu Ting Wei, starts with Story Inc as an intern for a three month posting beginning at the end of July.

Story Inc has signed a memorandum of understanding with NTUA to continue this exchange of ideas and personnel over the next 5 years – with a view to co-developing projects that have relevance for both our communities.

Spring Lecture at MOCA

On the 5th of May, I had the honour of presenting a public lecture at MOCA (Museum of Contemporary Art) as part of the annual spring lecture series. The evening was sold out – and latecomers watched the talk on screens in other rooms in the Museum.

My theme was “R U Experienced?” – an analysis of what we mean by a ‘visitor’s experience’ in our exhibitions. The lecture focused not only on Story Inc’s work, but also a wide range of new innovations from mapped projections to ‘performing drones’ and ‘mood-tracking’ of visitors during their visit!

The lecture was provocative. I examined some of the current exhibitions in state Museums in Taipei and asked the audience to reflect on how well they addressed their themes – spoke to their visitors – offered engagement etc.

The question and answer session after the lecture was very exciting. Museum professionals and teachers, as well as the general public audience all had pertinent questions for me and for each other. We went half an hour over schedule!

It was a real eye-opener to see the level of interest in the questions surrounding the concept of visitor engagement in the context of the modern museum. We should be having these discussions here in NZ!

The Basque Museum (Steve in France)

First of all, I’m not a Europhile. Give me Latin America on a GS1200 BMW and you can keep the stuffy ancientness of Le Moyen Age with its lovely villages among the vineyards… snore…

But I have to tell you about the Basque Museum in Bayonne, Bay of Biscay, Pays Basque, France.

After the Disneyland of the Louvre (I loved every inch of it) and the utterly exhausting, brilliant-but-with-reservations Musée de Quai Branly, this exquisite and passionate little museum still makes me smile.

It’s so intimate, so determinedly Basque (ie not French or Spanish) and such a celebration of a unique culture… captivating.

Note to self and Story Inc: the ONLY video in the whole museum (it’s bigger than the Rotorua Museum, about as big as the Museum of Siam in Bangkok, only with thousands of objects) is of the Basque Choir – uncut – au naturel – sweet. And it has a dedicated mini-cinema just for that video.

Everything else is an object, or an artwork, a fabric, furniture or costume display, or brilliant models showing the stone-age societies and their structures, or the development of the Basque cities as trading ports, or documentary-style photographs of traditional Basque life. It’s chronological from the stone-age to the present day, but with constant visual references both backwards and forwards in time.

In one gallery where you’re seeing how Basque Catholicism developed into a specialised environment for worship (model of the 3-tiered church interior etc), there’s an open view to another gallery festooned with big devil masks and costumes still used in the devil-defying dances of today… Probably means nothing to you if you’re not Catholic, but wow! Here’s a graphically realistic Jesus with gory wounds in the same viewshaft as a hysterical, nastily-gorgeous Satan!

Best of all, the displays are beautiful. There’s exquisite detailing on the showcases and in the juxtaposition of things. The galleries have remnants of old beam-and-plaster walls merging with modern flat white planes; they feel like they’re a conversation – a narrative – a whisper in your ear. The lighting is clever, witty, selective. The text is sparse (just enough to know) and has an undertone of pride – ‘family secrets’ as a way of explaining, like whakapapa with a wink.

Don’t be fooled though, this is not a ‘lesser museum’. They’ve spent many millions of Euros here. The humble exterior belies the fact that several buildings have been conjoined to create the galleries, and every aspect of the museum is a tribute to design, craftsmanship, and the delight you feel as a visitor, knowing this has been made with love, pure devotion to an ideal, and to hell with the expense! Salut!

The Blessing of Te Ahu

The Blessing of Te Ahu

At 5:30am, Friday 10 February, we gathered outside the new building. Around a hundred souls, representing the 7 iwi of the Far North. It was very dark, surprisingly warm, and the sky was a glittering sea of stars.

Haami Piripi and his granddaughter, both in korowai, took us through the doors, chanting karakia as we went, blessing the building and offering it as a taonga to all of us.

A powerful start to a weekend of finishing touches for the new Te Ahu Centre in Kaitaia. The Centre opened to the public on Monday 13 February.

Te Ahu combines the Far North Regional Museum with the Kaitaia Library, Far North District Council Services Office, iSite, Memorial Hall and Banquet facilities and a new Cinema. There’s a video-conferencing suite, a computer training classroom, a café and the council’s boardroom – all surrounding the impressive atrium.

Story Inc took on the mammoth task of designing not only the Museum, but also the library, café, reception, atrium and all interior finishes and furnishings. It has been one of our most rewarding and exciting projects to date.

Te Ahu: Putting up the Te Rarawa pou, carved by Paul Marshall, January 2012

Te Ahu: Putting up the Te Rarawa pou, carved by Paul Marshall, January 2012

Our determination to use local tradesmen for joinery, steelwork, electrics and labour created an exciting interface with the skilled teams we sent up from Wellington. The result is a centre of which the locals are justifiably proud.

If you’re planning a holiday in the Far North (and you should – it’s paradise!), don’t miss Te Ahu. We believe it’s a model for other regions in New Zealand – a way of combining resources, engaging locals by providing a community hub and telling local stories to visitors.

The Best Awards, 2011

The Best Awards, 2011

Pity poor Dai Henwood!

In an echoing, vast room with hundreds of noisy design darlings from all over the country, Dai had to power through a list of nominations, place-getters and award-winners, longer than the King James Bible.

Meanwhile, the crowd (and yours truly) consumed vast quantities of wine and beer and a three-course dinner at a football-field-sized array of tables. So it was always going to be a long, noisy, boozy night!

Story Inc was a finalist in the BEST awards for our spatial design of ZEALANDIA: The Exhibition. There were hundreds of categories – each with several nominees but we were rewarded with a Silver pin for our efforts (yay for us!).

To speed things up, Silver winners weren’t invited up to collect their pins, Gold winners paraded onto the stage for a quick photo shoot (no speeches) – and only the VERY special categories (Black and Purple) were allowed a brief thank-you at the microphone.

In the end though, it was great that old friends like Sarah Maxey, Alexandra Collinson, Rob Appierdo and Nigel Beckford were there also winning awards. Some of the work (shown on the big screens) was truly stunning.

It was good to be there, not just for the Silver Pin, but to see and meet some of NZ’s best creatives… rowdy bunch though they were.

By Steve La Hood, Director