Project Banaba (review)

Project Banaba (review) 238 the contemporary pacific • 31:1 (2019) Project Banaba. Exhibition, Carriage- human emotive experience underlying works, Sydney, Australia, 17 Novem- the reality of its current indigenous ber–17 December 2017. descendants. Within the exhibition, viewers Coinciding with the seventy-second moved through the sobering darkness anniversary of the relocation of the of Carriageworks’ warehouse hall, people of Banaba to Rabi Island, which had been divided into three Fiji, an extraordinary exhibition by aesthetic domains: a central volumi- Katerina Teaiwa, brought to light nous curtain series, a three-screen the trauma and dislocation of the video playing on the perimeter wall Banaban people and Australia’s farthest from the entrance, and a coral inextricable role in the destruction and reef–like assemblage of photographs, dispersal of their land and culture for reminiscent of a salon. With a contex- fertilizer. Commissioned by Carriage- tual narration offered at the entrance, works, Sydney, and curated by the formal written information was mini- interdisciplinary Samoan artist Yuki mal. Separate explanatory labels were Kihara, Project Banaba was a reani- provided for the three domains, each mation of rare and recently declassi- containing its own thematic elements, fied photography, film, and archival but these were easily lost in the dark, material, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Contemporary Pacific University of Hawai'I Press

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Publisher
University of Hawai'I Press
Copyright
Copyright © 2008 University of Hawai'i Press.
ISSN
1527-9464

Abstract

238 the contemporary pacific • 31:1 (2019) Project Banaba. Exhibition, Carriage- human emotive experience underlying works, Sydney, Australia, 17 Novem- the reality of its current indigenous ber–17 December 2017. descendants. Within the exhibition, viewers Coinciding with the seventy-second moved through the sobering darkness anniversary of the relocation of the of Carriageworks’ warehouse hall, people of Banaba to Rabi Island, which had been divided into three Fiji, an extraordinary exhibition by aesthetic domains: a central volumi- Katerina Teaiwa, brought to light nous curtain series, a three-screen the trauma and dislocation of the video playing on the perimeter wall Banaban people and Australia’s farthest from the entrance, and a coral inextricable role in the destruction and reef–like assemblage of photographs, dispersal of their land and culture for reminiscent of a salon. With a contex- fertilizer. Commissioned by Carriage- tual narration offered at the entrance, works, Sydney, and curated by the formal written information was mini- interdisciplinary Samoan artist Yuki mal. Separate explanatory labels were Kihara, Project Banaba was a reani- provided for the three domains, each mation of rare and recently declassi- containing its own thematic elements, fied photography, film, and archival but these were easily lost in the dark, material,

Journal

The Contemporary PacificUniversity of Hawai'I Press

Published: Feb 28, 2019

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