Stand up

Well you have to hand it to Alastair Carruthers, Chair of Creative New Zealand. Not only did CNZ put up a video tour of the Contact exhibition in the Frankfurter Kunstverein on YouTube just days after the opening, but Carruthers stepped up with Haniko Te Kurapa and fronted it himself. The two give a very useful tour of the show talking with the curator Leonhard Emmerling and the Kunstverein director Holger Kube Ventura who also commented on the exhibition’s themes. “It’s completely different to what we had before … with the other shows of guest of honour countries…. It’s a much more political show … with Iceland I was wondering why are there not any political questions from Iceland? It is just the opposite here.” 

So did CNZ stand behind the politics of the artists, curators and especially the hard-hitting Peter Robinson work with the swastika? They did indeed. Robinson’s paintings are featured full frame with Carruthers describing them as a “series of confrontations laid down by Peter Robinson with his extremely provocative images. A remarkable thing, to not just present a Maori Pakeha confrontation, but [also] to bring a swastika to Germany, does feel kind of bold.” 

Say what you like about Creative New Zealand (and we have at times) you couldn’t expect anything more from your arts funding body than this. 

Image: Alastair Carruthers (left), stands in front of work by Judy Millar, talking to Kunstverein director Holger Kube Ventura

A clash of symbols

We’ve mentioned before how hard it is to find out what’s being included in the big art exhibition supporting NZ’s participation in the Frankfurt Book Fair, but a Twitpic in the stream from Frankfurt let in a chink of light.  It shows a Peter Robinson triptych that features (among other elements) a version of the swastika. 

Although the swastika Robinson has chosen is the reverse of the Nazi one and shown on its side, its standing in as a symbol of Nazism and the far right is self-evident. Not surprisingly Germany has specific laws prohibiting the use or display of the swastika even when done satirically or in opposition to Nazism although this prohibition is usually limited to the specific swastika design used during the Nazi era. 

Robinson in his use of the symbol is of course addressing the continuing and disruptive power of the far right internationally as well as in New Zealand and pointing out how far we are from reaching some level of real equality.

Still, you’d have to say including this work in an exhibition in Germany is certainly a stand-up provocative act of curation. After all the curators will be aware of the conflict that surrounded Jenny Harper hanging a similar Robinson swastika work in her Victoria University office back in 1998. Presumably, having taken the work into Germany, the curators, CNZ and the Ministry for Culture and Heritage are all prepared to stand behind it should there be any similar objections from a public somewhat more sensitive to these issues than we are. 

Image: Top, Peter Robinson’s work being readied for exhibition in Frankfurt. Bottom, the modification of a swastika to a less offensive form the Olympic stadium built in Berlin in 1936

LATER: You can now see a few images from the opening here on Barbara Walzer's photostream and more installation images on the St Paul’s Facebook page.