Mururoa Mururoa: Big Lies
June 30 - July 21
Opening Reception June 30, 2018 from 7:00 pm - 9:00 pm
“Indeed, I saw in the district young women and young girls tranquil of eye, pure Tahitians…. All indeed, wish to be taken literally, brutally taken, without a single word.”
— Excerpt from Noa Noa, Tahiti journal of P. Gauguin
In 1769, the population of Tahiti was approximately 35,000.
By the time Paul Gauguin arrived in Papeete in 1891, European disease had killed off two-thirds of the population.
In the same year, colonialism had successfully destroyed the Maori people. Calvinist, Mormon, and Catholic religions replaced the indigenous beliefs and European thought and products replaced the handicrafts, barkcloth, the art of tattoo, music, and dance.
Mururoa Mururoa: Big Lies, is the start to a new dialog on the art and life of Paul Gauguin. A challenge to art institutions, art historians, and curators to recognize the true perspective of the indigenous.
I have been thinking about this for years... In 2012 I saw an exhibit at the Seattle Art Museum, Gauguin and Polynesia: An Elusive Paradise. I could not believe the ignorance of this show; the write up was absolutely ridiculous...they said “through a balanced and contextual analysis of Polynesian art alongside Gauguin’s works, this exhibit brings Polynesian arts and culture into the center of Gauguin studies”.
Gauguin is the face of colonialism: the face of a patriarchal society. There was no balance in the curation of this show. There was no Polynesian voice in this show. Polynesian art and culture was stolen, fetishised, and taken advantage of by Gauguin.
Moruroa Moruroa: Big Lies
Kanani Miyamoto | Instagram: @mamakanani
Kanani Miyamoto was born and raised in Hawai`i and now lives in Portland, Oregon. She is a recent graduate of the Pacific Northwest College of Art MFA in Print Media program and has shown work in Oregon, Idaho and Hawai`i.
“I have lived in Portland for five years and visit Hawai`i as often as I can. Returning to the islands as a visitor has really opened my eyes to the tourist industry.”
Miyamoto is a passionate printmaker with an educational background rooted in traditional practices. Exploring issues of cultural and personal identity, Miyamoto’s studio practice expands into non-traditional forms of printmaking including mixed-media original prints, sculpture, installation, and animation. Miyamoto’s work investigates autobiographical experiences of growing up in Honolulu and being mixed heritage.
Accessibility Note — The Killjoy Collective gallery is down a flight of stairs and, unfortunately, has no elevator. We apologize for the lack of ADA accessibility and are currently working to rectify this issue.