The Solemn Artistry of Bernice Akamine
for FLUX Spring/Summer 2021 Issue
“Kalo, like much of the work in Akamine’s oeuvre, connects communities across the paeʻāina, across time, and generations, in aloha ʻāina and ongoing resistance to American annexation and occupation in our islands.”
for FLUX Spring/Summer 2021 Issue
“Kalo, like much of the work in Akamine’s oeuvre, connects communities across the paeʻāina, across time, and generations, in aloha ʻāina and ongoing resistance to American annexation and occupation in our islands.”
May 2021
![]()
![]()
Images by Dino Morrow
Images by Dino Morrow
Notes from Kahoʻolawe,
Ka Paeʻāina o Hawaiʻi, Moananuiākea
co-authored with Drew Kahuʻāina Broderick, this essay connects communities land-struggle movement across Ka Paeʻāina o Hawaiʻi – Kahoʻolawe, Kanaloa, Mauna Kea, Mākua – to spaces across Moanauiākea – Ihumātao, Tāmaki Makaurau, and Kaurna Lands.
Mahalo nui to guest editors and friends, Léuli and Kimberley.
Published in ARTLINK Australia
Issue 40:2 | June 2020
INDIGENOUS Kin Constellations ed. Léuli Eshrāghi & Kimberley Moulton
Ka Paeʻāina o Hawaiʻi, Moananuiākea
co-authored with Drew Kahuʻāina Broderick, this essay connects communities land-struggle movement across Ka Paeʻāina o Hawaiʻi – Kahoʻolawe, Kanaloa, Mauna Kea, Mākua – to spaces across Moanauiākea – Ihumātao, Tāmaki Makaurau, and Kaurna Lands.
Mahalo nui to guest editors and friends, Léuli and Kimberley.
Published in ARTLINK Australia
Issue 40:2 | June 2020
INDIGENOUS Kin Constellations ed. Léuli Eshrāghi & Kimberley Moulton
September 21, 2020
![]()
Ihumātao, Tāmaki Makaurau, Aotearoa. A growing occupation by Māori, especially the iwi of Māngere, and their allies to protect and conserve the whenua from a high‐cost housing development planned by Fletcher Building.
Ihumātao, Tāmaki Makaurau, Aotearoa. A growing occupation by Māori, especially the iwi of Māngere, and their allies to protect and conserve the whenua from a high‐cost housing development planned by Fletcher Building.
Becoming Our Future
This book investigates international Indigenous methodologies in curatorial practice from the geographic spaces of Canada, Aotearoa (New Zealand) and Australia. From a perspective of Indigenous peoples important place within society, this collection explores how Indigenous art and culture operate within and from a structural framework that is unique and is positioned outside of the non-Indigenous cultural milieu. Through a selection of contributions, Becoming Our Future articulates this perspective, defines Indigenous curatorial practice and celebrates Indigenous sovereignty within the three countries. It begins to explore the connections and historical moments that draw Indigenous curatorial practices together and the differences that set them apart. This knowledge is grounded in continuous international exchanges and draws on the breadth of work within the field.
With contributions from Nigel Borell, Freja Carmichael, Karl Chitham, Nici Cumpston, Léuli Eshra ̄ghi, Reuben Friend, Jarita Greyeyes, Ioana Gordon-Smith, Dr. Heather Igloliorte, Jaimie Isaac, Carly Lane, Cathy Mattes, Kimberley Moulton, Lisa Myers, Dr. Julie Nagam, Dr. Jolene Rickard, Megan Tamati-Quennell, Josh Tengan and Daina Warren.
This book investigates international Indigenous methodologies in curatorial practice from the geographic spaces of Canada, Aotearoa (New Zealand) and Australia. From a perspective of Indigenous peoples important place within society, this collection explores how Indigenous art and culture operate within and from a structural framework that is unique and is positioned outside of the non-Indigenous cultural milieu. Through a selection of contributions, Becoming Our Future articulates this perspective, defines Indigenous curatorial practice and celebrates Indigenous sovereignty within the three countries. It begins to explore the connections and historical moments that draw Indigenous curatorial practices together and the differences that set them apart. This knowledge is grounded in continuous international exchanges and draws on the breadth of work within the field.
With contributions from Nigel Borell, Freja Carmichael, Karl Chitham, Nici Cumpston, Léuli Eshra ̄ghi, Reuben Friend, Jarita Greyeyes, Ioana Gordon-Smith, Dr. Heather Igloliorte, Jaimie Isaac, Carly Lane, Cathy Mattes, Kimberley Moulton, Lisa Myers, Dr. Julie Nagam, Dr. Jolene Rickard, Megan Tamati-Quennell, Josh Tengan and Daina Warren.
June 2020
![]()
How Photographer Nakemiah Williams Heals Trauma Through Polaroids
Profile on artist Kiki Williams
“Perhaps there is some truth to adages about time.
Time heals the pain.
Time is a gift.
Or maybe it’s more about how we use our time, which determines whether or not we can truly heal and be a gift to others.”
Published in FLUX Hawaiʻi
Issue 38: Time
April 2020
Profile on artist Kiki Williams
“Perhaps there is some truth to adages about time.
Time heals the pain.
Time is a gift.
Or maybe it’s more about how we use our time, which determines whether or not we can truly heal and be a gift to others.”
Published in FLUX Hawaiʻi
Issue 38: Time
April 2020
April 1, 2020
![]()
Bodily Code Series (2019-2020). Kiki Williams. Polaroid and thread.
Bodily Code Series (2019-2020). Kiki Williams. Polaroid and thread.
He Hae Hōʻailona Ia
The Flag is a Sign
Aupuni Space
Koa Gallery
Jan 17 – Feb 15, 2020
Artists: Bernice Akamine, Drew Kahuʻāina Broderick & Sancia Shiba, Nanea Lum, Lehuauakea Fernandez, Josiah Kekoanui Patterson, Jane Chang Mi, Four Unknown Makers from Luzon
The Flag is a Sign
Aupuni Space
Koa Gallery
Jan 17 – Feb 15, 2020
Artists: Bernice Akamine, Drew Kahuʻāina Broderick & Sancia Shiba, Nanea Lum, Lehuauakea Fernandez, Josiah Kekoanui Patterson, Jane Chang Mi, Four Unknown Makers from Luzon
January 17, 2020
![]()
Hae Hawaiʻi: Haumea (2020). Bernice Akamine. Kapa, sewn.
Hae Hawaiʻi: Haumea (2020). Bernice Akamine. Kapa, sewn.