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Yuki Kihara's Paradise Camp as a potential Fa'afafine museum

Fabulous cohabitation in a shared world

Datos Bibliográficos

ID2391273
AutoresLiang-Kai Yu (0000-0001-9532-0725, Maastricht University, autor de correspondencia), Eliza Steinbock (0000-0001-5531-7142, Maastricht University, autor de correspondencia)
Año2023
Volumen28
Número4
Páginas576-603
Fecha de publicación2023-12-01
Peer ReviewedSí
Open AccessSí
TipoARTICLE
RevistaJournal of Material Culture (JOURNAL)
Identificadores de la revistaISSN: 1359-1835 • E-ISSN: 1460-3586
EditorialSAGE Publications Inc (PUBLISHER)
DOI10.1177/13591835231210440
OpenAlexW4388445036
IdiomaEN
Referencias citadas16

This article examines critical ethnographic and archival elements of Paradise Camp, Yuki Kihara's highly celebrated Aotearoa New Zealand national pavilion at the Venice Biennial in 2022. Through its scenography that in Kihara's words is "fa'afabulous," consisting of archival collages drawn from museum collections and staged photography made after Gauguin's paintings in collaboration with queer Sāmoan communities, we argue that Kihara's heavily annotated version of a so-called paradise assembled within Paradise Camp offers a 'potential museum' that reconnects the missing links between colonial registrations of the past with today's queer Sāmoan lives. This queer Indigenous reconfiguration of a fabulous paradise, which refuses imperial understandings of Pacific people and geographies, seems central to Paradise Camp's queer 'camp' effects, much like an eye roll that dethrones authority. Therefore, we propose that such an artist-fabulated museum lays claims to an Oceanic sovereignty, and broadly fosters a shared world for Fa'afafine and queer Pasifika peoples

Aesthetics · Aotearoa · Archaeology · Art · Art history · Cohabitation · Indigenous · Paradise · Political science · Politics · Queer · Sociology · Asian American and Pacific Histories · Gender Studies · Geographies of human-animal interactions · History · Law · Pacific and Southeast Asian Studies

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Velocidad de citaciónhistorical
Altamente citadoNo
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