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Tyson Campbell

@tyson____campbell

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Yesterday, Te Tari o Tāhuna-ā-Tara gathered for Ihi — an evening of kōrero, exchange and relationality around the fire.

Ihi speaks to the energy, stirring and resonance between people, ideas and the spaces we share. Together, we sat with Place and Whenua, considering how power, knowledge and value are carried across our different Indigenous contexts.

We gathered with Kimberly Moulton before her return across Te Tai-o-Rehua to Ahitereiria, “so-called Australia.”

Held at the home of Tyson Campbell, Ihi was the second iteration of Te Tari o Tāhuna-ā-Tara, an independent office centred on contemporary Indigenous art practices and exchanges connected to Aotearoa and Te Moana-nui-a-Kiwa.

We spoke about many things. Below are a few ideas distilled from the evening for further consideration.

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Landlessness, Climate Change and Indigeneity

Landlessness caused by climate change in Te Moana-nui-a-Kiwa, and the synthesis of new forms of Indigeneity in Aotearoa.

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Disclosure, Crisis and Fascism:
The ramifications of real talk in a world structured through the exclusion of Indigeneity.

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Freedom and Institutionalisation:

The desire for freedom within controlled and surveilled institutional environments, particularly in relation to racialised livelihoods.

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Creation stories, spirituality, fear and the rising alt right.

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Can Aotearoa and Moana Indigeneities be "allowed" the same right to pessimism and nihilism as Pākehā?

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This gathering was not recorded.

Kimberly Moulton
@kimberleymoulton

Cameron Ah-Loo Matamua
@cameronahloomatamua

Luke Willis Thompson
@lukewillisthompson

Edith Amituanai
@edith_amituanai

Brett Graham
@kereamankk

Karamia Müller by @tyson____campbell

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2 months ago

Yesterday, Te Tari o Tāhuna-a-Tara was launched — an independent office centred, but not exclusively, on contemporary Indigenous art practices connected to Aotearoa and Te Moana-nui-a-Kiwa.

We welcomed our first guest, Clémentine Deliss, for an evening of “Bureau d’Esprit” — an office of the mind and of wit — dedicated to the intersections of philosophy, experimentation in art, and the politics of exchange.

Taking inspiration from the 18th-century tradition of the “Women’s Talking and Tearing Club” — spaces of conversation, critique, wit, and collective reflection — we gathered to consider how to move forward in the present as artists, curators, and agitational thinkers whose practices form, contest, and participate in acts of dialogue.

The evening offered an opportunity to meet Clémentine and enter into conversation around the artistic practices, inquiries, and questions that shape our respective work. Together, we opened a space for exchange, bringing different perspectives into relation and exploring the possibilities of thinking through art, culture, and politics.

Our focus is to create an independent critical forum where invited practitioners are asked to present a 20–30 minute art problem, question, or topic emerging from their current artistic research. This event was audio-recorded for internal purposes, as a way of capturing the unspeakable within institutional contexts.

Our hope is to continue building bridges between international visitors and our local ecology through self-governed artistic independence.

With:

Clèmentine Deliss
@metabolic_eyes

Brett Graham
@kereamankk2

Karamia Müller

Luke Willis Thompson
@lukewillisthompson

Anto Yeldezian
@is_this_fun_

Natasha Conland
@natashaconland

Tyson Campbell by @tyson____campbell

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2 months ago

Te hunga nā rātou i whakatō iho ngā rākau nei a puna te aroha a maturu roimata, me te rangimārie, ki runga ki ngā iwi mahue-tanga iho.
He ohāki ka hora ki runga ki ngā iwi
i mau ai te rongo taketake,
haere e ngā mate.

***

Old drawings

On life & the afterlife by @tyson____campbell

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4 months ago

…

Faced towards the rising sun, Tangaroa’s heartbeat pulses with the breath of Oparure Pā. The Pou tokomanawa weaves us as descendants of Ngāti Kinohaku and beyond. In this drawing, Tangaroa is enveloped by the tears of Roimata Toroa, wairua carriers for the departed on their return to Io. As they fleet into the night, a stardust trail is dissolved into Pūtahi-nui-o-Rehua, scattered across the sky, shimmering in Tangaroa as reflections of who we are; celestial and boundless like the ocean.

Tyson Campbell, Tangaroa, 2025, Charcoal on Paper, 2500cm x 1500 cm. by @tyson____campbell

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2 years ago

Is this a Pākehā paepae?

Answer: Yes

“As long as white comfort is Black and Brown unrest, there should be nothing but unrest” by @tyson____campbell

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2 years ago

Tyson Campbell, “Ki Ta Titiro Māori” 2023, digital print.

I took this image last year. It is the puhi ariki (sacred eyes) of a waka taua (war canoe). The title translates to, “to see through Māori eyes”. This photo had a great impact on the way that I started to see through a Māori perspective, and thus my conception of a type of sacred seeing was awoken. From this moment, a new type of battle emerged.

Of course, a Māori perspective is something so much greater than voice or representation, it is a world view where place-based knowing is the central tenant of cultural presentations. Through place, whenua, Māori are the embodiment of these material and immaterial world relations. Of course the coloniser doesn’t have this, because place to them, is a resource to be extracted, depleted and undermined. Always remind the coloniser of the fabricated ideological eggshells that they walk on. See the world, through your Māori eyes.

#tetiritiowaitangi by @tyson____campbell

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3 years ago

A work I made in 2019

It set the tone for my gaslighty witchy era4eva by @tyson____campbell

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4 years ago

“Papa H.O.E” for Te Timatanga

Flour, Raspberry Raro and edible sprinkles

Abstraction from 18th century whakairo depicting same sex coupling, held in the British Museum.
Origin is unknown. by @tyson____campbell

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5 years ago

Hehehe thank you @the_light_ship for having me! by @tyson____campbell

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6 years ago

by @tyson____campbell

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6 years ago

Huia sleeps in the old servants quarters surrounded by air bnb decor of wall mounted pukeko with paua shell inlay. A room of one’s own?

A blood red dawn reflects off a pristine clawfoot bathtub. The bath plug has been hidden by the lonely landlord of the six bedroom property. In this era of McCarthyist paranoia the unspoken power dynamic is that the rights to water are owned elsewhere. Owned by landlords, multinationals and artisanal water companies with offshore bottling plants. This extension of 18th century proprietorship supplants Kaitiakitanga with an ornamented and disciplinary taste.

The idea is open source water. Buying up birthrights. Borders and blockages are not for the elite, the immunity passport, merely a butterfly gathering stamps. The butterfly emerging as an ideal of freedom, bolstered by the aspirations of the access-all-areas class.

Sea shells carrying and protecting life forces, the shell that cuts the umbilical cord.

Crushed housing flattened, abalone, into the checker boarded logic of the western war game.

Stuff the drain up with cloth and drink greedily from the marble fountain. Eat our traditional foods and bathe with our ancestors who surge through hydroelectric plants and through us too, poured squirming, a thousand eels, into the pearly domestic bathtub.
Thanxxxxx uuuu
@mayfairartfair @excgrl @samueltekani and @2joes by @tyson____campbell

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6 years ago

Thank you @a.bossy.place for having me last night! by @tyson____campbell

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7 years ago