TAIPEI (Taiwan News) — Four Taiwanese Indigenous artists unveiled their works at the Govett-Brewster Art Gallery (Len Lye Centre) in New Zealand on Saturday (July 6).
The special exhibition, titled “without centre, without limits,” runs from July 6 to Oct. 13. It features works by Akac Orat (Chen Hao-yi, 陳豪毅) from the Puyuma and the Amis, Malay Makakazuwan (瑪籟‧瑪卡卡如萬, 林琳) from the Puyuma’s Pinaski village, the late Lafin Sawmah (拉飛‧邵馬) from the Amis, and Eleng Luluan (峨冷‧魯魯安, 安聖惠) from the Rukai’s Kucapungane village, per Govett-Brewster.
“Without centre, without limits” explores themes of Indigenous culture, traditions, their connection to the land and sea, and bonds surpassing the passage of time. These themes resonate with the Maori of New Zealand, signifying a space and relation with no center and no limits.
The artists were invited by the Govett-Brewster last year to participate in a residency program in New Zealand. During their stay, they engaged in extensive exchanges with local art institutions and Maori artists, fostering a new chapter in cultural diplomacy between the two nations, per CNA.
Govett-Brewster Director Dr. Zara Stanhope emphasized the importance of appreciating the artists' works on their own merit, independent of theoretical or political frameworks. Stanhope expressed hope for continued exchanges between artists from both regions, envisioning future opportunities for New Zealand artists to experience the rich cultural heritage of Taiwan's Indigenous communities.
Eleng Luluan's work reflects the profound impact of climate change on New Zealand, which she witnessed during her residency. She also found inspiration in New Zealand's commitment to Maori culture.
Luluan believes that Indigenous communication transcends shared language families. She emphasized the importance of human connection across borders and confronting contemporary challenges together.
Makakazuwan drew inspiration from the fusion of traditional Maori architecture and modern technology. One of her works references a Puyuma legend about two inseparable beings who must separate and transform to live normal lives. Makakazuwan interprets this as a metaphor for the Indigenous experience of balancing cultural preservation with adaptation to mainstream society.
Heidi Yip (夜海地), Lafin’s widow, shared his deep connection to the ocean. With the near-loss of Amis seafaring and shipbuilding traditions, Sawmah's visit to New Zealand's largest war canoe sparked the creation of an artwork. Using local Taiwanese wood, he depicted the structure and navigational markings of a ship, including the Crux constellation and sculptures of seabirds symbolizing approaching land.
Independent curator Lin I-hwa (林怡華), who contributed to the exhibition brochure, expressed admiration for New Zealand's respect for Maori culture and the meticulous research conducted to avoid misinterpretations. Lin believes exploring the shared experiences and challenges of Southern Island cultures is a vital aspect of Southern Island art, and emphasizes that the focus should extend beyond the final artwork, encompassing the collaborative learning process and confronting the challenges faced by Indigenous cultures across the Pacific.

