Toi Tū Toi Ora: Contemporary Māori Art was a survey exhibition at the Auckland Art Gallery Toi o Tāmaki in New Zealand. The exhibition took place from Saturday 5 December 2020 to Sunday 9 May 2021 and utilised all the exhibitions spaces of the Auckland Art Gallery Toi o Tāmaki.

The curator Toi Tū Toi Ora was curated by Nigel Borell (Pirirākau, Ngāi Te Rangi, Ngāti Ranginui, Te Whakatōhea). A practising artist, he had been associate curator Māori Art at Auckland War Memorial Museum before being appointed Māori curator at the Auckland Art Gallery Toi o Tāmaki in 2015. Borell was the second curator of Māori Art at the gallery following Ngahiraka Mason. Reflecting on the exhibition later, Borell commented ‘It’s an exhibition that I pitched when I interviewed for the job back in 2015…because it had been 15 years or so since the last survey show of contemporary Māori art, it was really important that we checked in with contemporary Māori art as a movement and put a spotlight on those artists who have come around since.

The exhibition The exhibition displayed art spanning from the 1950s onwards. Toi Tū Toi Ora: Contemporary Māori Art compiled over 300 artworks from 111 Māori artists, some of whom are New Zealand's most significant artists and explores 70 years of Māori art through the framework of the Māori creation story. With artworks spanning a multitude of artistic outcomes including sculpture, painting, film, ceramics, weaving, jewellery and digital art. Informed by Te Ao Māori (Māori worldview), the exhibition was split into concepts to mirror the Māori creation narrative. Initially Toi Tū Toi Ora was planned as a smaller project but the Covid pandemic resulted in two international exhibitions being postponed and the remainder of the gallery became available to Borell. The exhibition was displayed over three floors. The ground floor introduced the exhibition presenting themes based on cosmology and the Māori creation story. As critic John Hurrell noted, ‘Its organising structure is deliberately counter to traditional Eurocentric art historical paradigms, being focussed on Māori social and philosophical themes, not conventional production chronology.

Concept

The exhibition explores 70 years of Māori art through the framework of the Māori creation story. With artworks spanning a multitude of artistic outcomes including sculpture, painting, film, ceramics, weaving, jewelry and digital art. Informed by Te Ao Māori (Māori worldview), the exhibition was split into concepts to mirror the Māori creation narrative.

The dimly lit opening room of the exhibition represented Te Kore (The Great Nothingness) and contained artworks such as Whenua Kore (2019), by Robert Jahnke, Black Painting: Orange/Blue/Indigo (1969) by Ralph Hotere and Universe (2001) by Peter Robinson. The next room represented Te Po (The Perpetual Night) with works such as Wai o te Marama (2004) by Maureen Lander, Ara-i-te-uru (2011) Israel Tangaroa Birch and Konae Korero #2 (2008) by Darryn George. Following the narrative, the next room transitioned to the story of Te Wehenga o Rānginui raua ko Papatūānuku (The Separation of Rānginui and Papatūānuku) which is represented through works such as Lisa Reihana's video installation, Ihi (2020) and Fiona Pardington's Davis Kea Wings (2015).

Moving to Te Ao Marama (The World of Light and Life) the gallery's display works such as Robyn Kahukiwa's Hinetitama (1980) and Saffronn Te Ratana, Hemi Macgregor and Ngataihuru Taepa's group work, Tu te manu ora i te Rangi (2008). The next room represented Te Poropiti me te Whakapātari (Prophecy and Provocation) with artworks such as Peter Robinson's Strategic Plan, (1998) and Rachel Rakena's video work Rerehiko, (2003). Curator Megan Tamati-Quennel noted in Art New Zealand, ‘Although the artworks in Toi Tū Toi Ora are structured to fit into the overarching narrative of the Māori creation story, the artists and work do not labour under this framing; there is still autonomy and space for the individual artworks and artists to stand out clearly and the inherent meanings of their works are not compromised or lost.’

The exhibition expanded outside the gallery with installations in Britomart in Auckland's CBD. These included the digital installation, SCOUT: Wawata Hōhonu (2020) by Lyonel Grant and Tim Gruchy. The installation work, Te Hau Whakaroa (2020) by Charlotte Graham and a large scale permanent mural by Shane Cotton entitled Maunga. It is located on the side of the Excelsior House near the back of the Britomart Transport Centre. Cotton’s mural is of 25 large scale pots all decorated with Māori symbology and subject matter many of them with featuring mountains the English word for the mural’s title. The forms as with many of Cotton’s paintings reflect on the Māori adoption of some European styles and motifs in the early Colonial period. For Cotton all the images depicted on the large pots also have deep personal meanings and references. In speaking to Kim Meridith of The Art Paper he pointed out one pot that includes the words Fa’a Samoa, a direct reference to friends the artist has in Auckland.

Reception Toi Tū Toi Ora: Contemporary Māori Art was a landmark exhibition and the largest exhibition of Māori art since, Te Māori (1984–1987), which toured The United States of America and Aotearoa New Zealand. Auckland Art Gallery Toi o Tāmaki's last survey offering of Māori art was, Pūrangiaho: Seeing Clearly, curated by Ngahiraka Mason in 2001. Discourse surrounding the exhibition suggested the overdue nature of an exhibition of this kind and celebrated the breadth of work and curatorial approach. Art critic John Daly-Peoples wrote, ‘This exhibition shows the depth of Māori art and the ways in which it addresses cultural, social, political and personal ideas. It also demonstrates that there is a distinct Māori voice which looks at the present day issues always with an eye on the past. And in E Tangata Kennedy Warner described Toi Tū Toi Ora as, ’…like being invited to a wānanga on Māori worldview. From the Gallery’s point of view the exhibition was the largest in its 132 year history and the most well attended since Te Māori. In all there were 140,000 visitors. Of these 6,000 were students (twice the normal rate) and 51 percent were new to the Gallery. Of special note Māori visitation to Auckland Art Gallery Toi o Tāmaki increased from 4 per cent to 15 per cent during the Toi Tū Toi Ora exhibition. In recognition of his work on the exhibition Borell was given a Moment in Time Award He Momo by the New Zealand Arts Foundation. The selection panel said of the exhibition, 'When we think about moments that have truly moved the needle on Aotearoa's arts landscape – Toi Tū Toi Ora was one of them. It has redefined the story we tell about the arts in this country,'

Controversy Shortly after the opening of Toi Tū Toi Ora Borrell resigned from his role at Auckland Art Gallery Toi o Tāmaki, making it clear that he was leaving on his own volition owing to ‘irreconcilable differences’ with the Gallery’s director Kirsten Lacy. Borrell explained his position to local reporters pointing out that it was critical that the leading voice in any Māori exhibition was Māori. As Borell noted, ‘This is our heritage and our cultural knowledge and if we can't lead it, who can?’ He explained that sharing power with the director had proved very difficult creating issues around allowing Māori artists having authority and giving Borell the ability to lead in the decision-making process. Borell saw this tension as the result of power in the Gallery being, ‘constructed to support colonial ideals and institutions, and not necessarily the diversity of people in Aotearoa.’ At the opening of the exhibition people were seen wearing badges with the letters NB and the words ‘not today coloniser’ in support of Borell. In response Lacy pointed out that the gallery actively works, 'to make visible te reo Māori within the gallery, we have bilingual wayfinding, all materials for Toi Tū Toi Ora are bilingual, and we support staff with te reo classes for front of house and leadership teams.' Borell's departure resulted in half of the Māori Advisory Group Haerewa, who had been closely involved in the exhibition resigning stating, ‘changes over the past two years at Auckland Art Gallery Toi o Tāmaki have set a different vision for Māori.’ Eleven staff members also resigned. (Leonie Hayden ‘Unsafe space for Māori’: Auckland Art Gallery in turmoil as staff question leadership Shortly after Borell’s departure Tom Irvine of Ngāti Whātua Ōrākei was appointed to the position of Deputy Director.

Publication The publication, Toi Tū Toi Ora: Contemporary Māori Art, was edited by Nigel Borell, designed by Tyrone Ohia and the layout by Katrina Duncan.

The publication won multiple awards, including Gold at the Best Design Awards 2022 (Designer's Institute of New Zealand) for 'Editorial and Books' along with Gold in the 'Toitanga' Maori design category. In 2023 it won The Art Association of Australia and New Zealand (AAANZ) Arts Writing and Publishing Award 'Best Large Exhibition Catalogue'. The book also received the supreme award at The Publishers Association of New Zealand Te Rau o Tākupu (PANZ) Book Design Awards in 2023.

Documentary film At the 2025 International Film Festival producer and director Chelsea Winstanley premiered her documentary TOITŪ: Visual Sovereignty in Auckland. The film is a fly-on-the-wall view of the making of Toi Tū Toi Ora and followed Borell as he curated the exhibition. The Festival promoted the documentary as ‘an unprecedented insight into the curation of the Toi Tū Toi Ora: Contemporary Māori Art exhibition that reveals the struggle for Māori artistic sovereignty within the structures of Aotearoa New Zealand’s cultural institutions.’ Clips from online discussions between the Gallery Director and the Māori Advisory Group, Haerewa clearly revealed ‘the constraints between institutional authority and Māori self-determination.’ The film also presented a number of the exhibiting artists and a thorough overview of the exhibition itself in its final form. Film critic Graeme Tuckett called the documentary, ‘an intelligently and sensitively made film. The ideas and issues that it raises and examines are essential ones, and TOITŪ: Visual Sovereignty is a thoughtful, and extraordinarily beautiful, addition to the conversation.’ In 2026 TOITŪ: Visual Sovereignty was selected for the Santa Barbara International Film Festival.

Artists & Artworks The following is a list of all artists and artworks included in Toi Tū Toi Ora: Contemporary Māori Art: +ArtistArtworks Sandy Adsett (b.1939)Puhoro, 2020 Riri, 1977 Nikau, 1981 Waipuna, 1978 Koiri Series, 1981 Keroro (Muritai- Wind from the Sea), 1980–81Hiria Anderson (b.1975)Tākaro, 2019 Mōrena, 2017Reweti Arapere (b. 1984)Poropiti Wairua, 2020 Poropiti Rongomau, 2020 Poropiti Toi, 2020Margaret Aull (b.1978)Otengi Road, 2017 Te Miha me te Himene, 2020Erna Baker (b.1984)Tango Whakaahua, 2006Gabrielle Belz (b.1947)Page 27 May 29, 1916, 2017Israel Tangaroa Birch (b.1976)Aramoana, 2016–17 Tai Timu- Tai Pari, 2020

Ara-i-te-uru, 2011Buster Black (b.1932 – d.2007)Black Painting: Night Landscape, 1962Chris Byrant-Toi (b.1970)Te Ahi-kāinga-roa, 2005Tangimoe Clay (b.1960)Taonga o Te Ariki, 2017Paerau Corneal (b.1961)Hinemoa & Hinemoa, 2011Shane Cotton (b.1964)Eden to Ohaeawai, 1998–2000 Picture Painting, 1994

Maunga, 2020

Te Puawai, 2020Natalie Couch (b.1976)Wairākei, 2018Davina Duke (b.1975)Te Ara Waenganui (Current Pathway), 2020Vanessa Wairata Edwards (b.1980)Kua rere ki to moenga, to fly to your bed.., 2012 Titiro atu, titiro mai (look there, look here, look inwards, look outwards), 2011

Tupuna, 2018

Hine-Tītama, 2018

Hinenui-Te-Po, 2018Zena Elliot (b.1975)Current, 2017 Flow, 2017Elizabeth Ellis (b.1945)Te Rawhiti Rakaumangamanga, 1966