Embracing Alternative Perspectives Early accounts of Pacific history were written and illustrated from the perspective of colonial voyaging experiences, rather than emerging from within Pacific cultures. These initial historiographical interpretations often failed to account for the diversity of Pacific narratives due to a lack of cultural understanding. Recently, more comprehensive explorations of this region’s history have elucidated greater acknowledgment of Pacific voices. This is evident within the work of contemporary Pacific artists, such as John Pule (Niue, New Zealand) and Greg Semu (S amoa, New Zealand), who readily utilise the artistic medium to construct new considerations of their individual histories within the Pacific. Art in this context is unconstrained by the need to present an absolute truth as it is an inherently interpretative practice, providing an ideal platform from which to examine and critique current and historical thought structures. Keith Moxey recognises this freedom of the artistic medium, arguing ‘that the visual artifact can create its own history’. Art becomes a tool with which to promote historical change and acknowledgement. Lisa Reihana (b. 1964) utilises art for this very purpose in her large-scale moving image artwork in Pursuit of Venus [infected] (iPOVi) (2015–17) (Figure 1). In this work, the artist weaves together strategic editing techniques and re-enacted histories to envision the complex realities of cross-cultural encounters. iPOVi is a monumental 25-m-long by 4-m-high, 64-min. work that depicts Pacific people as well as Captain James Cook, his explorers and crew, all interacting across an animated landscape. This artwork propelled Reihana to great international acclaim when she represented New Zealand at the 2017 Venice Biennale with her exhibition Lisa Reihana: Emissaries. Since then the work has been widely exhibited internationally, in Paris, Honolulu, Taipei and London, and across Australia, in Adelaide, Brisbane, Sydney and Perth.

中文翻译：

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感染金星：通过丽莎·雷哈娜的多视角镜头凝视太平洋历史

接受另类视角 太平洋历史的早期描述是从殖民航行经历的角度编写和说明的，而不是从太平洋文化内部出现的。由于缺乏文化理解，这些最初的史学解释往往无法解释太平洋叙事的多样性。最近，对该地区历史的更全面探索阐明了对太平洋声音的更多认可。这在当代太平洋艺术家的作品中很明显，例如 John Pule（纽埃，新西兰）和 Greg Semu（新西兰萨摩亚），他们很容易利用艺术媒介来构建对太平洋地区个人历史的新思考。在这种情况下，艺术不受呈现绝对真理的需要的约束，因为它是一种内在的解释性实践，提供了一个理想的平台，可以从中检查和批判当前和历史的思想结构。Keith Moxey 认识到艺术媒介的这种自由，认为“视觉人工制品可以创造自己的历史”。艺术成为促进历史变化和承认的工具。Lisa Reihana（生于 1964 年）在她的《追寻维纳斯 [感染] (iPOVi) (2015-17)（图 1）中的大型动态图像艺术作品中将艺术用于这一目的。在这件作品中，艺术家将战略编辑技术和重新演绎的历史编织在一起，以设想跨文化相遇的复杂现实。iPOVi 是一个 25 米长、4 米高、64 分钟的巨大项目。描绘太平洋人民以及詹姆斯库克船长、他的探险家和船员的作品，所有这些都在动画景观中互动。当 Reihana 代表新西兰参加 2017 年威尼斯双年展时，这件艺术品使她在国际上广受赞誉，她的展览 Lisa Reihana: Emissaries。从那时起，这件作品在巴黎、檀香山、台北和伦敦以及澳大利亚各地的阿德莱德、布里斯班、悉尼和珀斯等地在国际上广泛展出。