The Second Asia-Pacific Triennial of Contemporary Art exhibition catalogue (APT2)

Rene Boutin describes himself as a 'typical element of New Caledonian society, a blend of several ethnic origins'. Correspondingly, in his art Boutin investigates the concepts and perceptions of the complexity of Caledonian society. 1 Boutin's present work in New Caledonia is concerned with what he perceives as cultural setbacks in his country. Installations in local settings are intended to stimulate responses to questions about New Caledonian society, often seriously critical questions about the nature of New Caledonian cultural institutions and the failure or falsity of their endeavours. Boutin says he does not work in isolation-the gallery provides a space for dialogue. 'My artistic style is one of questioning-I pose many questions in my work and wait for responses to them.' The materials he uses in his installations correspond to his perception of culture and politics: water and oil (which of course do not mix), yams, earth and blood. These materials have very specific local referents. In Kanak society the concept of yam and man are inseparable. The ritualised cultivation of yams symbolises men and valorises the achievements of the clan. In his installations Boutin uses yams to represent natural man, the raw, unrefined material of humankind, forming part of a balanced ecological system. The brutalised yams in his installations, staked, chipped or otherwise deformed, represent conflicts, disruptions and pressures on the original form. Yet even brutalised yams in artificial surroundings will sprout, attempting to find their living space. Blood bags are another material used in recent installations. Boutin comments that giving blood is a generous cultural act, as the donor does not know who the recipient will be: the donor's blood is completely absorbed into the recipient's body and may be responsible for their survival. His installation at the Galerie Galleria in Noumea, Stone Eggs, c'est un endroit dans le Pacifique oiJ un embryon s'est fait manger par sa coquille 1995, held a different connotation. The marble eggs resting on a nest of chromium surrounded by a cage of expanded metal represented individuals imprisoned within local cultural institutions. No longer able to germinate, they were being kept alive artificially. When exhibiting in Australia or elsewhere, Boutin does not use yams. He explains that, although they may seem exotic to outside audiences, yams have no local references or social significance here. In Australia he will find other materials for his installations and will commence a different dialogue. He finds it necessary to adapt the form of presentation and materials of his installations to the country in which he is exhibiting. The artist will still choose materials or objects which are provocative Le nous malade 1995 Installation comprising mixed media and which by their conjunction may shock or interrogate the audience. He says that even if these may offend some of the public it is important that the work speaks out. Rene Boutin finds that the genre of installation is now vital for his work. He is interested in the ways art can transpose both traditional and urban values and create a paradox from either, or both. Indeed, he says 'that paradox lives within me, and I transfer this awareness of it to my work'. Emmanuel Kasarherou,Cultural Director of the Agence de Developpement de la Culture Kanak, Noumea, New Caledonia 1 Kanaks are the indigenous people of New Caledonia. They currently represent forty-five per cent of the total population. As New Caledonia is aterritory of France, many metropolitan French live inNew Caledonia and France still exerts significant control over the economy and cultural life of the country. Long-term settlers of French or mixed race descent are known as Caldoche There are also significant numbers of Polynesians, Vietnamese and other immigrants in New Caledonia. ReneBOUTIII Lives and works in Noum~a. New Caledonia, F.O.M. A RT I STS : PACI FI C 109