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By using the UQ Art Collection Online you agree to the conditions of the Copyright Statement below.

All artworks that appear on this website do so with the consent of the copyright holder. No image or information displayed on this site may be reproduced, transmitted or copied other than for the purpose of fair dealing (e.g. for research and study) as permitted under the Copyright Act 1968 and subsequent amendments, without the permission of the copyright holders and UQ Art Museum.

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Reproduced courtesy of the artists and Andrew Baker Art Dealer.
Photo: Carl Warner
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Havini, Taloi

MILLER, Stuart

Russel and the Paguna Mine 2009; printed 2016

from the series 'Blood generation' 2009-2011
inkjet print on paper, edition 3/10
image 80.5 x 120.5 cm
Collection of the University of Queensland, purchased 2016.
2016.92

Taloi Havini is an interdisciplinary artist who investigates the politics of place, and the intergenerational transference of Indigenous knowledge.1 She identifies as an Australian and as a Hakö woman from the Nakas clan of the Autonomous Region of Bougainville. In 2009, she created the ‘Blood Generation’ series with her Australian cousin Stuart Miller. The title refers to the children who grew up during the Bougainville people’s uprising against the mining industry, which escalated into the Bougainville Civil War (1988–1998).2 In this photograph from the series, local man Russel crouches by the edge of the abandoned Panguna Mine, surveying the destruction below. Havini uses a wide-angle lens to contrast his personal suffering, against the overwhelming industrial scale of the hollowed-out landscape.3 She stresses, “…having that scale is very important because the severity of that mine, that pit, has disrupted our future, our determination…”4 The Panguna Mine was established by Conzinc Rio-Tinto of Australia Limited (CRA), and run by the PNG government’s Bougainville Copper Limited (BCL) from 1972. In 1988, the Bougainville Revolutionary Army (BRA) rebelled against the miners, sparking a decade-long war that erupted as the PNG government tried to supress the uprising. The Bougainvilleans were seeking self-determination, while contesting the destruction of their homeland, the environment, and the unfair distribution of royalties.5 The locals also mourned the graves of their ancestors, which were disturbed when mining began.6 In addition to soldier fatalities, over 15 000 Bougainville civilians died during the conflict.7 While commemorating these losses, Havini’s ‘Blood Generation’ series also serves as a warning – negotiations have begun to reopen the mine in the near future. This is the first photograph by Havini to enter The University of Queensland Art Collection. Russel and the Paguna Mine will complement other recently acquired artworks that similarly present the destructive effects of mining. Notably, Nicholas Mangan’s Progress in Action 2016 and Untitled 2016, acid etched images on sheets of copper plate, also provide a critique of the Panguna Mine on the island of Bougainville.

1. Taloi Havini, “About,” Taloi Havini, http://www.taloihavini.com/about/.
2.Taloi Havini, “Taloi Havini | Artist,” Queensland Art Gallery | Gallery of Modern Art, http://tv.qagoma.qld.gov.au/2016/10/09/taloi-havini-artist/.
3. Ruth McDougall, “Highlight: Taloi Havini and Stuart Miller ‘Blood Generation,’” Queensland Art Gallery | Gallery of Modern Art, http://blog.qagoma.qld.gov.au/highlight-taloi-havini-and-stuart-miller-blood-generation-2009/.
4. Havini, “Taloi Havini | Artist,” http://tv.qagoma.qld.gov.au/2016/10/09/taloi-havini-artist/.
5. Ruth McDougall, “History Paintings,” in No.1 Neighbour: Art in Papua New Guinea 1966–2016, 90 (Brisbane: Queensland Art Gallery | Gallery of Modern Art, 2016).
6. McDougall, “Highlight,” http://blog.qagoma.qld.gov.au/highlight-taloi-havini-and-stuart-miller-blood-generation-2009/.
7. McDougall, “History Paintings,” 90.

Subject Classification
conflict, environment, mining, Pacific, Papua New Guinea, Media: photography, political

All artworks that appear on this website do so with the consent of the copyright holder. No image or information displayed on this site may be reproduced, transmitted or copied other than for the purpose of fair dealing (e.g. for research and study) as permitted under the Copyright Act 1968 and subsequent amendments, without the permission of the copyright holders and UQ Art Museum.