Taloi Havini and Stuart Miller
Blood Generation: Sami and the Panguna Mine, 2009

Taloi Havini and Stuart Miller
Blood Generation: Sami and the Panguna Mine, 2009
Sami and the Panguna Mine, 2009
Triptych from the series Blood Generation
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Courtesy of the artist
The Blood Generation are the children born into and following the civil war over land in Taloi Havini's native Bougainville. Buka youth are documented in their landscape, by Taloi and photographer Stuart Miller, including in the devastated area around the Panguna mine. The series depicts the ravages of open-cut mining, as well as the deep connection to land that Taloi and her people have; their cultural resilience in the face of colonisation and government-sanctioned, forced removal from their ancestral homelands.
In 1964, the Moroni people in Bougainville were subjected to harassment and exploitation and stripped of their land rights under Crown Law. Australian-owned mining company Conzinc Rio Tinto sent in geologists and, in 1972, Bougainville Copper Limited (BCL) was formed. Despite ongoing demonstrations by the Panguna landowners and Rorovana coastal people, from 1972 the open-pit, Panguna mine, was one of the largest producers of gold, silver and copper in the world — more than doubling the Papua New Guinea (PNG) Territory’s export income and helping to fund PNG Independence, which was granted by the Australian colonial administration in 1975.
The mine ceased operations when civil war erupted in 1988, as the local resistance movement sabotaged the mine, its main water and electricity supply. The resulting civil war cost around twenty-thousand lives in an island population of approximately 200,000. Fighting did not end until a truce lifted the military blockade that led to the Bougainville peace process in 2000. Armed rebels currently prevent all foreign entry onto the mine site and access is restricted to locals only.
The triptych Sami and the Panguna Mine revisits the time when Sami’s aunties and other women landowners in Bougainville stood against mining on their land. Women leaders are still fighting to be heard on the unresolved issues of social, economic and environmental impacts of reopening the mine. They reject agreements which saddle them to the original PNG 1988 Mining Act, in which there is no acknowledgement of women landowners.

Artworks

Taloi Havini and Stuart Miller
Blood Generation: Sami and the Panguna Mine, 2009

Gaby Montejo
Honeymoon Latte, 2016

Dryden Goodwin
Breathe, 2012

Natalie Robertson
Rangitukia Hikoi 0-14, 2016

Alex Monteith
Rena Shipping Container Disaster, 2011 (ongoing)

Hayden Fowler
New World Order, 2013

Anne Noble
Bruissement, 2015; No Vertical Song, 2015

Melissa Macleod
Drill (performance) 2016; Weight (installation) 2016

Tyne Gordon
Pooling, 2016

Zina Swanson
Plants from the sale table, 2016

Liv Worsnop
Practicool Planet; Dust Gatherings: Potential and Poison; Gang Patches; Lux & Plant Gang Chats, 2016

Tim Knowles
Glacial Creep - Haupapa Tasman Glacier

Precarious Nature - Extended Network
Mike Joy

Precarious Nature - Extended Network
Te Kōhaka o Tūhaitara Trust

Precarious Nature - Extended Network
Habitat for Humanity

Precarious Nature - Extended Network
Trees for Canterbury

Precarious Nature - Extended Network
Generation Zero

Precarious Nature - Extended Network
350 Christchurch
