Abstract
This article sets out to investigate manifestations of the baroque in the visual culture of contemporary Aotearoa New Zealand. Within the context of ‘Centring the Margins’, it suggests that theories of the historical baroque and contemporary neo-baroque coming out of Latin America are useful in understanding the differences between its use here and now and in Art History. In contrast to its European origin, out in the peripheries the baroque has persisted, reinventing itself in new and vital ways. Examples of this can be seen in artist Reweti Arapere’s apparently effortless conflation of traditional Māori carving styles, and sneakers, camouflage pattern, spray paint and hoarding ply, and Terry Urbahn’s vulgar tribute to Rome: a turbulent mosh of garbage in the river Tiber set to Motörhead, as an act of provincial resistance to both the classical origin of Art and every Kiwi artist’s dream of European art world success.
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