Stephanie Gibson

In this podcast, history curator Stephanie Gibson details the process by which Te Papa, New Zealand's national museum, acquired the New Zealand AIDS Memorial Quilt. The discussion highlights the complex considerations that come into play when a museum becomes the guardian of a significant cultural artefact.

The journey to Te Papa’s custodianship began with an initial outreach from Rachel on behalf of the New Zealand AIDS Memorial Court in 2008, seeking a possible home for the Quilt at Te Papa. Gibson explained to Rachel that the Quilt's care would require adherence to museum standards, changing its accessibility. At that time, the community felt it was 'too soon' for the Quilt to enter this new chapter of preservation, expressing a desire for it to remain accessible to the public.

The discussions were rekindled when, at the 'out games', the topic of the Quilt’s future re-emerged, leading Michael, another key figure in the Quilt's history, and Gibson to meet. They engaged in thoughtful discussions about the Quilt’s significance and the implications of its transfer to Te Papa.

Gibson was profoundly moved upon seeing a panel of the Quilt, noting the blend of the emotional weight each panel carries with the curatorial concerns about their physical condition and longevity. The Quilt, despite being created by individuals without professional sewing skills, was striking in its optimism and personal tributes, creating an intimate mosaic of lives remembered.

In transforming from an active memorial to a museum artefact, the Quilt faced a battery of assessments from Te Papa’s staff to determine storage space, conservation needs, and the long-term viability of its materials. Among the concerns addressed by the museum were preservation strategies for less stable materials, storage in climate-controlled environments, and the ethical implications of intervening in the Quilt’s existing condition.

Once the conditions for acquisition had been approved, Te Papa legally became the owner, while appreciating that its stewardship was shared with the community. The Quilt would be stored under strict environmental controls, with limited folding to maintain its condition. It would dissuade significant cleaning or repairs in order to preserve the Quilt’s authentic history and physical legacy, including the traces of its public life.

The Quilt represents a tiered historical artefact — it is personal, communal, and national. The potential for public programs and exhibitions remains an exciting opportunity, as Te Papa’s goal is to offer a tangible experience of the Quilt’s tangible and intangible cultural heritage. It stands as a testament to the endurance of lived experiences and the power of material culture.

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Stephanie Gibson

2010s, aotearoa new zealand, auckland, claire regnault, hiv / aids, museum of new zealand te papa tongarewa, new zealand aids memorial quilt, rachael le mesurier, stephanie gibson, tania walters, wellington

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