Stories

In an excerpt from Te Tuhi's new book, They covered the house in stories: 50 years of exhibiting contemporary art, Karl Chitham asks questions about Māori exhibition-making and representation in our cultural institutions.

The journey of Cymraeg feels familiar and aspirational. It's also supported by policy.

And one year of your beautiful host, Gabi Lardies

The actor, playwright, set designer, director, and creative director is most creative when in a room devising with others.

Shanti Mathias explores romantasy, zines, music and stories at WORD Christchurch 2026.

Aotearoa's inaugural Festival of Design is set to kick off in Whanganui and Te Papaioea Palmerston North this October.

A discussion between HALFQUEEN and Mirik Milan proved that a thriving nightlife isn’t a force of nature, but an outcome of intentional public policy.

Plus all the arts news of the week, including Wellington’s dedicated creative capital team being scrapped.

New Executive Director Blaise Clotworthy explains how and why you should register to be part of the 2027 festival.

Genista Jurgens chats to Hana Pera Aoake about building a practice outside the motu, and rounds up events and opportunities for NZ artists overseas.

Members pay a small monthly fee for 24/7 access to a cosy workspace and an informal community infrastructure.

When scarcity isn’t the end of the story, plus the Nelson Arts Festival programme, the inaugural Speculative Fiction awards, and more.

A dive into documents released under the Official Information Act show the steps and shortcomings behind the allocation of the arts biggest fund.

What a rare early example of New Zealand graphic design history reveals about the symbols that businesses, corporations, and institutions used.

Two solo works navigate deeply human battles with body image, self loathing, coming of age, and mortality.

Music journalism still exists, the stacked design festival programme, the billion streamers club, and more.

She always knew she wanted to be an artist, but first there was work and family. Now she is cultivating a career with a relational approach.

Sam Brooks checks in with a renowned scholar, an actor in a production of Macbeth, and a high school teacher about the state of Shakespeare in 2026.

The therapist’s couch becomes a space to explore cultural isolation and the desire to be understood.

After five years, the end of the fund has been announced. But what of the inequities it was established to counter?

The author didn't recognise her creativity until she started a catering business in her early twenties, and now has a debut book.

In a car port workshop, a set that leaks, and leaks, and leaks was built and tested.

Even the Fringe Society makes it clear that expenses will outstrip revenue, but is it worth the chance at a big breakthrough?