Did CNZ silence staff at the Venice Biennale?

Yesterday, an open letter to Creative New Zealand, the Arts Council of New Zealand Toi Aotearoa, and the Minister for Arts, Culture and Heritage, was published. It was sent to media outlets, and platformed on Instagram, where it is gaining traction. It comes from a collective of Aotearoa artists and arts workers, going by NZ Venice Unredacted on social media. Individual members have not been named.

The letter follows furore earlier this year, when dozens of national pavilions at the Venice Biennale remained closed, protests broke out against the participation of Russia and Israel, and New Zealand’s pavilion, with Fiona Pardington’s huge photographs of taxidermied manu inside, remained open. The institutions, staff, and artist behind it were notably quiet in the face of widespread, widely-covered, and loud disruptions to the biennale. Many Aotearoa artists and artworkers expressed disappointment at the lack of visible solidarity with Palestine. They tagged Creative New Zealand and other accounts associated with our presence in Venice in social media posts, responses were not forthcoming. Rumours spread that CNZ had barred staff from participating in protests, and from speaking out. 

The letter makes bold claims, primarily that “almost everyone who was sent to Venice had been instructed in writing not to speak [about political matters]” by CNZ. It states that the claims, and subsequent demands, are supported by documents released to the group as a result of an Official Information Act request. Some of these documents have been uploaded to a public Dropbox, and others have been shared with me through email. 

It's not the first time that people have tried to get to the bottom of the rumor. In May, I asked CNZ directly about it, emailing “I’m wondering if there’s a specific reason no-one has said anything at all about it or participated? Perhaps orders from higher up, or a policy, or a choice to focus on the art?” When the response didn’t directly address my question, I followed up. “There are some rumours circulating that artists and work[er]s associated with the pavilion are required by contract, or other agreement, to not comment on anything political. Are you able to confirm whether this is true?” 

A response came after the publication of the story the following morning, and was added when it arrived. “No contractual or other restrictions have been placed on Fiona Pardington ONZM, or her work, or on any other artist or their work, for the 2026 Venice Biennale, including political commentary restrictions.” With the story already out the door, and other stories requiring my attention, this was enough to throw me off the scent. But in fact, CNZ had carefully evaded my question – twice. Their response only points to Fiona Pardington and “any other artists” (to my knowledge there is no-one else associated with the pavilion in the capacity of an artist). The statement does not give information on curators, attendants, and other workers associated with the pavilion who were subject to guidelines. 

The OIA documents dredged up by the NZ Venice Unredacted collective show that Pardington was the only person who was not subject to a series of guidelines, “important advice” and key points on what they could and could not speak about while officially representing New Zealand in Venice. Documents also show CNZ staff giving attendants a heads up that the article was to be published, and linked it once live. I can’t help but think CNZ purposefully kept information, exactly what I was asking after, from me and our readers. This is concerning.

I asked CNZ yesterday why it was not forthcoming about these guidelines, even when asked directly by media and members of the art sector. Their response? “We disagree; we responded directly to the questions we were asked.” The guidelines were released much later, only under the OIA, a statutory legal process governed by New Zealand law to promote government transparency and hold public officials and agencies accountable. Circumventing the OIA process has ramifications. While I don't believe CNZ answered my questions in good faith, there is still a lesson for me here to be hyper-specific, and dogged in my approach.

The guidelines were shared internally and with Christchurch Art Gallery (the official delivery partner), and Venice pavilion workers in early May. They highlight “sustained international debate regarding national pavilion participation” and “protest and related activity” as “likely risks” and state that questions could arise around Russia and Israel's participation. The place of staff in these debates and questions is made clear: “Creative New Zealand staff and NZ@Venice reps are present to support the artist and deliver the Pavilion, not to engage in geopolitical debate.” It is stated that questions regarding other countries’ participation and foreign policy should be directed to the commissioner. “Messages to avoid” include “Speculation about international politics or government decisions” and “Commentary on other countries’ pavilions”. Staff were given “back‑pocket Q&As” to use if anyone should ask about Russia, Israel, or international politics. These all aim to direct the conversation away from politics, for example: “I am here representing Creative New Zealand / New Zealand at Venice and supporting the New Zealand Pavilion and the artist.”

While representing New Zealand officially, is it appropriate that staff do not express views that may differ from the government's official stance. It is expected that any New Zealander officially representing the government or a government agency be expected to maintain political neutrality, at the biennale or anywhere. Making those kinds of calls is up to our democratically elected officials. The New Zealand Ministry of Foreign Affairs and Trade has a code of conduct for suppliers (contractors, technical advisors, or other contracted personnel) and delivery partners (non-governmental organisations, not-for-profit organisations, and other civil society organisations) which sets out similar expectations. It includes expectations for suppliers and partners to “conduct themselves in a politically neutral manner” as well as “not provide responses to media or other requests for comment on government policy unless specifically authorised”

CNZ said it plans to release a statement today, which they’ve sent me by email. It disagrees with the assertions of the letter, saying the letter uses “quoted material taken out of context”. It clarifies that “As public servants, Creative New Zealand officials must remain politically neutral when representing New Zealand in an official capacity – as at the Venice Biennale, which is a government-to-government formal engagement.” CNZ says that engagement with the office of the minister was part of routine “no surprises” communications and advice, and obligations as a Crown entity.

What is still concerning is a lack of clarity and communication. In late May, following the furore and public critique of silence, CNZ sent out a formal note from Claire Murdoch (Senior Manager Arts Development Services) setting out more guidance regarding the rights, responsibilities, and expectations for attendants at the pavilion. “It clarifies a number of important points” in response to a number of queries “relating to online and media discussion”, reads the email. It states that “being politically neutral in your work for Creative New Zealand does not generally stop you from being politically active outside of work” and that staff can participate or support action in Venice outside of working hours. It includes guidelines provided at the attendants training (in Christchurch prior to the biennale), with one highlighted in bold red type: “Please don't: Express personal political views while working as an attendant in the exhibition or while representing New Zealand officially”. The lines between being politically neutral while working, and being able to participate in activity outside of work hours, seems not to have been clear until two weeks after the protests. 

A lack of clarity from CNZ also affected two curators, Chloe Cull and Felicity Milburn, adding their names as signatories to the Art Not Genocide Alliance (ANGA) letter, which said “no artist or cultural worker should be asked to share a platform with this genocidal state.” On 16 January Felicity Milburn sent an email to CNZ saying they’d been asked to “join this call” and were “minded to do so” as curators, not the project as a whole. They wanted to check that this wouldn't be “compromising things for CNZ” before adding their names. The email exchange that follows, released in the OIA documents, seems to have confused and delayed action, with CNZ staff citing “certain roles and responsibilities” as well as inviting discussions which, when requested, they were not available for for several days. There were concerns that the curators being signatories would be read as an official stance. Clarity came on 18 March, after the ANGA letter was published, and after Cull followed up. She was told, a month after the first request, “it’s a personal choice, if you want to sign or not. It’s a call you need to make”. 

Why is it so hard to get clear, timely information out of CNZ? The entity’s lack of proper responses to questions around these issues, and the subsequent open letter, reveal a widening rift between the it and the sector it exists to serve. A lack of clear information fairly cultivates suspicion. There seems to be a lack of trust on both sides. Had CNZ told workers clearly about the parameters of the guidelines and expectations, more may have participated in political activities that align with their morals. And had CNZ told the sector, months ago, about the guidelines for workers and the way they align with normal operating procedures for government entities, there likely wouldn’t be an open letter accusing them of silencing staff and reaching beyond the bounds of law. 

But as it played out, CNZ were evasive, and so have rightfully come under scrutiny. This year, this has been a pattern. Take for example, the biggest restructuring of CNZ in decades, maybe ever. The first anyone officially heard of the plan to decentralize arts funding by partnering with up to 16 independent regional organisations was when CNZ posted a government tender asking for registrations of interest. One wonders what is underlying their communication strategy, who is making the decisions, and how purposeful they are. Why does it feel like they think the less we know the better? Is it a fear of critique? An attempt to eschew responsibility for their actions? Are they trying not to be held to account? Is it a lack of trust and respect for the people they serve? Whatever it may be, it's not working.

Free Palestine, Ukraine, Sudan and all oppressed peoples of the world.

Comebacks can be made after six years!

Experimental Dance Festival Aotearoa has announced its return this December after a six-year post-Covid hiatus. Yes it was formerly Experimental Dance Week Aotearoa, but its is still a comeback! The festi will take over Tāmaki Makaurau from 1–12 December, with 20 works across 10 venues by artists from Aotearoa, Australia, Brazil, Canada, Taiwan, USA, Sweden and Korea. There are also artist talks and workshops beginning from 20 November. Expect variety: cults and Indigenous experiences of neurodiversity to the seriousness and silliness of having hair, the collision of K-pop and feminine rage, and a multigenerational whānau performance. 

The festival was founded by Alexa Wilson, who returns as Artistic Director, Producer and Artist alongside Co-Curators Kelly Nash (Kaitiaki) and Dina Jezdic. “Experimental just means creative. Risk-taking. It can be challenging, unsettling and unfamiliar, but it can also be invigorating, exciting, moving and inspiring.” says Wilson. The 2026 programme is live now, here.

Inaugural toi Māori exhibition opens at Tātai Manawa in Tāhuna Queenstown

Te Pūaotanga, a new exhibition of contemporary toi Māori has opened at Tātai Manawa, a kaupapa Māori space grounded in the whakapapa of Whakatipu, and shaped by whānau Māori o Tāhuna, that opened in June. It is a place where whānau Māori can gather, create, strengthen identity and lead kaupapa, while hosting the wider community. Since opening, it has become a Māori-led platform for toi and culture, mātauraka, pakihi, community connection and meaningful visitor experiences.

Curated by Frances Piacun, the exhibition brings together established and emerging Māori artists from across the motu, working across painting, whakairo, ceramics, raranga, fibre practice, mixed media, multidisciplinary practice and scent. Featured artists include Jimmy James Koratoras, Lissy and Rudi Robinson Cole, Elizabeth Morrison, Conor Jeory, Dayna Raroa, Fiona Bryant, Maia Gibbs, Christine Te Ruihana Hayes, Merle Walker, Elspeth Leggett, Pānia Witoko and Anahera Lewis Kemara. The exhibition also features O Te Rā, a creative collaboration bringing Māori artistic expression into conversation with French perfumery.

His Master’s Voice celebrates a 100 years

For much of the last century, the dominant company supplying our records was His Master's Voice Ltd, a Wellington outpost of the giant EMI Group. Known as just HMV, with its well-known image of Nipper the dog listening to a gramophone, HMV arrived in NZ in 1906. It is now part of Universal Music NZ. AudioCulture has put together a major three-part story looking at HMV’s history for the nerds who want to know more.

CRL station to host large-scale projections

For We The Young festival, Auckland Live is transforming Te Waihorotiu Station into live art. On the southern façade, Windows of Imagination sees 179 artworks by tamariki. They were asked to draw where in the universe they would travel if the City Rail Link tunnels were magical back in 2018, and now those drawings are projected at architectural scale. Some of these drawings have also been incorporated as permanent artworks inside. Windows of Imagination runs every evening from 7:30pm until midnight, until 25 October

POPS Pinball, turns the other façade into an interactive pinball game. The architecture of Te Waitematā Station is part of the game, with arches, columns and the pediment as bumpers and flippers. Visitors step into a booth and interact with the projection in real time. POPS Pinball runs every evening from 7:30pm until 11pm, until 17 October.

Research confirms arts, culture, and heritage sectors rely heavily on volunteers

A report by The Ministry for Culture and Heritage (Manatū Taonga) confirms that volunteers “power” arts, culture, and heritage activities. Volunteers come from many different backgrounds, but tend to be highly engaged cultural participants, and many cite “giving back” as the strongest reason for volunteering. Younger adults aged 18 to 29 years have the highest volunteering rates (35%), alongside Māori (31%), Pacific peoples (28%) and Asian communities (27%). Cultural festivals and event support are the most common activities. 

Meanwhile, long-standing artist-run gallery in Auckland, RM, is looking for volunteer gallery minders. The gallery has had reduced and sporadic opening hours recently due to a lack of hands to keep it open. Just a few weeks ago, the Kaipātiki Public Arts Trust wrapped up because volunteers with time, energy and appropriate skills were not as easily found as when it started in 2013. So while volunteers are great and to be celebrated, reliance on unpaid labour is not ideal for sustainability. 

Omnibird by Giselle Clarkson wins Best Book at PANZ

In a “fairly quick and unanimous decision” Clarkson’s illustrated book won the Gerard Reid Award for Best Book at the PANZ Book Design Awards, says Convening Judge Erica Harrison. “It was the only book to score perfect 10s and it is just a brilliant book all round”. The win marks the third time a children’s title has taken out the supreme award.

As for the rest of the awards, two titles won the Penguin Random House New Zealand Award for Best Illustrated Book – Atlas of the New Zealand Wars: Volume One 1834–1864 designed by Alan Deare and Mr Ward’s Map: Victorian Wellington street by street designed by Jo Bailey.

Best Non-Illustrated Book went to Tony Fomison: Life of the Artist by Mark Forman, designed by Arch and Jane MacDonnell. The Best Education Book or Series – Primary, was won by My First Ikura, illustrated by Isobel Joy Te Aho-White, and designed by Chloē Reweti. The PANZ Award for Best Education Book or Series – Secondary/Tertiary went to Toitū te Whenua, designed by Cat Taylor. Best Cookbook or Lifestyle Book went to Family Cooking with a cover designed by Logan Smith and interior designed by Georgia Yates. Best General Cover went to Three Wee Bookshops at the End of the World, designed by Katrina Duncan, illustrated by Sophie Watson. The HarperCollins Publishers Award for Best Cover was won by Whenua, designed by Aaron Beehre. Victoria Wigzell won the Hachette Aotearoa New Zealand Emerging Designer Award.

The coveted Te Papa Press Award for Best Typography went to Sio fakaTonga ‘ae ‘Aati fakaTonga: Tongan Views of Tongan Arts designed by Shaun Naufahu & Giordano Zatta. This book also won the inaugural Keely O’Shannessey People’s Choice Award, in honour of the talented book designer who passed away in June.

Arts Pasifika Awards announce eight winners 

Julia Mage’au Gray, The Black Grace Trust, Tofiga Fepulea'i, Tu'ifonualava Kaivelata, Benjamin Work, Amosa Lene Isara, Taliaoa Jokani Umutaua and Manuha’apai Vaeatangitau won CNZ’s annual Arts Pasifika Awards, which this year turn 30. The ceremony will be held on Thursday 22 October in Tāmaki Makaurau. 

The Black Grace Trust won the Pacific Arts Business Award recognising the contribution of a Pasifika-led creative enterprise in providing a service or product with business sustainability and economic outcomes. Comedian, actor and MC Tofiga Fepulea'i, from Wellington is the recipient of the Special Recognition Award 2026 and recognises his special contribution to Pacific arts, both nationally and internationally. 

Multidisciplinary artist and cultural practitioner Julia Mage’au Gray receives the Senior Pacific Artist Award, recognising her commitment to her arts practice over many years in Aotearoa, the Pacific Islands and the world. The Pacific Heritage Artist Award goes to master artist (tufunga) and traditional musician Tu'ifonualava Kaivelata, honouring his contribution to maintaining, reviving and promoting Pacific heritage artforms in Aotearoa, and Benjamin Work receives the Pacific Contemporary Artist Award.

The Iosefa Enari Memorial Award goes to Amosa Lene Isara, supporting the career development of a Pasifika singer, musician or composer working across classical genres. Dancer Taliaoa Jokani Umutaua receives the Pacific Toa Award, recognising his contribution to Pacific arts as a Pasifika artist with the lived experience of disability. Auckland based interdisciplinary artist Manuha’apai Vaeatangitau receives the Emerging Pacific Artist Award. 

Matariki Williams wins $25,000 writers’ award

From 47 applications, Matariki Williams (Ngāi Tūhoe, Ngāti Hauiti, Ngāti Whakaue, Taranaki, Te Ātihaunui-a-Pāpārangi) won the 2026 Tāwhia Copyright Aotearoa (TCA) and The New Zealand Society of Authors (NZSA) Te Puni Kaituhi O Aotearoa (PEN NZ) Writers’ Award for a project on the life and art of Robyn Kahukiwa. She will be working with Penguin Random House, Christchurch Art Gallery, Season Gallery, and the whānau of Robyn Kahukiwa, on the project. “This project will shine a well overdue light on this significant and beloved artist’s career and works,” said Vanda Symon, who convened the selection panel.

Four University of Otago Arts Fellows announced

Simon Kaan, Tess Hazelhurst, Emma Hislop and Glen Downie will receive a stipend for up to one year and space on campus to pursue their creative projects as University of Otago Arts Fellows in 2027.

Simon Kaan (Waitaha, Kāti Mamoe, Kāi Tahu) will be the The Frances Hodgkins Fellow. He will develop some larger-scale artworks and collaborate with writers and researchers at Ōtākou Whakaihu Waka. His practice that navigates both his Kāi Tahu and Chinese whakapapa. 

The Caroline Plummer Community Dance Fellow for 2027 is Tess Hazelhurst, alumna and academic staff member. She will be approaching a six-month fellowship as a social science researcher using a co-design methodology, and hoping to give drag performers increased visibility and facilitate conversations about how niche community artforms can create long-lasting community benefit.

Writer Emma Hislop (Kāi Tahu, Kāti Māmoe, Waitaha) is the 2027 Robert Burns Fellow, and will move to Ōtepoti from her base in Taranaki with her whānau. She is currently finishing her second project, a novel, and plans to begin her third book during her Fellowship. It will be shaped by Ōtepoti and research at the Hocken Collections and University archives.

Composer Glen Downie, is the Mozart Fellow, and will move to Ōtepoti soon afer he completes a PhD in composition at the University of Cambridge in England. “To be able to continue this momentum in Dunedin, a city which is replete with inspiring natural beauty, a strong university and music faculty, plus a wide appreciation of the arts generally, is an honour,” he says.

Grace Aotearoa adds an Associate Director

Felixe Laing has joined the Auckland-based gallery as an Associate Director alongside founder Emil Scheffmann. She's been around since the beginning of the year, working with Scheffmann to shape the exhibition programme. Her curatorial practice is shaped by the values and practices of hospitality. Recent projects include the Whakamanu Exchange Residency, cab–sous vide by Abigail Aroha Jensen at The Dowse Art Museum, and leading Chez Derriere at Te Tuhi’s Parnell Project Space. She is also Co-Chair of Samoa House Library board and works across communications and audience development at Artspace Aotearoa.

An ambitious wave of small presses is changing what ends up on our bookshelves. Nabeelah Khan spoke to a few key players around Aotearoa to see how and why they do what they do.

Shanti Mathias visited many privately-funded, publicly-focused galleries overseas, and while the transparent promotion felt vulgar, she asks if our banks should consider more ways to prove their commitment to the New Zealand public, including by backing the arts sector. 

I’ve had a few AOG Tier 1 and 2 applicants get in touch about their outcomes, and I’m keen to hear from more, as I dig into the results and what they may mean for the sector. It can certainly be off the record! Email me: editor@thebigidea.co.nz

Over on our Instagram page, we’re running a giveaway for double passes to Big Girls Don’t Cry, the coming-of-age debut by Paloma Schneideman that everyone, including Kristen Stewart, is raving about. Just follow us, like the post, tag a friend, and be in to win one of four double passes!