The election is looming, so where are the arts?

In less than a month, we will be following those orange sandwich signs into our local community hall, church, school, or library. Ideally we will hand over our EasyVote cards, get a voting form in exchange, scurry over to a voting booth, mark our two ticks, fold the paper in half, scurry over to the ballot box, and slot it in. You must be enrolled by 25 October to participate in this thrilling activity of course. Later that night, every news media outlet will be updating us as the results come in. Before midnight, we will have a strong indication of the proportion of votes each party got, and who won each electorate seat. On Friday 27 November, the official results are due, after special votes (including overseas votes) have been counted and everything checked.

It's not looking particularly great for either of our major parties, which is to say either National or Labour could lead the next government, and they will almost certainly be in a coalition. 

The vying for votes, including public debates, has begun. Much has been written about the leaders debate on Tuesday night, but less about Sunday afternoon’s Arts Across Party Lines, an election debate hosted by The Arts Foundation, moderated by Miriama Kamo with Paul Goldsmith (National Party), Rachel Boyack (Labour Party), Bhen Goodsir (Green Party), Mark Roach (Opportunities Party) and Daryl Habraken (New Zealand First). The Act Party did not send a representative. The debate was held in Auckland, in Aotea Centre’s Waihorotiu Room that has a capacity of up to 110 people, and was also livestreamed. I tuned in from home, along with about 15 other viewers, according to YouTube. I’ve no doubt that the timing prevented more viewers, but it's not usual, probably for a host of reasons, that an art-focused debate be held in the margins, rather than at a convenient or prime time. The Arts Foundation has made the recording available on YouTube. 

While Kamo was an excellent moderator, starting the discussion with a clear directive that the arts being valuable to society is a given that didn’t need to be discussed and instead the focus should be on clear policy. 

The Green Party is still the only party with a comprehensive arts policy, and this is likely to be the case right up to the election, and beyond. Bhen Goodsir gave a bright and idealistic vision, that the Greens’ plan for the arts is not too different from its plan for society as a whole – that people have sustainable, fairly paid jobs, and that the ecology is made up of vibrant communities. Opportunities’ Mark Roach did make a compelling case that while he did not have an arts-specific policy, Opportunity does have a bevy of policies across other areas that would benefit artists and art workers. These include more protection for freelancers, more favourable tax settings for self-employed people, a citizen's income, copyright laws that protect against AI, tertiary reform, and repealing the tax credit donation cap that is likely to affect philanthropic funding in the arts. 

Daryl Habraken (New Zealand First) admitted to not having read the Amplify policy when asked about it, and if he hadn’t lost the room already, lost it when he suggested that artists should be taught fiscal responsibility. “Oh for goodness sakes,” exclaimed an exasperated audience member. Almost all the heads I could see on my screen turned towards another nearby and turned from side to side. The consensus to this statement was clear rejection.

Rachel Boyack from Labour did give some very concrete promises on what Labour will, and won’t do if they form the next government. The most exciting is a change to visa settings that would only grant visas to international touring musicians if there is a local support act. This is a policy that many advocates in the music industry have been asking for. When Carmel Bennett, of the charity MusicHelps, ended her speech at the Taites with “No local act, no visa!” the crowd was in full support. According to Boyack, and common sense, this policy will cost nothing, so it's an easy sell to voters who are currently most concerned with the cost of living. It was clear that Boyack has been engaging with the sector, as she also mentioned the plan to cut the music librarian at the National Library and its expected repercussions, and the frustration over the millions poured into acts like Robbie Williams through the Events Attraction Package. Boyack also said that Labour would keep the Amplify strategy, although she said she was worried about its ability to be implemented. Labour would make a few changes, the main one being that they would add a “Wellbeing Pillar”. What this will look like isn’t clear though she mentioned education, access to the arts in regions, support to toi Maori and Pacific art, and “ethnic art”. What Boyack could not promise was any more funding towards the arts. 

Minister Paul Goldsmith got a bit of a grilling on the performance of Amplify so far. Kamo was armed with a series of facts from The Arts Foundation’s director Jessica Palalagi. The first, that the strategy asks to grow the sector without growing the port of money. Goldsmith replied on party lines saying that “of course there’s not an unlimited supply of money” and “our task is to make sure we get the best outcomes we can with the resources we have”. Then came a few numbers from Kamo – in terms of the arts contribution to GDP, the sector is tracking at 5.7% growth, reasonable, but not above pre-Amplify growth; the strategy wants a 10% growth to the number of people who engage with the arts but audience numbers appear to have stalled; and the rate of people creating or producing cultural work fell from 44% to 40% in two years. "It’s not tracking the way surely, that you want it to,” said Kamo. Goldsmith bought some time before saying “This is not something that the government can solve, it is for the broader sector to figure out ways to thrive in a complex world”. As for future policy, it seems we can expect continuation with the Amplify strategy, and a National-led government to focus on returning to surplus and their unofficial slogan, no new taxes, over providing funding. 

The debate was wrapped up after an hour, after which Jessica Palalagi took the stage. She rattled off a few numbers familiar to those in the sector – we contribute 18.5 billion to the economy; we are the fourth largest export earner after dairy, meat, and forestry; and there’s 120,000+ jobs. Numbers that suggest the arts are “not a rounding error or a niche interest” and “not a line item to trade away under pressure”. She said that she had been paying attention to time. “Election cycles run three years. Arts careers, cultural institutions and creative ecosystems take decades to build and moments to gut. That has been witnessed, experienced, and felt by many in this room.” Palalagi said that the sector needs plans that go beyond three years, plans that survive changes of governments, and support artists and their ecosystems, not only projects. Then came the call to arms. “Lets make sure they know we’re watching, and we’re playing the long game too.”

City Gallery Wellington Te Whare Toi re-opening

After two years, City Gallery is reopening in its heritage building in Te Ngākau Civic Square this weekend. On show will be a major survey of work by English contemporary artist Cornelia Parker. The complexity and precision of Parker’s art means it was only possible to install with the long lead-in time offered by the re-opening. “This is the biggest show that New Zealand will have seen in years,” says City Gallery Wellington Director Charlotte Davy. “What a way to open”.

So what else can we expect from the gallery? There’s a new cafe, Āta, run by Yu Group; new staff uniforms and merch in collaboration with Kowtow; a fully earthquake strengthened building; new skylights in the reading room; upgraded accessible toilets; and other new shiny things. There’s an opening party on Friday night, which “isn’t the night for a quiet wander,” according to the open invite.

Strange Universe introduces a Patron Pass

For the first time, Strange Universe (Banished and Strange News) are selling Patron Passes for $500. The passes ensure entry to gigs and movies for the season, and support the organisations at the same time. There’s nine shows, eighteen acts, and a mini film festival on offer in Tāmaki Makaurau.

NZ on Air’s year in review

The agency says that it has remained a stable partner and supporter of the creative sector, and that its flexibility has been increasingly called on, as local broadcast platforms weather financial storms; local musicians struggle for radio airtime and discovery on streaming platforms; and game developers look for opportunities in a competitive global market. It has released numbers and data on where its funding went, and what the outcomes were to peruse here. Country Calendar is the highest rated show, followed by Eat Well For Less.

Film Commission to conclude Core Funding Programme in June 2027

The New Zealand Film Commission announced last week that its Core Funding Programme, which provides ongoing operational funding to screen organisations and guilds, will conclude when existing contracts end on 30 June 2027. Funding under the programme totals just over $1 million, supports 10 organisations, and has existed in different forms for more than two decades. The NZFC Board says that programme’s ongoing operational funding is no longer the most effective way to deliver its mandate and strategic objectives. It says the decision enables NZFC to direct public funding towards fewer, higher-impact investments, stronger capability development and clearer pathways for filmmakers.

NZFC Chief Executive Annie Murray said “We recognise that this is a significant change for the organisations involved, particularly given the programme's long history. Our responsibility is to regularly review our programmes, carefully prioritise public funding and make deliberate choices about where NZFC investment can have the greatest impact”.

Blenheim's RSE workers to be honoured with a public artwork

Paererewā, the organisation creating a thousand seats designed to last for a thousand years, has collaborated with Hatch Workshop and a group of RSE workers to design a place to sit that reflects a common structure around the Pacific. In a design workshop earlier in the year, members of the RSE community (20,000 temporary workers arrive each year to support our horticultural industry) described raised conversation platforms from their home villages. The pae will sit on the Taylor River, a site chosen with mana whenua. I will be made of concrete and seat up to 10 people.

Te Puna Mahara Cromwell Memorial Events Centre unveils first major exhibition

Te Whiri Tuku Iho o Roka – Roka's Woven Legacy celebrates the life and work of acclaimed tohunga raranga Roka Hurihia Ngarimu-Cameron. Roka transformed the landscape of contemporary Māori weaving. After a career in social work, she became a respected Māori arts lecturer at the University of Otago, where she inspired generations of weavers while continually challenging and extending the possibilities of customary practice. The exhibition is open daily, free to visit, and is expected to remain on display for six months.

Demand for Wānaka Performing Arts Precinct gains momentum

Live performance and cultural activity is growing in Wānaka and stretching the facilities available. Recent local productions have sold out in minutes, waiting lists have hit the hundreds, and organisers say they are constrained by the capacity of the Lake Wānaka Centre. A renewed community-led team is building on work already undertaken to make the case for a cultural and civic precinct for Wānaka and the wider Upper Clutha, the Wānaka Performing Arts Precinct. Lake Wānaka Arts and Culture Trust Chair Ant Howard says “the question is not simply what we need today. It is what we want this place and this community to be for generations to come. Wānaka is growing quickly, but the civic and cultural facilities that support our community have not kept pace.” The Lake Wānaka Arts and Culture Trust is continuing to work alongside QLDC, Kāi Tahu, local arts and community organisations, funders and other supporters as the project develops. 

The vision for the precinct includes purpose-built performing arts spaces alongside complementary community and civic uses. A Business Case is now underway as the project progresses towards consideration through QLDC’s 2027–2037 Long Term Plan process. For more information visit www.wpap.nz. 

Elliot Vaughan selected for SOUNZ Community Commission 

SOUNZ Centre for New Zealand Music Toi te Arapūoru announced Elliot Vaughan, who blurs performance art and music, as the recipient of their 2026/27 Community Commission. Over the coming months, Elliot will work with Silver Noodle Soup, a Wellington-based film and theatre organisation, where disabled people aged approximately 16-35 are fully included in the leadership and direction of all aspects of theatrical and cinematic creativity. The partnership will begin in the new year, with a series of workshops. Funded through the generosity of an anonymous donor, the commission is now in its 29th year. The project will be launched at a public film screening and release party in the second half of 2027. 

Mikee Donato’s short story wins 2026 Sargeson Prize

Selected from a record number (1,519) of entrees, Mikee Donato has won New Zealand’s richest short story prize with her story Wilding Pines. She took home $15,000 in prize money. “I like to do things that are useful, but most importantly, something I am passionate about. My writing is like that second life where all the real stuff happens,” she says. The story was completed on the floor at Auckland Airport, and submitted at 11.50pm, nine minutes before entries closed. This year’s Chief Judge, Becky Manawatu, says she knew from her first read that she had found the winning entry. “I chose this story for everything from its style to word choices, to structure, dialogue and plot, as well as its profound understanding of being caught in a churn of wanting to be wanted and then being wanted by careless people.”

The Sargeson Prize Secondary Schools Division was won by 18-year-old Haelyn King (last year’s runner-up) for her story When the Pōhutukawa Blooms. Haelyn will receive $2,000 and a one-week summer writing residency at the University of Waikato. “The reason I was so drawn to this story is the protagonist’s empathy and care, expressed beautifully by the author,” says Manawatu.

Chelsea Nichols joins City Gallery as Senior Curator

Dr Chelsea Nichols is joining the newly opened City Gallery Wellington Te Whare Toi as Senior Art Curator. She is leaving her post at The Dowse Art Museum, where she has been Senior Curator since 2020, to do so. Prior, she was Curator of Modern Art at Te Papa for five years. Her curating has developed a particular approach that combines serious research and contemporary ideas with compelling hooks including UFOs, internet memes, horror films, and deranged frogs. Her PhD, completed at the University of Oxford in 2014, examined histories of monstrous bodies and exhibition culture. 

Nichols appointment to City Gallery means that she will join Head Curator Art Aaron Lister, with whom she collaborates on a project called Curator of Screams, an ongoing curatorial and writing project exploring the intersection of contemporary art and horror. She will begin in November.

Hanahiva Rose joins Adam Art Gallery as Curator

Curator and writer Hanahiva Rose started at Te Pātaka Toi Adam Art Gallery in mid-September. She followed Chelsea Nichols as Curator Contemporary Art at Te Papa, a role that allowed her to work closely with artists to build the presence of contemporary art practice in the collection and highlight contemporary art histories through exhibitions and commissions. She is currently a PhD candidate in Art History here at Te Herenga Waka Victoria University of Wellington.

Tourism and Hospitality Minister Louise Uspton cited research from Massey University in a cabinet paper for the Events Attraction Package investment last month, but the researchers say she missed the key point of their paper.

Dani Kionasina chats to Luca Tu'avao Walton, the artist who built an IRL career with social media.

When Learning from Venice took eight early-career practitioners to experience the Venice Biennale, Angela Bishop was there, as an observer and supporter. This week she reflects on the programme, art, money, and power.

It's been especially busy in the inboxes and comment sections this week! Here’s a couple of juicy contributions.

On a post about the story Why public funding for NZ’s live music scene needs retuning:

“It was a silly economic decision to support the interests of the international artists. This government needs to listen, try better at the grassroots and support the arts that export. Not import.”

On a post about the story Did CNZ silence staff at the Venice Biennale?

“I was at the biennale last week. Much of the Art is political, geo, social and culturally political and many of the artists involved in the biennale are speaking out in their artwork. They also talk about political issues while in Venice. If NZ participants are being silenced it means they are unable to contribute meaningfully to discussion, debate, and literally engage with the Art and community around the biennale.”

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