The Aotearoa Art Fair opens next Thursday. It’s the kind of thing that many artists and critics view with a bit of a side-eye – it highlights the point where art becomes a market, where words from the world of finance will edge into conversations, and where people with deep pockets, often removed from the day-to-day lives of many artists, are bowed down to. It's a strange world that washes up on Auckland’s waterfront each May. At the same time, it's a cluster of galleries from around the whole motu, and beyond, showing some of their best works – a highlights reel if you like, and gallerists are present and usually open to chatting.
Just a few days ago the online magazine Hyperallergic posited art fairs as a bit of a problem for artists. Someone had written in, asking “Do I need to go to art fairs? I don’t have gallery representation and galleries don’t seem very interested in new artists at those events. Should I just stay home?” The writer, Paddy Johnson, was at the ready to weigh up the pros and cons. First of all, he suggests an artist needs to consider what they would want to get out of attending, and then he suggests using strategies to get that. Knowing the New Zealand disposition, I suspect my dear readers will baulk at the idea of networking, but Johnson puts one thing simply: “Art Professionals don’t find your work because your art is so great. They find it because you’ve gone out of your way to find them.” Connections are almost everything, and they’re usually made in-person.
Still, he posits that networking isn’t the real value of art fairs. Instead, it's the ability to get a lot of information all at once. What are gallerists putting forward? What’s selling? What kind of prices are we talking? Who is in attendance? What is everyone talking about? How are artists framed in a sales environment? Observing all these things in one concentrated place is a mini-crash course on the dealer gallery scene. If you’re an artist who wants to sell work through this market, it may help to know these things. Equally, you might prefer to focus on doing your own thing.
What isn't even mentioned in Johnson’s piece is going to an art fair to enjoy art. I couldn’t agree more with this exclusion. It's probably going to be crowded. The lighting will be harsh. The space itself is something to try to ignore – temporary walls, ugly carpet, noise bouncing around. It is more like an expo than a curated experience. You’re better off going to visit the galleries in their actual spaces, or going to visit your local public art gallery if you’re looking to have a thoughtful or transcendental experience with art.
Art fairs exist for galleries (and artists!) to make sales and put themselves in front of new eyes. Other things have been added on to add interest and, perhaps, more meaning and depth. With the gallery stalls as its centre-piece, economic engine and raison d’être, the fair reminds me of commentator Bernard Hickey’s favorite way to describe our economy – “a housing market with bits tacked on”. I suspect that for many artists it will be the bits tacked on that are interesting rather than the fair itself – particularly the artist talks (you will have to pay for a $31 entry ticket to the fair to attend) or the free sculpture trail along the viaduct. But if nothing particularly piques your attention, you don’t have a networking agenda, and you’re not nosy about the art market, I wouldn’t stress about going for the sake of it. There’s always next year.
💥News on the wire
Ōtautahi Creative Spaces have a new home
The organisation dedicated to empowering people with mental distress to live their lives as artists has a new home, and it's in the city centre at 12 Aberdeen Street, in the brick building where the Vintage Car Club used to be. The organisation searched for five months, and says that they’re confident the space will take their community into the next decade. The space has larger, flexible, cosy and light-filled studio spaces, a kitchen, a printmaking studio, and a space that will become the organisation’s first gallery. Strategic Director Kim Morton says she is most excited about being in the central city, and “in walking distance of so many places we love – Tūranga, Christchurch Art Gallery, the beautiful park along the river – and all the opportunities that will unfold for the artists”. There’s still a little bit of work to do, so their doors will be open in about two weeks.
BIG FAN launches all ages series NEW FANS
Tāmaki Makaurau’s not-for-profit music venue and recording studios BIG FAN have announced a new all-ages live music series designed to grow the next generation of audiences and industry talent. Shows will begin in June and run bi-monthly through at least until December, each will be curated and delivered by a different young (under 25-years-old) promoter – who will be paid along with performers, lighting operators, photographers, and door staff. The BIG FAN team will provide guidance and support. Expressions of interest are open now.
New Fans aims to create welcoming entry points into gig culture for audiences too. With $10 tickets, an all-ages environment, and lineups curated by rangatahi themselves, the programme aims to welcome fans.
Parehuia Artist Residency revives art union raffles with Judy Millar painting
New Zealand artists began running art unions from the 1860s. People would buy a chance to win a work of art, and ticket sales allowed for fundraising. In the following decades lotteries became a popular way to raise funds for civic infrastructure, sporting facilities, and cultural initiatives. They often borrowed the art union name as a euphemism, even as prizes shifted towards gold nuggets, cash, houses, cars, boats and animals.
Now, to mark the twentieth anniversary of the Parehuia Artist Residency at McCahon House Trust, Judy Millar, their first-ever resident, has donated a large painting as a prize for a fundraising raffle – aka an art union. The format feels less about gambling and more about contributing and banding together, with the added bonus that someone will receive a work of art they likely couldn't otherwise afford. 1,000 tickets are available at $100 each, and the winner will be drawn on 3 May 2026, at the McCahon House booth at the Aotearoa Art Fair.
Liam Hinton wins the Adam NZ Play Award
At a ceremony on the weekend, Playmarket announced Liam Hinton’s play passionfruits as the winner of the Adam Play Award for 2026. The award recognises and celebrates plays that have not yet had a professional production. Liam is a Kirikiriroa-based writer and theatremaker; he co-runs local theatre company, One Question Theatre, who have staged five shows to date. passionsfruits is a play set over two Christmases, tracking the implosion of a family as three generations grapple with cash crises, difference and disconnection, and exhumed resentments.
Runner-Up was Alex MacDonald with Sundance. Best Play by a Māori Playwright was won by Tawhi Thomas for his play Haere. Best Play by a Woman, Trans or Non-Binary Playwright was won by Kerry Lane for their play The Treehouse.
The Mangaweka Yellow Church Gallery is turning 20
When the infamous gallery threw open its historic doors on 27 April 2006, resident artist and musician Richard Aslett’s long-term dream of running a gallery began. “It has been a full-on roller coaster of a ride and never a dull moment,” he says. “Part of me can’t believe it is 20 years since opening yet another part thinks it feels like longer, with all the CrAzY, wonderful and often intense things that have happened here over the years.” The gallery has shown work and crafty creations by many emerging and established artists including paintings, photography, ceramics, prints and major installations. The gallery is perhaps most famous for its biennial Fakes & Forgeries festival and art exhibitions, which are a staple of the Mangaweka calendar. On Monday 27 April between 2pm and 4pm, everyone is invited to a birthday party with high tea and scones!
Tenor: My Name is Pati passes $1 Million at NZ box office
The NZ documentary directed and produced by Rebecca Tansley about internationally acclaimed Samoan tenor Pene Pati and his brother Amitai – recognisable from Sol3 Mio – traces their journey from Samoa and South Auckland to some of the world’s most prestigious opera stages. Over the weekend the film passed $1 million at the local box office, cementing its place among the country’s most successful documentaries. New Zealand Film Commission Chief Executive, Annie Murray says “for a documentary to achieve this level of success is a clear sign the film has resonated with audiences. Alongside the success of Tinā, it shows the continued connection audiences have with stories grounded in Pasifika values. This momentum matters and reinforces the value of championing bold, authentic storytelling.”
Finalists announced for Adam Portraiture Award 2026
The award is one of the country’s most significant and long-standing art prizes, and this year the first prize increased to $30,000. This year also introduced a notable change – entries were required to be painted portraits of living New Zealanders, created from at least one live sitting or study from life. 43 paintings have been selected as finalists from 429 entries by international judge Jude Rae. Familiar New Zealand faces appear alongside intimate portrayals of friends, whānau and colleagues, as well as self-portraits. Among them are portraits of comedian Chris Parker, actor Tanea Heke and artist Brett A’Court, and writer Noelle McCarthy.
The finalists’ paintings will be exhibited at the New Zealand Portrait Gallery Te Pūkenga Whakaata on Wellington’s waterfront from 21 May to 9 August. They are: Dita Angeles, Toni Armstrong, Katie Blundell, Sarah Botica-Hewlett, Carol Bucknell, Ian Caddy, Bronwyn Copeland, Rianda De Roe, Benjamin Dellabarca, Nicholas Fields, Amīria Gentry-Tuck, Tony Guo, Henrietta Harris, Emma Hercus, Andrew Hunt, David Owain Jones, Steph Jowett, Kylie King-Hazel, Stephen Lawrie, Sacha Lees, Duncan Pepe Long, Nyle Major, Vicki Mangan, Jasmine Middlebrook, Emma Mitchell, Andrew Moon, Nina Morris, Matthew Palmer, Daniel Phillips, Jessie Rawcliffe, Clark Roworth, Jane Sheridan, Barry Smith, Sam Tyson, Marion Vialade-Worch, Ilya Volykhine, Brooke Waterson, Geoffrey Williams, Belinda Wilson, Chance Wilson, Yan Zhang, and Xinyi Zhu.
New Zealand art films to reach 160 waiting rooms
The Urban Art Foundation has partnered with Health TV to bring short-form New Zealand art films to 160 medical waiting rooms across Aotearoa. Urban Art Founder and Creative Director Andrew Hagen says the collaboration extends the Foundation’s primary mission, to bring New Zealand art out of the archives and into public view. “Waiting rooms can be anxious spaces. If we can offer even a few minutes of beauty, stillness, and connection through art, that has real value. This partnership allows us to reach communities across the country in an entirely new way.”
Urban Art programmes are already broadcast nationally on Parliament TV for up to 275 days per year when the House is in recess.
Auckland Writers Festival launches ‘younger siblings’
The programmes for STREETSIDE: BRITOMART and Plot Twist have been launched by the Auckland Writers Festival. STREETSIDE will pack out nine venues across Britomart with fast-paced, bite-sized events from writers, comedians and artists, all free and Plot Twist will take over every inch of Q Theatre on Sunday 17 May for a packed day of talks, workshops and good times – prices start at $0 and end at $30. Both are aimed at engaging younger audiences than the core programming at Aotea Centre, with the festival dubbing them the “younger siblings who like to do things their way”.
Karen Boyce wins ZAWAA26 People’s Choice Award
Now in its tenth year, the Zonta Ashburton Women’s Art Awards focuses on the art of emerging and mid-career artists who identify as women living and working in Waitaha Canterbury. Since this year’s exhibition opened on 6 March, visitors have been voting for their favourite work from the selection of finalists. 354 votes were received with Karen Boyce’s work Forest Vibes receiving 50 of these votes.
Auckland Writers Festival ticket sales surging
Over 60% of available tickets have already sold for the festival taking place mid-May, an indication that this year could be the best-attended ever. “In an uncertain world, New Zealanders are coming together to explore big ideas, dive into story and adventure, spend time with favourite authors and the characters they’ve created and soak up the rich discussions and immersion in the world of books that AWF provides,” says Managing Director Catriona Ferguson. She advises not to leave things to the last minute to avoid disappointment, though a quarter of the festival is free and un-ticketed, including The Big Idea’s series of three events in the Kōrero Corner on Friday, Saturday, and Sunday. See you there!
Aotearoa Music Awards finalists announced
I know this is last week’s news now, but it didn’t arrive in time for last week’s Artswire!
The topline is that Marlon Williams has seven nominations for Te Whare Tīwekaweka, and that the finalists list is very long. For the sake of my and your sanity I will not post it here, instead, see the full list here. Winners will be announced at a glitzy ceremony on 28 May – it will be worth watching for the outfits alone.
MusicHelps has invested over $1 million in music therapy across NZ
“Reaching $1 million is a huge moment – but what matters most is the thousands of lives changed through music. Supporting this work up and down the country is a total honour,” says Anthony Healey, MusicHelps Board Chair. The charity funds and supports projects where music is used to help and heal people – from music therapy sessions in hospitals and special needs schools, to programmes that help people experiencing hardship find confidence and connection through music.
The recipients of the latest MusicHelps grant round are: Glow Kids Trust (Auckland) who deliver music therapy for tamariki with mobility challenges; Respiratory Support (Nelson) who help people improve lung health through singing; Malu o Alo Fā (Porirua) who support Pasifika youth impacted by sexual violence; Brain Injury Association (Otago) who run a choir for people living with brain injury; Newtown School (Wellington) who provide music therapy for non-verbal students and those with complex learning needs; True Colours Children’s Health Trust (Hamilton) who support tamariki with serious health conditions through music therapy; MINT Charitable Trust (Wānaka) who create inclusive music experiences for people with disabilities facing isolation and access barriers; Chamber Music New Zealand Trust (nationwide) who work with tāne navigating addiction, violence, and personal challenges through music programmes.
Agatha Lee to receive MusicHelps Master of Music Therapy Award
Presented in partnership with the Kate Edgar Educational Charitable Trust and the Raukatauri Music Therapy Trust, the award supports wāhine entering the Master of Music Therapy programme at Te Herenga Waka Victoria University of Wellington. Agatha will receive an $8,000 scholarship to support her first year of study. Agatha is the founder of Vocal Sound Collective, a hub for music creators, artists, tutors and students to connect, learn and share knowledge through lessons, workshops, events, performances and online courses. Prior to this, Agatha spent five years as a Senior Tutor at Massey University, and has worked extensively as a piano tutor and coach in Ōtautahi Christchurch, including with Music Box Academy.
Dana Leaming selected for international filmmaking placement
The latest recipient of the New Zealand Film Commission’s International Placement initiative is filmmaker Dana Leaming who has been selected for a six-month placement at Sydney-based Picking Scabs, known for addictive stories that dig deep into personal, societal, and structural wounds. Dana (Ngāpuhi, Te Rarawa) is an award-winning wāhine Māori filmmaker. Her debut series Not Even premiered on Sky New Zealand in early 2023, earning her the NZ Television Award for Best Comedy Script. Dana says “Kua tau taku aho ki te au whaihanga e rere nei (My hook has been cast into the creative currents that flow here). I am incredibly humbled to be working with Picking Scabs and Seesaw Films across the ditch in Sydney. I have always been a big fan of Australian film so to get an opportunity to learn from some of the best is such an exciting prospect.”
Hummingbird Coffee to support The Arts Foundation Te Tumu Toi
The Arts Foundation Te Tumu Toi has announced a new principal partnership with Hummingbird Coffee. Kaiwhakahaere Executive Director Jessica Palalagi says “the creative sector contributes so much to Aotearoa – both economically and culturally – but it needs financial backing, not just belief, to secure its future.”
Hummingbird Coffee General Manager Nick Cowper says the company believes in the role creativity plays in shaping communities. “Our journey into giving began after the Christchurch earthquakes, where we saw firsthand what happens when a community invests in creativity to transform a place.” Hummingbird Coffee joins strategic partners Stuff Group and members of the Arts Business Club (including Abes Bagels, Art+Object, Barfoot & Thompson, BLACK Construction, Daily Bread, Forsyth Barr Ltd, House of Travel, JB Were, Kiwibank, Meadow Mushrooms, RialtoView, Russell McVeagh, Saatchi & Saatchi, SHIFT Advisory, Webb’s and Xero) in supporting The Arts Foundation.
👔 Human resources
Two new appointments at the Festival of Colour
Daz Coppins is the new General Manager. He has over 20 years’ experience delivering concerts, festivals, and major entertainment projects across New Zealand, Canada, and Australia. Daz Coppins returned home in 2020 after 15 years overseas. Daz plans to focus on strengthening local connections while continuing to grow the festival’s national profile.
The festival’s new Funding & Partnerships Manager, James Wilson, also holds more than two decades of experience in the arts, culture, and heritage sectors. James originally trained as a theatre director, and began his career in London before making Aotearoa home in 2005. He’s held leadership roles with Massive Theatre Company, Q Theatre, Tauranga City Council, and Creative New Zealand.
Movements at Basement
In the next few weeks, Nicola Brown, Basement’s Marketing and Relationships Manager will be leaving after four and a half years. Nicola is moving to London, and will be missed. Her role will be taken up by arts marketing professional and theatre practitioner Jordan Dickson, who has most recently been working a few doors up at Silo Theatre.
👀 Further reading
There’s an excellent interview with the carver Ngaroma Riley on E-tangata which gives insight into the resistance wāhine face in whakairo.
At a time when the costs of touring can prove too great for many musicians to visit smaller towns, Rhyme x Reason is providing a free venue in Wānaka. Jo Mills drops in.
Spinoff books editor Claire Mabey has reviewed the new memoir by Elizabeth Knox, the most difficult book she has written yet.
Filmmaker and Day One Creative Director Anna Duckworth reports back from a hui with the most important advice given on how to make the most of funding.
Award-winning electronic artist Amamelia chats to RNZ about making her third album while dealing with a “slightly obsessive personality” and physical restrictions.
