What artists want from cities, and other news

On Tuesday night I sat with Lisa Reihana, Matt Liggins and Charlotte Ryan in front of way too many people in a room at the Aotea Centre currently being graced by the buzzy Darklight exhibition. We were there for the fourth edition of Night Mayors, a new-ish platform for forums about Tāmaki Makaurau. Night Mayors started last October when a group of people who care about the city wondered what would happen if Aucklanders changed the way we talk about our city. What would happen if we focused on the good, and the potential, instead of hating on it all the time?

Over a series of four panels, they’ve invited a bunch of their favourite Aucklanders to talk about what they love about the city, the cool things happening within it, their hopes and aspirations, tips for thriving, and hopes for the future. A community of people wanting to be positive about the city has grown around the events, so much so that even as I felt like a possum in headlights, I also felt an expectant positivity from the audience, and they laughed at all my quips. Consider me indoctrinated.

A recurring thread through our discussion was space. In different guises it answered questions like how can the city better support artists? What is the biggest challenge artists face? How do you build communities? Who is doing cool stuff? And what does the city need more of?

We agreed that the most valuable thing the city could provide to its artists was long-term spaces to work and gather, places to be and create. As is reported and experienced the world over, space in Auckland is heinously expensive, so it's not surprising that this came up. The high cost of real estate is also not unique to Auckland, nor to New Zealand – and yet so many artists still choose to live in cities, and they act as cultural engines, the places where so much art is made, shown, consumed, critiqued, and reiterated constantly. As idyllic and inspiring as nature and quieter lives are often imagined, there’s nothing like minds being in proximity and contact with each other to progress thought, practices, and movements.

A space I brought up as a beautiful example is Samoa House Library – an independent art library, with adjoining artist studios, in the Samoa House building at 283 Karangahape Road. It was founded after the closure of Elam's Fine Arts Library was proposed in 2018, so the space is nearing its tenth year. Anyone can pop in, or linger for a whole day. It’s a very casual, homely space where you’re likely to find an artist or two draped over a giant plushie made by artist collective The Killing while checking emails or leafing through a book. They host events regularly (there’s one tonight), and there’s also a residency programme to support research. I think every neighbourhood should have a space like this. 

It was refreshing to think about Tāmaki Makaurau in a positive light. Admittedly I’ve been one of its captive haters recently, and at the moment there’s often a feeling of suspended unease in public spaces. Towards the end of the panel, Matt mentioned that one of his favourite things to do is post up at an outside table at Daily Bread, and stay there drawing and striking up yarns with people. He reminded me that instead of being a cynic, you can choose to be curious and kind, and in doing so, you strike a little match, and create a little flame of positivity that someone else might carry with them for the rest of their day. That’s an act at least as worthy as pointing out everything that's broken.

PAYPA's Creative Residency is back

Performing Arts and Young People Aotearoa (PAYPA) is bringing back its 2.5-day professional development project for artists who have previously led the creation of theatre, dance, or interdisciplinary works. The focus is on developing work for young audiences by providing time, space, and inspiration to develop ideas through peer-sharing, mentorship, and workshops. The Creative Residency will take place kanohi ki te kanohi from 21 – 23rd in Ōtaki. PAYPA will provide a small stipend, meals, accommodation, workshops, artistic support, rehearsal, meeting space and possibly travel assistance. Expressions of interest are open now.

Helen Clark attended show about Helen Clark

The icon attend the opening night of Helen Clark in Six Outfits by Auckland Theatre Company last week. “I wouldn’t have missed it,” she said. There is “a lot of home truths in it” though, “frankly, we didn't swear that much”. 

New Zealand Film Commission shortlisted for Global Production Awards

The New Zealand Film Commission has been shortlisted in the Global Production Awards 2026 in two categories: Film Commission of the Year and Sustainability Initiative. Also nominated is the hotly anticipated New Zealand film Mum, I’m Alien Pregnant, which recently premiered at the Sundance Film Festival, for Sustainable Production Award (Film). Annie Murray, NZFC Chief Executive says the nominations recognise “the importance of backing bold ideas, supporting effective partnerships, and taking a long‑term, whole‑of‑sector approach.” The awards ceremony will take place on 18 May in Cannes, during the Cannes Film Market. NZFC representatives will be in attendance.

Learning from Venice participants announced

Melanie Tangaere Baldwin, Sally McMath, Te Ara Minhinnick, Luke Shaw, Lachlan Taylor, p.Walters, Anto Yeldezian and Jingcheng Zhao will join co-leaders, Christina Barton and Hanahiva Rose for the intensive research workshop in Venice. The workshop in May will coincide with the 61st Biennale of Venice, and take advantage of the exhibitions staged across Venice, including our national pavilion with the presentation of Taharaki Skyside by Fiona Pardington. The initiative, led by Office for Contemporary Art Aotearoa, aims to enable the cohort of early career practitioners to gain a sharper understanding of how the art world works in the context of one of its highest-profile occasions and share their thinking more widely on their return to Aotearoa. More info on each participant is available on their website.

Wellington Sculpture Trust doubles prize money to offer Australasia’s largest sculpture prize

The Collin Post 4 Plinths Project prize has been increased to $100,000 with the help of the Collin Post Family Trust. Jane Black, Chair of the Wellington Sculpture Trust, says the site is modelled on the Fourth Plinth in Trafalgar Square in London, which is also a revolving home for temporary works, and the aim is to make Wellington’s version internationally significant and provide maximum engagement for the public. The project has run for 22 years and has established a reputation for being a springboard for artists to enter the realm of large-scale public art. The latest increase recognises the reputation of the award and also the cost to create work robust enough for the Wellington Waterfront. Proposals are being accepted now for the next project to be installed in January 2028.

Wellington collectors donate entire art collection to Dunedin

In 1997, Wellingtonians Jim Barr and Mary Barr placed their entire art collection on long-term loan at Dunedin Public Art Gallery, and late last year they began the now complete process of gifting the collection of 435 artworks. Artists in the collection include Michael Parekowhai, Peter Peryer, Ronnie van Hout, Frances Uprichard, John Pule, John Reynolds, Peter Robinson, Julian Dashper, Simon Denny, Jeffrey Harris, Campbell Patterson, Patrick Pound, Marie Shannon, L Budd / et al, Fiona Connor, Yona Lee, Zac Langford-Pole, Dane Mitchell, and Kate Newby.

Cam McCracken, Director of the Dunedin Public Art Gallery says, “the collection captures key early moments in the development of contemporary art in New Zealand and internationally over the past five decades, often led by younger artists.” The collection has already played a vital role in shaping Dunedin Public Art Gallery’s identity and programming – underpinning exhibitions, publications and public programmes over the past three decades.

The Actors’ Program marking 15th birthday with a fundraising campaign 

The Auckland-based independent acting school launched in 2012 and has trained more than 200 actors, with about 98 percent of recent graduates securing professional representation. “We are the little school that makes big names,” says Artistic Manager Benjamin Kilby-Henson. “Our graduates are trained to a level where they can step straight into the industry and are trusted to bring their talent and professionalism”. 

Maintaining access remains one of the school's biggest challenges as students are not eligible for student loans. The school is aiming to raise $15,000 with its ‘15 for 15’ Givealittle campaign and is hosting a fundraising event on 1 May featuring live performances from graduates and Artistic Board members, as well as an auction and live fundraising appeal.

New category in APRA Silver Scroll Awards celebrates kapa haka

APRA has announced a new award to celebrate and recognise kaitito waiata who write and compose for kapa haka. “This new award honours the rich traditions of waiata while celebrating the contemporary expression of songwriters for the kapa haka stage,” says Dame Hinewehi Mohi. The award’s name, Te Tihi o te Maunga Tito, was gifted by Tā Tīmoti Kāretu and symbolises the aspirations of kaitito waiata to reach the highest pinnacle of composition, reflecting waiata that embody unique creativity, cultural pride, and storytelling through song. The award is open for entry to anyone who has written a waiata for kapa haka that was performed between 1 Jan 2024 and 31 May 2026. The awards will all be presented at a ceremony in Tāmaki Makaurau in October.

If you want to know more about the Samoa House Library, I recommend reading Salene Schloffel-Armstrong’s piece published in The Pantograph Punch in 2019.

I told you last week about the bonus venue being added to the St James Theatre, but Chris Schulz has many more details about it over at The Spinoff.

Also on The Spinoff, and also taking a positive view of Auckland, Tracy Grant Lord shares parts of her working life and her favourite venues.

Did you know that even after you sell a physical artwork, you retain the copyright to its image? All visual artists need to know about the Auction House Licensing Scheme, which ensures that you get paid when auction houses use images of your work.

I really enjoyed this interview with alternative rapper Zaidoon Nasir (WHO SHOT SCOTT) about flipping his brutal teen years into powerful music.

Music festival season might be over in Christchurch, but autumn and winter usher in a whole new range of festivals from architecture to literature. See what’s happening in the city this month in our dispatch from Zara Potts.