Yesterday I found myself looking up at a 165-metre chimney that was almost disappearing into Shanghai’s spring drizzle. I’d been able to spot it from the metro station, and use it to navigate my way to the Power Station of Art – mainland China’s first state-owned museum dedicated to contemporary art. The ex-coal-fired power plant’s main block-like building spans over 41,000 square metres and is more than 27 metres tall. The scale is intimidating. On a huge white banner above the entrance, blue text spells out: Does the Flower Hear the Bee? Red characters in Mandarin sit alongside the English.
This is the name of the 15th Shanghai Biennale – the reason for my visit. Four artists from Aotearoa are participating for the first time in the biennale’s 30-year history. Brett Graham (Ngāti Koroki Kahukura, Tainui), Ngahina Hohaia (Taranaki Iwi, Te Atiawa, Ngāti Ruanui, Ngāti Mutunga, Parihaka), Shannon Te Ao (Ngāti Tūwharetoa, Ngāti Wairangi, Ngāti Te Rangiita, Te Pāpaka-a-Maui), and Luke Willis Thompson (Fiji, Aotearoa) have work here at the Power Station. Thanks to the Arts Experience Fund from the Asia New Zealand Foundation, I’m here to see how art from Aotearoa sits in an international context, how it feeds into global conversations around differing models of intelligence, and the role that art has to play in this moment of uncertainty, global emergency, and widespread disorientation. And yes, in the next few weeks you can expect to see a feature article.
As I walked through the concrete blocks towards the suspended yellow flowers that are the exhibition's poster girls, I was given a pocket-sized folded card. Inside was a little sachet of Mānuka honey from The True Honey Co – the biennale’s official honey sponsor. The little glug of sweetness is a reminder that though our artists are of an exceptional international standard, things like this don’t simply happen because they’re good, or keeping busy, or showing a lot. There’s a lot of work in connecting, supporting, and wrangling that goes on behind the scenes. Lead curator Kitty Scott (Canada) was invited on a research trip to New Zealand in February 2025 by the Office for Contemporary Art Aotearoa (OCAA) Gregory Burke and HUs Art, thanks to support from private individuals and businesses, including Kent Gardner and Ngaere Duff, Jenny Gibbs, and the Park Hyatt. Once the four artists were invited to take part in the biennale, more support was needed, and OCAA rallied troops including the Govett-Brewster Art Gallery, Creative New Zealand and The True Honey Co. It's no small thing, and there may be another article coming on the ways we support artists to go beyond our shores.
There are 250 works by 67 individual artists and collectives from around the world at the Shanghai Biennale. There’s a “love shack” made from wood and corrugated iron decorated with large paintings of sunsets and lace curtains by Venezuelan artist Alvaro Barrington; a dark, enclosed turret with carved surfaces by Brett Graham; an excessive and vivid film featuring Pamela Anderson and Charlie XCX by Canadian artist Sara Cwynar; a projected scene of a mural in Fiji enveloped by the sound of rain in a church-like darkened room by Luke Willis Thompson; a softly moving and scented series of hanging paper veils by Chinese artist Tan Jing; a collection of embroidered poi made from woolen blankets by Ngahina Hohaia; a series of carved wooden sculptures made by beavers and Japanese artist Aki Inomata; closely cropped, dreamy photographs of children by Shannon Te Ao; a miniature scale model of a fantasy mountain by Canadian artist Kim Adams; and more. There’s big block-buster type works that are social media pleasers, smaller quieter works that draw you in, and works that even if you look from a few different angles, don’t seem to reveal themselves. There’s pairings of works that are harmonious – with materials, colours and themes clearly echoing across artists over oceans; and combinations that clash, fight and complicate readings. Like all big shows, there’s too much to take in in one visit, and much to be seduced by.
For four hours I wove a path from work to work, like a bee looking for pollen, or a mind stringing together thoughts. There were many lines of enquiry here, shared by far-flung artists. The destabilisation of nature, colonialism, indigenous thought and practices, the capitalist remaking of the world, the embodied knowledge of animals and plants. There were images, sounds, smells. I emerged into a space on the third floor with floor-to-ceiling windows overlooking the Huangpu River. An empty container ship glided by, and on the bank a white magnolia in full bloom littered the ground with petals.
Gabi's trip to Shanghai is supported by the Asia New Zealand Foundation Te Whītau Tūhono.
💥News on the wire
CNZ released two long-term strategies for the arts and ngā toi Māori
Tū Mai Rā, Toi Aotearoa is Creative New Zealand’s first 15-year strategy and sets a new course through to 2040. It comes with six long-term goals:
- Empowered communities, of all kinds, making decisions on the arts and ngā toi Māori closest to them.
- Thriving artists, ringatoi and practitioners, with viable creative careers, supported by a strong arts infrastructure.
- He mana toi, he mana tangata, ngā toi Māori and ringatoi Māori are visible everywhere and highly valued as part of the distinct identity of Aotearoa, which is admired globally.
- Powerful and resilient Pacific arts, led by enterprising and innovative Pasifika people, for Aotearoa, Te Moana-nui-a-Kiwa and the world.
- Inspired New Zealanders, embracing the arts and ngā toi Māori every day.
- A valued arts development agency, leading with impact and delivering for Aotearoa New Zealand.
The Toi Ora Strategy will guide support for ngā toi Māori to 2030. The two landmark strategies will set a new long-term direction for how ngā toi Māori will be supported and developed by CNZ.
“Toi Ora Strategy speaks to kotahitanga – unity of purpose – as we work to uplift the mana of ngā toi,” say Kura Moeahu and Puamiria Parata-Goodall, Co-Chairs of the Arts Council’s Komiti Māori. “We’ll continue to support ringatoi and hapori to create and present Māori arts that inspire people everywhere. We’ll do this with communities and others who share a deep aroha for this important kaupapa.”
Kent Gardner, Arts Council Chair, says that the strategies are a “turning point” and “artists need viable careers” and “We listened hard to artists, communities and practitioners”. He says the strategies signal a shift in approach, which strengthens the role of communities in shaping arts development and deepens a focus on advocacy, and partnerships. More analysis is needed, and I hope to bring it to you soon.
NZ Society of Authors mentees announced
13 emerging writers have been selected for the NZSA 2026 Mentorship Programme which has run since 1999. They will spend the rest of the year working on their craft under the mentorship of an experienced professional writer they’ve been matched with. The mentees are: Vivienne Bailey (Paraparaumu), Cassandra Barnett (Waikato), Angela Barnett (Tāmaki Makaurau), Catherine Bennett (Tāmaki Makaurau), Michelle Cheever (Upper Moutere), Marcus Hobson (Aongatete), Margaret-Mary Hollins (Tāmaki Makaurau), Annelies Judson (Tāmaki Makaurau). Philip Luke (Te Awa Kairangi ki Uta Upper Hutt), Jemma Richardson (Te Whanganui-a-Tara), Lisa Stanley (Tāmaki Makaurau), Kirsteen Ure (Tāmaki Makaurau), and Kirsty Wadsworth (Ngāmotu New Plymouth).
Far North's largest arts venue appoints dedicated Toi Māori Leader
The Turner Centre has created a role, in partnership with mana whenua Te Rūnanga o Ngāti Rēhia, and supported by Creative New Zealand's Development Fund for Arts Organisations and Groups, dedicated to elevating Māori arts in the region. Embedding a dedicated in-house role solely focused on Toi Māori programming and audience development is a unique model for regional performing arts venues.
Hana-May Riedlinger-Kapa (Ngāti Rēhia) has been appointed. A multi-disciplinary artist born and raised in Kerikeri, she brings an intimate understanding of the people and place this kaupapa is rooted in. “Mahi toi and the arts have the power to shift collective narratives, shape political landscapes, uplift, inspire, and connect communities. This role, and our team, are here to support this vision,” she says.
A new wave of Toi Māori programming at the Turner Centre is beginning in April, including uku workshops, engaging discussion, community kapa haka, Te Pū o te Oro, Matariki celebrations and national touring dance works
Gallery Director Jaenine Parkinson to lead Museums Aotearoa
Te Papa’s Head of Art and former Director of the New Zealand Portrait Gallery, Jaenine Parkinson, has been appointed CEO of Museums Aotearoa. Museums Aotearoa, the body for Aotearoa’s public museums and galleries, represents the interests of collecting and exhibiting organisations in the arts, culture and heritage sector, with more that 150 member 150 institutions.
“We were looking for someone who could elevate the mana and expertise of our members, who could build on the corporate and political nous of our past CEOs, and take the organisation forward in fresh directions,” says Museums Aotearoa Co-Chair David Reeves. Jaenine will start with Museums Aotearoa on 13 April.
The Mint Chicks to receive IMNZ Classic Record for Crazy? Yes! Dumb? No!
The award honors iconic New Zealand albums at least 20 years old, selected by industry experts for Independent Music New Zealand’s Taite awards. Crazy? Yes! Dumb? No! is The Mint Chicks (Kody and Ruban Nielson, Paul Roper and Michael Logie) sophomore album, released in 2006 with Flying Nun Records, and produced by Kody, Ruban, and their father Chris Nielson. It was recorded in Kody’s garage and Chris’s bedroom, and earned five Vodafone New Zealand Music Awards in 2007. The Mint Chicks remain one of Aotearoa’s most influential, off-kilter indie bands. They forged a reputation for chaotic energy, inventive songwriting, and unforgettable live shows.
More finalists for 2026 Taite Music Prizes announced
Independent Music New Zealand has announced finalists in more award categories for the Taite Music Prize, now in its 17th year. The 10 finalists for the main Taite Music Prize were already announced earlier this month, but now we have two additional categories, with three finalists in each. They are:
Auckland Live Best Independent Debut
Babe Martin – Not a Bee, but a Wasp (Sunreturn)
Bub – Can't Even (Independent)
Geneva AM – PIKIPIKI (Independent)
NZ On Air Outstanding Music Journalism
Chris Cudby – undertheradar.co.nz
Flynn Robson, Rosa Nevison & Sam Elliott – Newzician Magazine
Hunter Keane – Long Player, 95bFM
Winners will be announced on 29 April at a ceremony which is open to the public for the very first time (tickets are $40).
Christchurch Art Gallery seeking Robyn Kahukiwa paintings
Curators Chloe Cull and Matariki Williams are developing a survey exhibition to celebrate the extraordinary career of Robyn Kahukiwa (Ngāti Porou, Te Aitanga-a-Hauiti, Te Whānau-a-Ruataupare), one of Aotearoa New Zealand’s most important artists – however the whereabouts of many of Kahukiwa’s works are unknown. The gallery is asking for help in locating 12 paintings in particular. If you have seen them, email info@christchurchartgallery.org.nz .
Record number of scripted works by Māori creatives, but number by women drops
Over the last three years, Playmarket’s annual survey of professional theatre has shown representation of work by Māori creatives growing significantly. Data from 2025 shows a record high, with 31% of scripted works staged by professional companies by Māori. In 2024 it was 28% and in 2023, 25%. Meanwhile Pasifika works accounted for 12% of programming and Asian works accounted for 12% of programming, a small decrease from the previous year, and the number of overall works by New Zealanders has declined to 85% from 87% in 2024.
Works by New Zealand women fell to just 39%, a significant drop from the encouraging result of 56% achieved in 2024. Works written by trans and non-binary artists maintained at 12% of total programming.
The Playmarket survey covers the seasons of all theatre companies funded by Creative New Zealand under the Tōtara and Kahikatea programmes, in 2025 this was 154 works.
Claudia Jowitt and Harry Culy 2026 artists in residence at Tylee Cottage
Painter Claudia Jowitt and photographer Harry Culy will each spend four months in Whanganui as the 2026 Tylee Cottage artists in residence. Claudia will begin her residency in April, dedicating time to her innovative painting practice which pushed the material boundaries of paint, in thick surfaces combined with shell, coral, mast, seaweed, and resin. Culy will follow, and is hoping the residency will allow him to situate his work into “more lyrical ends, blurring the line between fiction and non-fiction”. His documentary-like photographs explore contemporary life in Aotearoa, depicting vacant interiors, urban and rural landscapes as well as portraits.
The programme turns 40 this year, and is one of the longest running of its kind in New Zealand. It was established in 1986 as a partnership between the Te Whare o Rehua Sarjeant Gallery, the Whanganui District Council and the QE11 Arts Council of New Zealand. It is now funded by Creative New Zealand’s Toi Uru Kahikatea (Arts Development) Investment Programme and managed by the Sarjeant Gallery.
👀 Further reading and listening
I chatted to Perlina Lau on RNZ's Culture 101 about being in Shanghai and the biennale.
Roger Horrocks recaps a decade of "Zizz" at the Len Lye Centre.
Poet Hera Lindsay Bird knows about squandering your life persuing a culturally obsolete art form, and has contributed a Soapbox on the issue of mediums "like, no one cares about".
Actor, writer, and theatre-maker Emilio Mancilla tells us about Mexico, culinary school, and hell in this week's Shameless Plug.
