One of the eye-catching exhibits from the world's biggest arts exhibition is making its way home.

Auckland Art Gallery Toi o Tāmaki has announced the acquisition of Brett Graham's Wastelands, which wowed audiences at the Venice Biennale's International Exhibition last year - Stranieri Ovunque – Foreigners Everywhere.

The sculpture -commissioned by the Venice Biennale and exploring themes of colonial history, ecological concerns, and the ongoing relationship between Māori communities and the land - is expected to go on display at the Gallery in May.

Graham (Ngāti Korokī Kahukura, Tainui) explains he's thrilled that AAG has added Wastelands to its collection. 

"This work carries stories close to home so it is warming to know that it will remain in Aotearoa. I’d like to thank the Gallery and the Patrons of the Gallery for their generosity and faith in my practice.”

Tātaki Auckland Unlimited Director of AAG, Kirsten Lacy, says: “This extraordinary artwork has already captured the attention of thousands of visitors to the Biennale, reflecting Graham’s exceptional skill in sculpture and storytelling. The acquisition of this nationally significant sculpture aligns with the Gallery’s mission to collect key works by leading Māori artists."

The acquisition was made with funds from the Patrons of Auckland Art Gallery and the Gallery’s annual collection development budget. Each year, the Patrons select a work from a shortlist recommended by the Gallery’s director and curatorial staff. The Gallery contributed $217,500 towards the acquisition.

“Investing in this artwork enables New Zealanders to experience this powerful piece and its deep resonance with local histories and narratives, both now and in the future," Lacy adds.

It means that AAG is home to 4/5ths of the Aotearoa contingent at the 60th Venice Biennale International Exhibit. Brett's decorated father Fred Graham's  Whiti Te Ra (1966), Dr Sandy Adsett's Waipuna (1978) and Selwyn Te Ngareatua Wilson's Study of a Head (1948) were all in Venice on loan from AAG.

All that remains missing from the full house of 2024 Venice Biennale NZ works is Mataaho Collective's Golden Lion-winning installation - Takapu.

Performing arts overload

A sentence heard echoing through The Big Idea offices recently rings true "it's a prolific time for the performing arts right now."

Indeed, there is plenty to tantalise the creative senses - with perhaps the most Aotearoa of all art forms - kapa haka - taking its rightful and always engaging spot at the forefront of our cultural landscape, with Te Matatini o Te Kāhui Maunga 2025 taking over New Plymouth this week. Few cultural events find themselves with as much mainstream coverage and so easy to find on one of the country's most accessible platforms (TVNZ) - it's been a joy to watch and will no doubt ramp up as it comes to its conclusion in the weekend.

Auckland Pride is also set for its own stunning conclusion - in true Pride style - after a month of dominating the creative landscape in Tāmaki Makaurau, with new creative works glowingly received and shows of community solidarity heartening to see.

Hamilton Arts Festival's also been in full effect, with many positive reports coming out of the Waikato on the audience reaction, with a final weekend still to come.

New Zealand Fringe Festival is enthralling the capital - the 35 year celebration keeping things quintessentially Fringe-y, still with another week to run.

The Auckland Arts Festival is just around the corner, the Dunedin Fringe Festival's not far away from exploding into life and CubaDupa's coming up fast for Wellington Festival fans - to have such a string of major events on our doorsteps, all overlapping, is something we shouldn't take for granted.

Market value

Also on the horizon is one of the most important events on the creative calendar - the PANNZ Arts Market (5-7 March). 

The event has rapidly built a reputation as a tent-pole occasion for the performing arts sector - where many go to not just promote their work and network, but to also get a barometer of where the sector sits and the challenges it faces.

PANNZ Chief Executive Louise Gallagher told The Lowdown "The PANNZ Arts Market models the successes and the wins in our industry, what happens across the three days will resonate for years to follow. 

"We’ve seen many successes come out of the PANNZ Arts market in recent years. As an example, UPU was originally presented by Silo Theatre and Auckland Arts Festival, then PANNZ picked it up for a national tour - it was pitched at our Arts Market and at APAX,  and showcased at CINARs last year. We now see the creatives of UPU carry on their mahi with another NZ tour, with a season in Sydney Opera House coming up in May, and a four-week Canadian tour in early 2026. 

"This would not be possible without the structures of the arts markets and the ability to build those important relationships.

"Many of the shows that will be presented at the 2025 Arts Market will find their way onto stages here and internationally. The mahi that has brought us all there will be the driving force that will push us forth. 

"This year’s Arts Market shows us all that we are in an industry that is thriving, where incredible art is being made for our stages - and that will never cease regardless of political views or funding decisions. 

"Art is like a river that will find its way to the ocean!”

This year, more than 60 international delegates are registered to attend from across the globe including the Pacific Islands, Australia, Canada, UK, Europe, Seoul and the USA.

While some of the biggest names in the industry will be rubbing shoulders, there will be a healthy dose of fresh faces with nearly a third of delegates signing up to the New Navigators network, as well as seven performing arts students from across the country attending with support from the Acorn Foundation as part of the new FAME Emerging Practitioner programme.  

Along with workshops, panel discussions and the FAME mid-career award ceremony, there will be 73 showcases, wheako and pitches across the three days - including 6 full-length showcases, 12 works that are ready to premiere and 21 works in development from some of the most decorated organisations in the sector like Red Leap Theatre, The Dust Palace, Nightsong and Trick of the Light. 

Among those with 'ready to tour' productions looking for the right home include Touch Compass, EBKM,  A Slightly Isolated Dog, Le Moana, Footnote New Zealand Dance, Atamira Dance Company and NZTrio.

Kia Mau line-up

The biennial Kia Mau Festival has announced its latest round of programming for the May-June event - showcasing contemporary Tāngata Whenua, Tāngata Moana and Indigenous arts.

For the first time, the festival is unveiling commissioned works from their new initiative He Toi Puaki, supporting artists in bringing their visions to the stage. The inaugural recipients of He Toi Puaki presenting their work at this year’s festival are Emma Katene and Īhaka Martyn, with a third work still to be announced.

“He Toi Puaki marks a significant evolution in our commitment to nurturing indigenous voices and fostering homegrown talent amongst our arts whānau here in Te Upoko o te Ika a Māui.” says Kia Mau’s Artistic Director, Hone Kouka.

Playwright and actor Martyn (Ngāti Tūwharetoa, Te Arawa; Scotland, England, Wales), brings his new production The Aotearoans. to Kia Mau, while Katene (Ngāti Kahungunu) will premiere whānau friendly adventure Heart of Stone.

There's a number of international indigenous acts on their way too - along with the Pōneke premiere of acclaimed creator Nathan Joe and Punctum Productions A Short History of Asian New Zealand Theatre, which was well received by Auckland audiences and discussed here on The Big Idea's video series.

The full performance programme for the 2025 Kia Mau Festival will be launched on 31 March, with the visual arts programme to come in April.

Māori artists up for big award

The New Zealander of the Year Awards finalists have been named - and two high profile members of the Māori arts community have made the cut.

Elizabeth Ellis (Ngāpuhi, Ngāti Porou) remains in the running for the Senior New Zealander of The Year award for her incredible contribution to the Māori arts and culture as an artist, advocate and educator over a number of decades.

She's up against founder of the Wellington Hospitals Foundation, Bill Day and Te Tai Tokerau's John & Lily Coleman who gifted four hectares of land encompassing a historic pā site to local hapu.

Tāme Iti (Ngai Tūhoe, Te Arawa, Waikato) has made the final three of the Local Hero of the year, his powerful hīkoi to the Waitangi Treaty Grounds last year praised as both an inspiration and a call to action.

Iti states "My art and activism have always been about telling the stories of my community and raising awareness of the issues we face so things can change for the better. 

"Being nominated for this award was a bit of a surprise, but if it gets people to pay attention to what’s going on around them, see how they’re part of the story, and realise they can make change, then sweet as."

Also up for the Local Hero award are advocate for survivors of domestic violence, Sexual Abuse and generational trauma Kahira-Rata Olley and online educator
Subash Chandar K – known by his handle 'infinityplusone'.

Bishop takes the throne

Auckland Writers Festival has revealed its first tranche of speakers for the annual May literary spectacle - ahead of the full programme announcement on 12 March.

Award-winning author and illustrator Gavin Bishop (Tainui, Ngāti Awa) will get another well-deserved spotlight as AWF’s 2025 Honoured Writer. 

Hard to argue this status - Bishop has published 70 books; written for television, stage and ballet; picked up some of the top cultural gongs and recognitions and been nominated for the Hans Christian Anderson Award, the world’s highest award for children’s literature.

Joining Bishop is global big names Kaliane Bradley, Asako Yuzuki, Yael van der Wouden and Ben Macintyre - the opening quintet of what's expected to be around 220 authors and creatives speaking at the popular event.

Artistic Director Lyndsey Fineran declares “Every Festival two things are true: I don’t want to keep all the brilliant writers poised to join us to myself and AWF attendees tell me they need more reading time ahead of the event. So here’s your chance – a sneak peek at our 2025 Honoured Writer selection and the authors of four of some the most talked-about international books of the year who are set to join us.”

Singles ready to mingle

NZ on Air have revealed their first New Music Single funding for 2025.

31 songs have been picked from 168 eligible applications - each receiving up to $11,000 (including the mandatory $1,000 Artist Creation Fee)for the single's recording, video and promotion costs

Seven of those selected are first-time NZ On Air New Music Single recipients - but of most note are some of the biggest names in the Aotearoa music industry.

Multi award-winning creatives Stan Walker, Troy Kingi (featuring SWIDT) and Tom Scott have are all on the list - along with with some of the industry's rising stars.

Classic opportunity

12 emerging New Zealand musicians are set for an amazing opportunity at Queenstown’s Whakatipu Music Festival in April.

After a rigorous selection process, a dozen musicians aged between 18-28 will be mentored and supported by classical music professionals - choral director Dr. Karen Grylls, pianists Bernadette Harvey and Stephen De Pledge, cellist Julian Smiles and violinist Ioana Cristina Goicea - before taking to the stage to showcase their talents.

Executive Director Anne Rodda states “The festival is focused on uplifting local talent and stimulating the thriving arts community in Queenstown-Lakes, delivered by a local workforce mentored by industry professionals.”

Each Young Artist will also be given a 30-minute public performance opportunity that is professionally recorded for their future use, broadcast by Radio NZ Concert and shared to international audiences via the Michael Hill International Violin Competition’s digital channels.

Several of those selected use instruments loaned from the Hill Family Foundation’s Instrument Bank, like Violinist and NZCT Chamber Music Competition winner Sarah Lee and Cellist Damon Herlihy-O'Brien.

Conductor Reuben Brown's big year continues after becoming the Conducting Fellow at New Zealand Symphony Orchestra, while soprano Felicity Tomkins has racked up a number of Aria contest wins on both sides of the Tasman. Countertenor Austin Haynes captured attention when he came third in the Lexus Song Quest and was a finalist in the NZ Aria - he's currently working on a project to translate all 154 of Shakespeare’s sonnets into te reo Māori.

Violinist Esther Oh, conductor Euan Safey, Marlon Sullivan (clarinet), pianist Otis Prescott-Mason, pianist Yixuan (William) Sun, Tal Amoore and Yuxin Chen (both viola) will all get their time to shine.

All Axtens for Penelope 

A happy homecoming for Penelope Axtens - announced as the 2025 New Zealand School of Music (NZSM) Composer-in-Residence.  

The nine-month residency - starting next month - will see her live at the former residence of Douglas Lilburn, a heritage-listed modernist house in Thorndon that has been a haven for composers since 2005. 

Axtens came to national prominence when she won the New Zealand Symphony Orchestra and Radio NZ Concert’s Music 2000 Prize with her work Part the Second. She's spent the last 14 years based in London and Berlin before coming home in 2024. 

Axtens states "Having recently returned to Aotearoa New Zealand, this residency feels wonderfully timed for me, and I am very much looking forward to creating new music that explores themes of identity and belonging, while reconnecting with the NZSM and creative communities in Wellington.”

Professor Kim Cunio, Head of School at the NZSM, describing Axtens as “an award-winning composer with a distinguished career in Europe since 2002”, commenting “Her thoughtful, coherent work proposal captivated the selection panel with its clear vision for a residency that engaged both with the Lilburn Residence...as well as staff and students of the NZSM and wider Wellington arts communities. It promises to be a deeply fulfilling, highly collaborative, and transformative period for her.”