B.

From the moment we were notified by Creative New Zealand that our proposal to deliver the next national pavilion was successful, the Gallery team has been actively working to ensure that the exhibition could be presented to the highest possible standard, despite the logistical challenges involved with working in a new space on the other side of the world. Working with Fiona Pardington, her brother Neil Pardington (the creative director for the project) and Creative New Zealand, our team helped select the venue, scoped and oversaw every detail of the exhibition design from hanging and lighting to security and compliance, developed interpretative text, managed the safe transportation of the works from the framers in Auckland to Venice during a period of conflict and global instability, and published a beautiful accompanying book, commissioning six essays and a stunning design by Neil Pardington (get your copy here).

Having seen the ‘before’ shots, I was stunned on my arrival in Venice to see how completely this space had been transformed – its walls, windows, lighting, seating and even flooring – to ensure the best possible presentation of Pardington’s works. Experiencing Taharaki Skyside for the first time was an extremely moving experience, and the emotions only ramped up when it was officially launched in a series of events that began with the unforgettable sounds of karanga from Kāi Tahu as a rōpu led by Corban Te Aika and Puamiria Parata-Goodall gathered out by the waterfront and called us all down the brick calle and around to the venue. Despite the size of the crowd, we all somehow managed to fit together into the exhibition space, where our eyes adjusted to the light and took in the presence of Fiona’s towering manu portraits.

Over the next few days, a steady stream of supporters, artists, curators and media from all over the world made their way to the exhibition, and it was a real thrill to hear how much the experience impacted them. I also had the opportunity to experience the rest of the Biennale and see how the ideas in Taharaki Skyside intersected with a wider conversation about ecological loss and the impacts of colonisation on Indigenous knowledge systems. After returning to Aotearoa, I have enjoyed hearing from so many people (including many Ōtautahi-based supporters) about how much they enjoyed the exhibition and the pride it brought them to see Fiona’s work, Aotearoa art and Te Puna o Waiwhetū stack up so well on art’s biggest stage. The exhibition runs until 22 November, and until then it will be hosted by a roster of exhibition attendants that includes several of our regular Gallery visitor hosts. We are very grateful to them all for sharing it with visitors from all over the world, including many New Zealanders – until it is time to bring this significant exhibition home to Aotearoa. You can see more about the exhibition and the journey to get there on the New Zealand at Venice website https://www.nzatvenice.com/. Huge thanks to Christchurch Art Gallery Foundation for their support helping us deliver New Zealand’s Venice pavilion for 2026.