Young, Queer, BIPOC: A Response to Yang/Young/杨
A response to Yang/Young/杨 by Sherry Zhang and Nuanzhi Zheng, published by The Pantograph Punch.
Growing up Chinese in Aotearoa is a turbulent experience. Alice Canton remembers her own coming-of-age filled with uncertainty and longing in her response to Auckland Theatre Company’s brand new Gen-Z play.
International Foodcourt/Global Classic
In response to International Foodcourt/Global Classic, and exhibition by Annie Mackenzie and Dave Marshall, published by The Physics Room Contemporary Art Space
Today I woke up and we had a new Prime Minister.
And Duterte was cleansing criminals.
And Korean citizens were demonstrating in the streets.
And the Myanmar military were cleansing citizens.
And Thailand was in mourning.
And we had a new Prime Minister.
And drones were [still] bombing Pakistan.
And Aleppo was in rubble.
Auckland Writers Festival and Auckland War Memorial Museum Documentary Heritage Collection Commissions 2018
The woman in the picture wears a black dress beneath a white apron, with a decorative but modest lace-trimmed bib and matching cap atop her perfectly quiffed hair. She doesn’t have a name.
Battle Cry from a Tired Artist
Published by Playmarket as part of The State Of Our Stage – an initiative to encourage national discourse about theatre in New Zealand.
Being an independent theatre-artist in Auckland right now is pretty fucking glorious.
Artists are talking, connecting, sharing knowledge, resources, and ideas. Every year, graduating students flood into our city, injecting us with new life and passion. Venues like Basement, Q and Auckland Live are giving us space in the central city to present work and develop new audiences. Basement and Q’s creative development programmes are giving us a chance to grow and upskill. The revived Auckland Fringe Festival has galvanized our community into action. Auckland Arts Festival has connected us to international presenters. There is a better understanding of cross-disciplinary collaboration – visual arts, dance, music, and design are becoming integrated in a more comprehensive theatre-making practice. Work is becoming more political, in content and in form. We are driving community engagement events like forums and workshops that support our work, and give multiple points of entry to our patrons. I see work two to three times a week, and it feeds me. It stimulates me, it frustrates me, it provokes me. It gives me clarity of purpose and craft. As an artist living and working in this city, I seek comfort in my community. I draw on the strength of others living in my community. I love my community.
Being an independent theatre-artist in Auckland right now is pretty fucking hard.