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With the long-delayed opening of the city rail link due to later this year, and the government re-launching their roads of national significance, eyes have turned to a perennial problem. Why do we spend more on building than any other OECD nation yet receive far less bang for buck? 

To solve these problems, the government asked the Infrastructure Commission to write a plan that could be the basis for a bipartisan infrastructure pipeline, the National Infrastructure Plan, to give us steady development and perspective on our infrastructure needs and issues.

And this week, the Employment Relations Amendment bill under ACT MP Brooke Van Veldon has reached its final reading before being put into law. It is set to overhaul our employment system, supporters say it will make it easier for contractors to get the arrangements that they want and increase work, critics say it will push workers into more precarious positions with less protections from exploitation.

For this weeks catch up with the Green Party I spoke to MP Ricardo Menéndez March about the National Infrastructure Plan and Employment Relations Amendment Bill.

Dreaming From Afar is a new group exhibition showing at Gus Fisher which brings together the practices of Gian Manik, Brunelle Dias Primbs, and Tyrone Te Waa. The show circulates the complexities of history, and nostalgia through this painterly language that seeks to morph the physical with the imagined. 

Gian Manik is a Naarm-based painter, who produces mesmerising works that play with ​​various tropes preserved within the historical painting genres of still life, landscape, and portraiture. Within Dreaming From Afar Manik showcases a beautiful body of paintings that includes various methods of painterly application. Intimate and finely rendered works on oil on canvas, as well as these lively frescos that become one with the gallery space itself. 

The works themselves bring together Manik's fascination with historical painting, and old masters, alongside his research and exploration of orientalism and queer representation within art history. Pulling these themes together in space to produce works that grapple with the entrenched hetero and ethnocentric hierarchies of the western art cannon.

Maya caught up with Gian about the show and overall practice.

The government has been in discussions this past week over a bill adding English to the list of New Zealand’s official languages. Currently, the list comprises only te reo Māori and New Zealand Sign Language. The bill has been criticised as “pointless” and a “waste of time” by opposition MPs, while its main supporter NZ First leader Winston Peters suggests it is “common sense”. 

Also this past week has seen Housing Minister Chris Bishop announcing changes to housing plans PC120. While the plans had previously proposed a minimum housing capacity of 2 million for Tāmaki Makaurau, the quota has been lowered to 1.6 million. The change follows criticisms of the plan from some who say intensification could harm the character of their suburbs, especially wealthier areas around central Auckland. 

For our weekly catchup with ACT’s Simon Court News and Editorial Director asked about each of these issues, beginning with English as an official language.

Yvonne Todd is a Tāmaki-based multidisciplinary artist, whose practice tends to obscure the familiar through a range of media to explore her subject matter – imperfection, absurdity, and the uncanny, all guiding her material language. 

Her current solo exhibition at the Arts House Trust at Pah Homestead, Diary of a Carrot, sees Todd further explore this long-standing interest in food as a subject – using a melange of sculpture, found and personal objects, AI-generated imagery, and staged photography to make this absurdist narration on the act of eating. 

Best known for her work in staged photography, the show presents a shift in Todd’s process – using AI to produce a new series, Sullen 1880s Nibblers, which sees an assemblage of unenthusiastic Victorian women vacuously prodding at the plates of food they hold. 

Paired alongside personal archives, earlier work, and held within the historic home at Pah Homestead, here, food is not conceptually examined so much through the present, as it is through the past – allowing these notions of domesticity and nostalgia to thread and bind the works in the space, as viewers chew on the peculiar ways we engage with what, and how we consume. 

Sof caught up with Yvonne about Diary of a Carrot, and her wider practice.