Just prior to completing his first year in the role of CEO here at Metro Arts, Kieran Swann commented that there have definitely been emotional moments throughout the year. Townhall #2, in early August 2026, provided a dedicated moment for the community to check in and hear firsthand the developments for the program and organisation, and the news is good. Here is a rundown of Kieran’s update.
News · 3 September 2026
Townhall #2 Rewiring Progresses
As we hit the tail end of last year – when I was about 4 months – I stood up here and said we were hitting pause; to go on a process of REWIRING. Pulling back from rhythms of performances and exhibitions and looking inward to do some work of maintenance and repair.
And then in July, with renewed confidence we switched the lights back on.
On the very first day of July we welcomed god eater by Jag Popham – an artist from regional Queensland creating bold, conceptually-driven contemporary dance (god eater image pictured). It was exactly the kind of work Metro Arts exists to champion. Experimental. Ambitious. And a reminder that supporting Queensland artists means supporting artists from all across Queensland.
A few weeks later, on 20 July, we reopened our galleries with ‘the churchie’ Emerging Art Prize finalists exhibition. Every year the churchie offers a snapshot of the ideas, aesthetics and questions energising emerging artists across Australia, and it was a privilege to welcome them back to Metro Arts.
We were especially delighted to see three outstanding Queensland artists represented among this year’s finalists, with one receiving a Special Commendation (Rosemary Tamas-Cao’s rice-paper stools, Squat Tossed, pictured).
From those opening steps, we have started racing towards a renewed, ambitious, and co-curatorial partnership with Brisbane Festival, with our recently announced NIGHT MOVES: a new collaboration with bold new dance, ambitious exhibitions bringing together local, national and international artists, and – because no Metro Arts program should be entirely sensible, we’ll throw open the doors with Brisbane queer party institution Shandy.
We also now have four artists underway in residence, with the support of funding from Copyright Agency. Artists Tay Haggarty, Sha Sarwari, Ellen May Anderson and Boneta-Marie Mabo (pictured) are ensconced in the shared studio at our Norman Park facility, developing ambitious new work, and across the coming months they’ll be delivering live experiments, artist talks and open studios that invite audiences into the creative process itself.
It’s the first step in a longer plan for the evolution of our Norman Park site – stay tuned for more workshops, events, partnerships, and genuine artistic research.
So that’s our recent work. The last quarter has been a really good reminder of why Metro Arts exists. Not simply to present great work – although we absolutely do that – but to create the conditions that allow artists and ideas to grow, whether that is in a gallery or theatre; in a grant application, a partnership pack, a mentoring conversation, or in hazy memory after a wine-soaked opening night. All of it matters.
So today I wanted to share a few moments that tell a bigger story about where Metro Arts is heading.
Firstly, some funding news.
At the end of last year I was thrilled to share that we had confirmed funding from Creative Australia of $100,000 for our 2026 program; and I’m now thrilled to share that we’ve also confirmed another $100k for 2027. This is investment in artists, and a vote of confidence in Metro Arts and we are proud to be in close and regular contact with friends at Creative Australia as we plan future work.
We’ve also now confirmed three years of investment from Brisbane City Council – dedicated to supporting new developments and artist residencies.
Of course, some of the funding outcomes I’m most proud of aren’t actually for Metro Arts.
Over recent months we’ve supported a number of artists to develop and co-write major funding applications, and together those applications have secured more than $160,000 in direct investment into Queensland artists from a combination of Arts Queensland and Creative Australia. (Counterpilot workshop image pictured) Those artists deserve every congratulations, and it’s also worth recognising that one of Metro Arts’ biggest impacts is the invisible work our team does helping artists sharpen ideas, strengthen applications, and ultimately unlock opportunities that will support their work for years to come.
That’s artist development in action – and we’re expanding that commitment to artist development through our national partnerships.
Earlier this year kickstarted a new partnership with Adelaide’s ACE Gallery; welcoming visiting artist Alycia Bennett to a residency alongside Brisbane artist Tara Pattenden (in Metro Arts Gallery One, pictured below). That exchange is continuing right now, with Tara currently undertaking the reciprocal residency in Adelaide, and together we’re already developing plans for a collaborative exhibition to be presented by both organisations across 2027 and 2028.
These kinds of partnerships are incredibly important. They create genuine pathways for Queensland artists beyond our state.
Looking even further down that pathway, I’m also delighted to announce another major new work with an international future.
Metro Arts is welcoming back much loved iconoclast Leah Shelton for her new work, Keep Sleeping, Beauty (hero shot pictured), which will premiere as part of MELT Festival before embarking on an international touring life.
This follows in the mold of Leah’s past success BATSHIT: a Queensland artist develops bold new work; that work premieres here; then it travels nationally and internationally, collecting accolades along the way. We’ve seen Leah do exactly that before, and it’s exciting to be supporting the next chapter of that journey.
But I’m also excited about our investment in the hyperlocal grassroots scene.
Some of you will remember that between 2008 and 2017 we ran Artist Run Initiative in Residence – a program that gave emerging ARIs the space and support to experiment with new curatorial models with long-term residency in our Edward St building’s ‘Gallery 2’.
The program helped seed a generation of curatorial practice. Many of the people involved went on to curate with and for organisations like Institute of Modern Art, Milani Gallery, Composite, West Space, Bus Projects and many others.
The decade since has been difficult for artist run initiatives; rising rents, costs and reduced availability of meanwhile spaces have diminished the grassroots activity that used to poke up through every spare crack. So I’m thrilled to announce that we’re bringing back the ARI in Residence program.
From November 2026, our new Gallery Two will become home to an Artist Run Initiative as they develop and present their own curatorial program of exhibitions and events, with Metro Arts providing initial fees for artists and directors, support to fundraise further, curatorial feedback, business development, and professional mentoring.
It feels fitting that we’re relaunching this program with an organisation on their own relaunch: Boxcopy.
After a stellar 2007-2021 run, and following its closure during the COVID years and the immense pressures that many ARIs experienced, Boxcopy is back with returning and new directors, a new board, and a renewed vision for the future. We’ll spend the coming year supporting that relaunch, before opening the residency to future ARIs-in-residence through an open call – creating an ongoing cycle where each generation helps nurture the next.
Finally, I wanted to say a few words about the organisation itself.
Creative ambition only matters if it’s matched by organisational discipline, and over the past year we’ve worked incredibly hard to strengthen the wiring that powers everything we do.
We’re managing budgets rigorously. Our end-of-financial-year fundraising campaign exceeded its target, thanks to the generosity of our supporters and the enormous effort of the team. And the Metro Arts Future Fund continues to deliver steady month-on-month returns that strengthen the organisation’s long-term sustainability.
None of these things are particularly glamorous. Nobody buys a ticket because we balanced a budget. But every artistic risk we want to take in the future depends upon the financial stewardship we demonstrate today.
As always, none of what I’ve spoken about today happens because of one person. It happens because of artists who trust us with their ideas. Partners who choose to work alongside us. Funders who believe in what we’re building. Board members who provide governance and support. Donors who invest in the future.
And, most importantly, all of you.
Together, we’re building something that feels increasingly confident, increasingly connected, and increasingly ambitious – and we’re making sure that artists remain at the centre of every decision we make. Thanks everyone.
Thank you
Thank you to all of you – artists, collaborators, peers, and friends – our community, for your support.
Images:
god eater, Jag Popham, image by Jade Ellis Photography
Rosemary Tamas-Cao, Squat Tossed, 2026
Country Road + NGV First Nations Commissions mentorship and exhibition program, Boneta-Marie Mabo. Photograph: Jamila FIlippone.
Counterpilot’s Disgusting Human Mouth in development at MAVA, courtesy of the artists.
Keep Sleeping, Beauty, Leah Shelton, image by Joel Devereux.
Seed Fund Residents Alycia Bennett (R) and Tara Pattenden (L) at Metro Arts Gallery One, April 2026.
