The French Embassy in New Zealand launched a new residency network in 2024: Villa Antipode. Can you tell us more about this project?

We have a history of residencies in New Zealand, with the oldest being Randell Cottage, dedicated to writing, which was established twenty-three years ago. The others have been created over the years: two of them have been running for ten years, while the most recent was established just three years ago. The project also stems from the geographical reality of New Zealand, which is 18,000 kilometers away from France. It’s not a country people pass through by chance—it’s a destination. This distance affects the ability to develop cultural projects, and residency programs help bridge this gap by giving them new momentum. Our inspiration came from the United States and Villa Albertine, whose concept we have adapted, based on a multiplicity of locations and artistic disciplines. 

What makes Villa Antipode unique?

The uniqueness of Villa Antipode lies in its multicultural and diverse approach. We have Randell Cottage, dedicated to writing, where an author can stay for a set period of up to six months. There is also a residency in Auckland, focused on the intersection of arts and digital media, and another in Wellington, which has a broader artistic scope. Lastly, the newest residency, also in Wellington, was introduced three years ago to highlight a particular feature of the city: its role as a gateway to Hollywood for visual effects and digital arts, thanks to Peter Jackson and his studios. This sector is highly developed, with over 1,500 employees and dozens of independent studios, in a city of just 200,000 residents.

Together with Victoria University, we established this latest residency—CAM (Cinematic Arts Miramar), named after the neighborhood where Weta Studios is located. It is exclusively dedicated to film, animation, and visual effects, making it a pioneering initiative in the Pacific region, where residency programs are still rare.

As part of this programme, how many artists will you host per year and in which disciplines?

Each year, we host four artists, one per residency, for different durations. The longest residency lasts six months, while the others last two months. Each residency has its own selection committee, and the main criterion is that the proposed project must have a connection with New Zealand. Artists need to demonstrate an interest in the location and how they can be supported locally. There is no obligation to exhibit or present work—what matters is discussing their projects, exchanging ideas, and collaborating with local artists. Interaction with the local community is an essential aspect of these residencies. If an artist has work to showcase, that can certainly help with the programme’s visibility, but there is no pressure to do so. 

Four partner residencies—Randell Cottage, Te Ataata, Te Whare Hēra, and Cinematic Arts Miramar—are currently active. What are the specific features of each?

In our communication, we refer to the initiative as Villa Antipode, but each residency has its own unique characteristics, whether in theme, location, or duration. They are not all open at the same time of year, giving artists greater flexibility depending on their schedules. For the two residencies linked to the art world, there are two different time slots, allowing artists to choose whether Auckland or Wellington is better suited to their creative goals. The other two residencies are more defined: one focuses on cinema, while the other is a writing residency. The purpose of Villa Antipode is to streamline our approach, ensuring that all residencies follow the same methodologies and adopt a unified vision. This allows us to communicate more effectively, providing greater visibility both for the call for applications and for the selected artists. It also positions us within a global network and, in the medium term, we hope to create synergies with other residency programmes worldwide. 

The infrastructures and networks of partner universities, combined with the seven Alliances Françaises in the country, enable full immersion in New Zealand society. How do these relationships with France unfold? 

For the writing residency, the priority is to provide a quiet place and ample time for the resident. We help them connect with the New Zealand literary scene. Universities here have extensive resources and open their doors entirely to our residents. Each time, we are amazed by the wealth of access they provide—resources, infrastructures, and connections. This is why the selection process is so crucial; we ensure that the chosen resident can be placed in a university where their subject of interest aligns with the expertise available. Many projects deal with Māori culture, which is deeply oral and highly codified. Naturally, we do not have the right to use elements of this culture without proper authorization. However, everything is possible within a framework of mutual respect, as each university has specialized professors who ensure that no missteps occur in the process. For those interested in Māori culture, this residency operates within a logic of exchange and acknowledges the realities of the territory. It is a tremendous asset for understanding the world around us and how different cultures perceive it. 

What is your assessment of Villa Antipode’s first year? 

This first year, we focused primarily on communication—especially on choosing a name for the Villa. Our initial choice, the Māori name for New Zealand, Aotearoa, was fitting for the country but not ideal for achieving international visibility. We then considered Villa Antipode, which works well because it is nearly identical in English and immediately understandable in French. Even the Petit Robert dictionary illustrates its definition of “antipode” with the phrase: “New Zealand is the antipode of France.” In terms of visibility and comprehension, it works, though we will see how it holds up over time. Cultural stakeholders are starting to associate the name with the residencies, but there is still much to be done. Our priority is to develop a consistent communication strategy to highlight the outstanding work of our partners. The first step—creating a name and logo—has given us a strong visual identity. Thanks to funding from La Fabrique des Résidences, we were able to work with graphic designer Claire Wastiaux to refine this identity. 

How do you envision the development of the Villa in 2025 and the years to come? 

It is crucial to ensure the long-term sustainability of Villa Antipode, both administratively and structurally, in collaboration with our partners. Here, too, we have benefited from the support of the Institut français, particularly through Noémie Clarke’s participation in the Conception et Développement de Résidences d’Artistes training programme. Our discussions are currently focused on structuring the initiative in a foundation-like format. We also need to continue strengthening communication efforts to increase Villa Antipode’s visibility in France and promote the artists who have participated in these residencies. Ideally, they will become ambassadors of Villa Antipode, reinforcing its identity over time. During a recent selection committee, a former resident of Villa Kujoyama expressed great enthusiasm about now being one of the first residents of Villa Antipode. She was delighted by the continuity between these different residency networks. Through these artists, we hope to create more institutional ties that will give Villa Antipode a solid and lasting presence.