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Brisbane turns pink as Melt unveils its biggest program yet

Brisbane turns pink as Melt unveils its biggest program yet

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A 15-metre pink rubber duck, a river parade and a citywide art takeover will define Melt Festival’s most ambitious Brisbane program to date.

Spanning more than 70 venues and over 100 events between 21 October and 8 November 2026, Melt Festival has used public art, architecture and urban activation to reimagine Brisbane as a stage for queer creativity and community. Produced by Brisbane Powerhouse, the 2026 program leans heavily on scale and spectacle, threading landmark installations and river-based celebrations through precincts including Fortitude Valley, New Farm, West End and Fish Lane, turning the Brisbane River/Maiwar itself into a connective piece of civic infrastructure for the festival.

The iconic Rubber Duck, a large-scale public artwork by internationally acclaimed Dutch artist Florentijn Hofman, arrives at Melt Festival for its
new pink edition.

Brisbane Powerhouse CEO and artistic director Louise Bezzina framed the program as an exercise in bringing people together at a scale the festival has not previously attempted, pointing to Florentijn Hofman’s giant pink duck as a centrepiece of this year’s River Pride Parade. Queensland arts minister John-Paul Langbroek and Brisbane councillor Vicki Howard both positioned the festival as a driver of visitation and activation for the city’s lifestyle precincts, tying the cultural program directly to economic and placemaking outcomes for venues stretching from Fortitude Valley to Fish Lane.

A monumental object anchors the riverfront

Hofman’s Rubber Duck is the clearest architectural gesture in the 2026 program. Standing 15 metres tall across five storeys and reimagined in hot pink for Melt, the sculpture will first float on the Brisbane River near the CBD before joining the River Pride Parade as a flagship element and later settling near Brisbane Powerhouse for the remainder of the festival.

Having previously occupied waterways in Amsterdam, Hong Kong, Osaka, São Paulo and Pittsburgh, the work belongs to a lineage of oversized inflatable interventions that use scale to disrupt and reframe familiar urban and riverine settings, and its Brisbane placement does similar work, converting a working civic river into a temporary public gallery.

Bloodlines’ is a sparkling séance for queer art’s silenced legends – The Huxleys channelling artists lost to HIV/AIDS.

Participatory design also features prominently through Onesie World, a collaboration between artist and fashion researcher Adele Varcoe and Queer First Nations artist Dylan Mooney. Free community sewing workshops running from 5 to 23 October at Brisbane Powerhouse and the State Library of Queensland will produce 1000 onesies carrying Mooney’s print, which are then released back into the community on River Pride Parade day for anyone to claim and wear. The project treats garment-making as a form of collective authorship, folding craft and textile production into the festival’s public realm strategy.

Circa reworks the Powerhouse’s hidden spaces

Inside Brisbane Powerhouse itself, contemporary circus company Circa premieres Show Me Love, a new commission created specifically for the venue’s less-visible corridors and back-of-house spaces. Rather than staging work on a conventional platform, the production leads audiences through the building’s architecture, using its winding passages to stage an immersive exploration of instinct, control and vulnerability before a club-inspired finale.

The approach treats the Powerhouse’s existing industrial fabric as an active collaborator in the work, extending a broader trend in contemporary performance toward site-responsive staging that repurposes found architecture over purpose-built sets.

‘Show Me Love’, a wild, dark celebration of bodies and beings by Circa.

Music and performance programming across the festival, including sets from Courtney Barnett, Melanie C, TEEKS and Jude York, sits alongside returning fixtures such as Melting Pot and Queer PowerPoint, while new theatre works from Cassie Workman, Oli Mathiesen and others extend the program’s reach beyond the riverfront and into the Powerhouse’s performance spaces. Tickets are on sale now, with Tourism and Events Queensland and Brisbane Economic Development Agency backing the festival’s civic ambitions.

Lead image: ‘The Butterfly Who Flew into the Rave’, a performance of art, dance and theatre by Oli Mathiesen with Lucy Lynch and Sharvon Mortimer

Images: Supplied by Melt Festival.

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