Stitching Solidarity is the first iteration of a collective kaupapa inspired by a long history of collaborative artist-activist quilt making. The project brings artists from across the motu together to enact solidarity with the people of Palestine, through the creation of a solidarity quilt. Each participant has contributed a fabric artwork of set dimensions. These will be stitched together in Enjoy Contemporary Art Space.

Māori for a Free Palestine is a kaupapa by Zines4Pal, a whānau of Ngāpuhi Aunties that love pūoro, drawing, weaving and dismantling systems and ideologies of oppression.

Kaka-aku is an exhibition featuring Tehani Ngapare Rau-Te-Tara Buchanan (Ngāti Rupe Makea, Rarotonga, Aitutaki, Mitiaro, Mangaia), Rosalie Koko (Ngāti Kahungunu ki Heretaunga, Olosega), Bobby Luke (Ngāti Ruanui, Taranaki) and Vince Ropitini (Taranaki, Ngāruahinerangi, Whakatōhea).

BedStageAltar brings together seven artists from across the mōtu on the first weekend of Spring. Hosted by Enjoy Contemporary Art Space and curated by Elvis Booth-Claveria, this event celebrates live performance through the provocation of The Earth is my Bed, my Stage, my Altar. These three sites act as pillars, outlining the spaces that hold our lives in balance and from which the ultimate form performance of experience extends and flows.

Postering is historically a politicised form of activism. The collected posters in iMpOrTanT iNfOrMaTiON by 5ever Books are presented as an expanded publication, bringing into question the idea of autonomy and authorship within the city.

Homing Instinct is a collaborative international programme of artist commissions related to home, shelter, and belonging. Three new moving image works have been commissioned from Ari Angkasa (Australia), Kahurangiariki Smith (Aotearoa), and Ananta Thitanat (Thailand), showing alongside Dieneke Jansen (Aotearoa).

Enjoy is excited to be screening Wutharr, Saltwater Dreams by Karrabing Film Collective.

A koru is a trajectory is an exhibition originating from Heidi Brickell’s 2023 Rita Angus Residency, jointly organised by Enjoy and the Rita Angus Cottage Trust. During Brickell’s residency, she spent time connecting with her whenua, researching her legendary tūpuna Kupe and Tara and collecting rākau from Ōtaki and rimurapa from the shores of Te Raekaihau.

A portrait of a living, working ecology and the multi-species it sustains, Metabolism is a film essay that considers the body-as-land and land-as-body.

Gaza: the Soul of Souls, an exhibition by Justice for Palestine, is focused on Gaza, the people, our martyrs and a place where on it are, as Palestinian poet Mahmoud Darwish says, those who deserve to live.

Hiraeth is a Welsh word describing a spiritual longing for a place that we have never been. It is the lost ancient places we imagine our ancestors would stomp their feet into their lands and the grief we struggle to locate in our bodies—a dislocated homesickness for a motherland we have never belonged to. The offerings of this exhibition illustrate the artists’ intimate and awkward rituals of becoming truly Pākehā—tangata Tiriti on their haerenga towards becoming familiar with the layers of their cultural identities and realities on this whenua and in relation to its people.

The Centre Does Not Hold is an exhibition in three parts by the Palestinian artist Inas Halabi. Across a sound installation and two moving image works that address different regions mired in colonial power structures, Halabi considers the landscape as a living archive from which to excavate the (in)visible sediments of trauma and slow violence. In its invitation to look closely and listen deeply, The Centre Does Not Hold surveys the malleability of sound and image, and in doing so, unearths histories hiding in plain sight.

God the Mechanical Mother is an exhibition of extraction and post-metaphysical effluvia. Kat Lang experiments with primordial and time-bound materiality, and offers a deconstructed ontotheological study into the implications of meaning and uncertainty.

Proposal for a Body posits that sound and text-matter are mediums that can be regarded as inherently queer in their expansive and corporally liminal states. Jo Bragg and Georgina Brett present immaterial or bodiless practices focused on experimental process and experience rather than resolved closed-outcomes.

Enjoy is privileged to host a two day exhibition and programme of events by Te Waka Hourua, on Sunday 4 and Monday 5 February 2024. This exhibition is an opportunity for people to engage and learn more about Te Tiriti o Waitangi prior to Waitangi Day, 6 February. 

Haere mai, nau mai
Haere mai, kuhu mai ki ngā hūhā o Ruawehea.

Welcome welcome
Welcome through the whakapapa of Ruawehea.

All This Work Is Necessary is an extension of Ashleigh Taupaki’s doctoral research investigating her Ngāti Hako connections to the Hauraki wetlands. The artist’s whakapapa is an essential part of her practice. Taupaki’s tūpuna are said to be the earliest settlers of Hauraki. Though Ngāti Hako records, such as pūrākau and waiata, have sadly been decimated over time due to inter-iwi wars and colonial settlement, she has spent years pouring over surviving records written by those who sought to oppress Māori through imperial power structures. The resulting artworks are a testament to Taupaki’s determination to convey the systemic decline of the Hauraki wetlands.

A Map So Big It Blocks the Sun is a new film by Quentin Lind, taking Jorge Luis Borges' short story On Exactitude in Science as a starting point. Borges’ 1946 story was partly influenced by a novel by Lewis Carroll Sylvie and Bruno Concluded (1893), in which a character notes that they made a map on a mile to mile scale, but they have not yet used it, as farmers objected due to concerns it would cover the entire country and block out the sunlight. Instead, they “now use the country itself, as its own map, and I assure you it does nearly as well.” Those in Borges’ story similarly pursued ‘perfection’ in the form of a 1:1 scale map. Their descendants “were not so fond of the Study of Cartography as their Forebears” and saw no need for it. Readers of both stories are required to have a wry sense of humour in the face of impending horror.

To the Friend Who Did Not Save My Life brings together works by the Turner-Prize winning artist Charlotte Prodger alongside Sholto Buck, Laura Langer, Laila Majid, David Moser, Louis Blue Newby, Dayle Palfreyman and Tobias Allen.

Motherland Homeland brings together the work of Pilimilose Manu, 'Uhila Moe Langi Nai, Emily Parr, Monica Paterson and Siliga David Setoga, curated by Bonni Luafutu-Tamati.

Image: Monica Paterson, Divine Encounters 2, 2019. Courtesy of the
artist.

Mirai Nikki (Future Diary) is an exhibition exchange between Kikuchi University, Kumamoto, Japan, and Enjoy Contemporary Art Space. The exhibition is a scrapbook of what might or might not be, and a contemplation of the future. Artists have been encouraged to consider their personal and collective relationships to the future from their own perspective.

The exhibition includes work by 青い, Mayu Kanamori, カツオ(のえ)ブ(ｫ)シ, Hana Kobori, Hisao Kobori, Ravi Masaki, Chugen Nakahara, Masaaki Oyamada, Kyohei Sakaguchi, Shinoka Sekihara, Moeko Sonoda, TASKAM, Kazuya Tateishi, Makiko Tomita and Utageguruma.