JustUs is a new solo exhibition by Te Upoko o Te Ika-based artist Chevron Hassett. Drawing from his experiences growing up in Te Awakairangi Lower Hutt, Hassett has developed a photographic installation that explores the lived realities and representation of Māori men in contemporary Aotearoa.

Optimism and its afterlives thinks around a series of transitional moments, including works by artists who have found themselves witness to or bound up in scenes of change.

Cutouts is an exhibition of new paintings and assemblage sculptures by Ammon Ngakuru. Exploring the material economies of gathered objects and a particular architectural site, Cutouts prompts us to reconsider biography or identity, exploring the way that history is read in the post-colonial context of Aotearoa New Zealand.

For !ERROR! Pōneke-based moving image artist Laura Duffy has invited artists to dance in front of a green screen set up, and transported them to another, limitless, realm.

Bush coat is an exhibition of new sculpture, moving image and textile work by Murihiku Southland-based artist Daegan Wells. Taking the social politics of wool as its starting point, Bush coat playfully interrogates the role of natural materials—and the craft forms and industry around them—in our shared and personal histories.

Creative energy is frequently spoken about in relation to a particular kind of passion or ignition, from the feeling of an initial spark to a sense of burnout. We often circle around the metaphor of tending a fire when trying to grasp at this as a question of maintenance as well as one of intuition. This speaks to resources, knowledge and relationships that require ongoing care and attention.

This is a library, curated by Hanahiva Rose, is an exhibition of work by Teuane Tibbo, Christina Pataialii, Salome Tanuvasa and Claudia Jowitt.

We’re thrilled to announce Daegan Wells as Enjoy’s 2020 Summer Resident. Currently based in Southland, Daegan will spend six weeks in Pōneke from 3 February–14 March 2020. While here, he’ll stay at the Rita Angus Cottage in Thorndon, working out of the cottage’s Fernbank Studio.

Emerita Baik contemplates form, abstraction and language in her exhibition 꿈 / ɯnʞʞ. Taking objects from her family home such as photographs, prayer cards and furniture as starting points, the artist has reworked their forms into playfully stacked structures or skeletons.

Breadzels
Chain mail
Egg before chicken
Mutual interference
Hagfishes
Eclairs/Croissants/‘Horn’ pastries
Bedroom/showroom/backroom
Allergies
Over-commitment
Patchwork
Thatched roofs

Soft Spot is a solo exhibition by Lucy Meyle driven by a sculptural exploration of types of containers and coverings, from those we interact with in everyday life to the more historic, fetishised or unusual. Looking at materials like slipcovers, crusts, shoes, and various kinds of ‘shells’, the artist considers how these can be interfered with in unexpected or humorous ways.

Elbow-room in the universe is a performance-based project curated by Victoria Wynne-Jones that includes work by artists Sholto Buck, Amy Howden-Chapman, Sonya Lacey, val smith and Fiona Williams.

The crab and the rock: landing at the resort is the second part of a project by Deanna Dowling that extends her ongoing research into the architectural design and lifespans of domestic dwellings. Pairing moving image works with architectural interventions, the exhibition is a further development of a solo exhibition, The crab and the rock〈螃蟹與岩石〉commissioned by Enjoy and presented at Taipei Contemporary Art Center earlier this year. Taking this as a starting point, the installation speculates further on architectural relations as well as the recontextualisation of documentation and other materials within a different setting.

This iteration of Present Tense : Wāhine Toi Aotearoa at Enjoy is the last stop on a touring exhibition of posters by more than 100 women and non-binary designers, generated through an open call by Designers Speak (Up) earlier this year.

Technologies are bound to fail. Screens crack, cables get shredded, old models are quickly replaced by newer ones, or things just don’t work as they should. A broad set of discourses and industries so optimistic in the claims they make—to make life better, easier, more efficient—and so embedded within capitalist logics of growth, innovation and progress cannot help but embarrass themselves when things go awry. For Louisa Beatty and David Ed Cooper, there’s potential in failure. Deploying dry humour and improvisation, both artists alter, remake and reconfigure everyday technologies, playfully exposing the ideological mechanisms at play in the production of these objects, and motioning towards a radically altered relation to technology and the world.

Whakawhanaungatanga: meaning to establish relationships or to find connection with one another through experiences.

From 16-19 October, curator and artist Māia Abraham will undertake a residency at Enjoy that departs from a broad set of questions surrounding whakawhanaungatanga and creative practices, asking: How is whakawhanaungatanga important? What do these relational practices look like? How does whakawhanaungatanga relate to the development of creative practice?

Offspring of rain is an installation by Sorawit Songsataya that experiments in redefining our immediate bond with the natural world. Elaborating on the highly dynamic attributes of water into liquid, crystal or vapour that shapes all meteorological forces, the exhibition reinterprets natural phenomena as an intimate experience.

The Button knot: holding what was separated together

The ‘Caisson’ knot: establishing connection to the ‘world’ and us

The Endless knot: Typically seen as the ‘good luck knot’; ultimate, eternal blessings, friendship and connection  

Kaikohe is a small town located in Northland, a town that reflects the village culture my fāmili (family) were accustomed to back in Tonga. My ongo mātuʻa (parents) made the decision to raise our fāmili in Kaikohe. They left their fonua in exchange for the whenua in Aotearoa. As my father had said, “Toʻuanga fiemalie pe, he teu ave koe ki Nusila mo fanau”, God had brought us here. My parents’ migration brought about a shift in perception, towards the idea that value was only obtained through Western knowledge.

Ordinary things will be signs for us is a project by Pōneke-based artist and designer Kerry Ann Lee. Taking Enjoy’s 19-year archive of printed ephemera as a starting point, Lee has created a collage installation of graphic fragments that explores the social architecture of Enjoy’s history.

For The making of bread, etc. artist Zoe Thompson-Moore will made bread to be shared at selected Enjoy events between May 2019 and August 2020, collaborating with other women who bake bread at home for each iteration of the project.