Pieces of is an exhibition of handmade ceramics, video work and biofuel research by Tamaki-based artist and cook Ruby White. Concentrating on rediscovering and repurposing traditional clay working techniques to create functional ceramic cookers White combines old and new technologies to "look with apprehension and hope toward climate change and our collective future."

This exhibition is created for each other, excuse our selfishness. We offer each other conditions to work that avoid and deter the ridiculous and indefensible aspects of "normal" practice. This has been an extended period of trust and experimentation, resulting in an exhibition that cradles and nurtures the others’ ambitions, at times quite literally.

—Grace Ryder

I started making this work when my kuia passed. I traveled home to live at her house for a year. I wanted to be close to her again. A story she told me that has stuck with me: the account of her father’s drowning on the Tongariro River in Tūrangi. I have since visited the spot again and again.

How does time pass in a day, in a year, in a life? Within Māori cosmology, Māui and his brothers famously bound Tama-nui-te-rā, onwatcher to our humanity. Before, it was cold and Māori were starved of time. Perhaps our movements were slow. Inhibited by an endless night.

Lay in measures is a new exhibition by Ōtepoti Dunedin-based artists Megan Brady and Ed Ritchie. The exhibition considers how architectural composition unconsciously affects bodily experience, through small-scale interventions of sound, subtle sculptural installations and replicated furnishings.

For History reserves but a few lines for you, Areez Katki presents a series of textile works which build upon the artist’s ongoing enquiries into craft traditions, sites of queer intimacy and the complexities of migratory experience.

Working with discarded goods and salvaged materials, Bound in secret knots includes new sculptural and moving image works by Pōneke Wellington-based artists Bena Jackson and Teresa Collins.

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.