Hybrid Spring is an exhibition by Deborah Rundle and Layne Waerea that explores contemporary notions of social hope. Resisting the cultural imperatives of individual resilience, achievement and competition that have become deeply associated with optimism, both artists grapple with the complexities of hope, specifically in relation to collectivity.

Approaching the gallery as a space of development and conversation through three separate projects, A working week encompasses a series of consecutive one-week residencies and accompanying public programmes at Enjoy Public Art Gallery. Sharing a common interest in language, each project approaches the acts of writing, design and publishing from different viewpoints. 

Drawing on public infrastructure and collections of personal knowledge, Purpose-built examines contemporary sites of sharing, accessing and archiving information—probing the relationship between memory and physical space. Bringing together artworks, furniture, reading lists and digital content, the resulting installation sits somewhere between a space of display and a reading room. Visitors are encouraged to make use of the furniture and resources during the exhibition.

Margins & Satellites continues artist and designer Ella Sutherland’s ongoing enquiry into the relationship between printed matter, typography and social histories, focussing on what Sutherland describes as “a queering of mechanical reproduction.”

Bringing together the work of Hannah Valentine and Vivienne Worn, Looking in, breathing out focuses on the physical actions and gestures of the body. By looking closely at painterly gestures, Worn considers how to negotiate art histories. For Valentine, physical action is a way to explore the material conditions of contemporary life.

Typeface continues an ongoing project by Vaimaila Urale that explores the dynamics of communication and social exchange. Beginning in 2012 from a collaboration with media artist Johann Norte, this expansive body of work brings together two distinct knowledge systems: traditional Polynesian design and the standardised symbols found on computer keyboards.

and my heart is soft is an installation of sculpture and weaving by Ange and Bronte Perry. As mother and child with Pākeha, Māori and Croatian heritage, their collaboration confronts the ideas of unknowing and re-learning, exploring gaps and incommensurabilities in cultural knowledge and whakapapa through an open-ended, materially-driven dialogue.

Heart of Glass is a collaborative project by Isabella Dampney and Theo Macdonald that plays between pop culture, present day media discourse and the contemporary art history of Aotearoa.

Revisiting historical representations of gender and sexuality, Aliyah Winter’s artistic practice considers these personal and shared histories within our present moment. Incorporating moving image, performance and archival research, the solo exhibition hardening is part of an ongoing project by Winter that revisits the biography of Dr. Hjelmar von Danneville.

While on residency at Enjoy from 5–30 January 2018, artist and graphic designer Ella Sutherland will continue her current research on the poetics of typography and the way language is used to collect, archive and represent knowledge.

Delving into different modes of address and encounter, I digress explores the transmission of language through different technologies as a relational and open-ended activity. The artworks and collaborative approaches of this exhibition consider the forms of labour, exchange and unexpected detours of this process.

Through a series of moving image, sound and photographic works, Ngahuia Harrison’s exhibition I huti a Manaia i te ika and his heart was broken begins at the Marsden Point Oil Refinery at the mouth of the Whangarei Harbour (Northland, New Zealand).

A show about earth, flames, pottery and your location

As a constructed space, the exam room is exhausting in its banality. Stripped bare of any visual information or distractions, it operates as a collectively occupied void—a battleground for the interrogation of memory, an exercise in justification and communication. 

Enjoy is pleased to present an exhibition of new work by George Watson, accompanied by a text by Anna Rankin to be released on opening night.

Bringing together the work of Quishile Charan and Salome Tanuvasa, Namesake explores the related ideas of lineage and displacement, developed within an atmosphere of friendship and close dialogue between both artists.

Beginning with film stills and photographs from 1970s gay cinema and print erotica, Robbie Handcock’s paintings explore historic depictions of gay sexuality in order to consider contemporary queer existence. Indecent Literature comprises a suite of works that revisit canonical North American examples of gay media including the film Pink Narcissus (1971) by James Bidgood and Physique Pictorial—a quarterly magazine produced by Bob Mizer which featured young muscled men in bodybuilding poses, passing off the erotic as an interest in fitness in order to evade the period’s censorship laws.

As digital technologies shift and evolve, they open up new and increasingly complex interfaces with notions of identity and embodiment. In this way, the design language of media such as spam ad banners, laptop track pads and voice assistants like Siri each betray underlying assumptions about the needs and desires of the user.

Look out, Fred! is a new installation by Evangeline Riddiford Graham that explores relationships between contemporary mythmaking and classical texts.

Enjoy is pleased to present a new moving image work and series of public programmes by the artist collective WITCH BITCH, curated by FAFSWAG’s Tanu Gago.