The annual Enjoy Gallery fundraiser.

Tourists, exiles, immigrants, expatriates, and refugees. The idea of location determining identity has particular currency in contemporary society as travel becomes easier and the distances between countries seem to shrink.

Terry Urbahn has spoken of his interest in the mystical sense that the medieval landscapes of Europe emanate. before this show, Urbahn had just recently travelled to Europe for the first time and was struck by the sense of age, permanence, history and grandeur of the places and sites he visited. Spellbound played with the memory of travel, simultaneously revealing documentation's failure of truly conveying an experience and the dilemma faced by the artist in absorbing and adopting its influence.

The first year of art school is often set aside as a time to experiment with materials, ideas, scale and space in a way not possible within the secondary school curriculum. This can be either a liberating or terrifying experience. SPECIAL at Enjoy: First year show takes work from this playful period of freedom and inquiry, combining works by students currently in their first year of study at Elam, Auckland with the first year work of SPECIAL gallery board members and other practicing artists from Auckland and Wellington.

Enter a world of stop-motion monsters, crude puppetry and dodgy special effects.

As a result of 2004's Performance Week success, we decided to do it again. Enjoy Gallery presented repeat performance 2005, a week dedicated to the exploration of contemporary performance art. In 2005 we invited artists from within and outside Wellington to choose a performance of their own or from history to be re-performed.

Ice creams shared between lovers? Kisses that draw blood. A rejection that leaves the room tepid.

Michael Morley's paintings attempted to recreate abstract utopian ideas as graphic symbols. These inevitably operated as failures; an acknowledgement of the elusive nature of utopia and the futility of attempting to recreate it conclusively and with any authority. Failures too because of painting's reliance on failure and disappointment in order to proceed through successive and repeated deaths. The history of post-industrial global culture is replete with examples of failed utopias.

Marnie Slater was joined by Daniel du Bern and Jessica Reid to present her debut solo project Everything I know at the Top I learned at the Bottom. 

On July fourth 1776 independence was declared from Britain and the United States of America was born. Two hundred and twenty four years later, Enjoy gallery, also independent and liberated from commercial restraints, opened its doors to the public for the first time. Five years on, it was time to mark this momentous occasion and celebrate the longstanding dedication of the gallery's contributors and followers.

Campbell Kneale is a Lower Hutt resident whose cross-platform artworks have focused on the everyday mysticism of the New Zealand suburban experience and our mundane connections to 'the divine'.

Ideas for banners for The End of Water:

The distance from love to the heart is short and hard. 

This work, untitled (pictures, objects, Enjoy, Cuba St, Wellington, 2005) runs alongside much of her other work in style and tangles in many of the same interests. She likes making slowed down loose room-studies of close history, plants, landscape, galleries, gallery assistants and art (but that's not all).

Sandra Schmidt continued to work with her signature plastic bead constructions in her solo exhibition, Soliloquy, at Enjoy. These meticulously constructed sculptures are produced by melting thousands of tiny plastic beads together to form pictorial objects.

The Bomb was an ironic comment on the decades-long hysteria about nuclear threat and growing up in the shadow of imminent nuclear disaster. For a New Zealand audience, this had the paradoxical quality of coming from the other side of the 'Iron Curtain'.

After a busy and exciting period of travel and the staging of a series of highly successful art exhibitions and events overseas, Angela Meyer returned to New Zealand bringing with her an exhibition of work by four female artists from here and abroad. Hunt draws on several of the tenets of the Arte Povera style; displaying open-ended experimentation towards materials and processes and scepticism towards overly intellectualised concepts, completed with a light, delicate and human touch.

A four week programme presented by Marcus Williams + Jesse Williams, Ian Wells, Nicki Wynnychuk and Tao Wells.