This Sunday at Enjoy, 17 year old St Mary's College student Zoe Bokany is presenting her performance Life Line. The piece will trace a continuous line following the pattern of breath.

Curated by Christopher Handran, Correspondences formed a connection between Boxcopy, Brisbane and Enjoy Public Art Gallery, Wellington. The project provided an opportunity for each space to form a long-distance view of the other, drawing on their corresponding exhibition archives as starting points for new curatorial projects.

For the third consecutive morning in a row, caffeinated beverage in hand, I walked up George Street towards The Octagon.

"All art is communication. It was never intended to operate as a match for the decor."
– Stuart Shepherd

February this year marked the first NXT:14 Youth Leaders Conference hosted in Auckland and co-sponsored by the Auckland Pride Festival Trust and the US Embassy.

Drawing practice is very important when you’re doing an arts degree, and it’s easy to get caught up in an intense pencil sketch or portrait.

Two weeks and a myriad of paint later, it is complete.

Whatever you want by our friends Lauren Redican and Annsuli Marais is a billboard work located on Ghuznee St, and will be on show until the end of February.  It is funded by the Wellington City Council Public Arts Fund.

In October 2013 Eliana Joy sent Enjoy a collection of four books to be added to our Library.  Each book contains a group of notes collected at a different New Zealand art institution; Creative Arts from Massey, Elam from University of Auckland, Ilam from University of Canterbury, and Visual Arts from Auckland University of Technology. The following is her reflection on the project.

Through The Keyhole's three artists talk about guilt and shame in quite different ways. Some visitors peek through the keyhole for a moment at Olaf's video installation Keyhole Woman, 2012, and then seem to glance around to check if anyone has seen their voyeuristic action.

Erwin Olaf is a unique Dutch artist who creates his work through often haunting, cinematic drama. His photographs possess an emotional stroke of brilliance throughout each artwork, connecting the photographs together to create a cohesive and expansive story; or rather the idea of a story, the suggestion of a story. He does not explicitly inform the viewer, he creates his work for interpretation, to suggest narrative rather then impose it.

Art connects each one of us and draws us in, each in a uniquely personal way. Many artists choose to do this through exploring human connection and relationships.

Attention has its own behavior, its own dynamics, its own consequences. An economy built on it will be different than the familiar material-based one.

Ema Tavola is a writer, curator and self described art-hustler based in South Auckland.

When working on my art projects I like to count the hours I spend working. I mark the hours off on a piece of paper taped to the wall. I’ve been doing this for years now. I feel more secure this way. I realise quality of output is more important than time spent but since I started this routine, I cannot seem to stop.

I was interested to hear that vagrancy is one of the key complaints from anti-dOCUMETA factions, of which there are several. So I decided to visit the Hessian city with no concrete plan beyond seeing a lot of art.

Though only two of the show's stars actually work in what can truthfully be described as a "gallery", and "art" makes but peripheral, fleeting cameos, Gallery Girls has been occupying my waking and working thoughts lately.

There is a lot going on between the three separate works that make up Zhoe Granger and Ashlin Raymond’s Boundless Energy exhibition. The show edges toward a substantive and very Now critique of cultural autonomy and authenticity, while simultaneously engaging with the complexities of having such a discussion in the context of a scene of young Auckland artists.

The weather is particularly awful today, and this moves me to suggest a film. Adam Luxton, who just arrived back from Berlin, has a film showing tonight in the Festival. The gallery Hopkinson Cundy features in a few scenes, and the film uses my "dire and damp concrete jungle" (thank you Paula Booker for that great quote!) of a hometown, AK City, for its backdrop. There are also some great cameos from local artists and musicians.

At the Museum of Contemporary Art in Sydney, the personal and the collective is brought together in an exhibition titled Possible Composition as part of the 2012 Biennale of Sydney. All Our Relations, the eighteenth Sydney Biennale, “focuses on inclusionary practices of generative thinking, such as collaboration, conversation and compassion, in the face of coercion and destruction.”