Join us at Enjoy between Wednesday 20–Saturday 23 November as Tāmaki Makaurau-based art book and ephemera store Strange Goods host a satellite shop in our reading room, with a range of art-related titles from publishers from Aotearoa and beyond.
For Home is where my heart will rest, Chevron Hassett ,Toi Pōneke’s 2019 Visual Artist in Residence extends his practice of whanaungatanga, delving into an integral commitment to the place closest to his heart, his home town of Naenae. This residency gave Hassett time to understand the intricacies and meanings of this feeling, and connect back to the people and places - the essence - of his childhood.
On 21 September 1999 Adam Art Gallery opened its doors for the first time. To mark our twentieth year, we celebrate with a suite of projects that demonstrate how we engage with artists and their practices, and art and its histories, to contribute critically and creatively to culture in contemporary Aotearoa New Zealand.
Technologies are bound to 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.
Join us at 5:30 pm on Wednesday 2 October for an open reading group with Sorawit Songsataya, held alongside our current exhibition Offspring of rain, an installation by Sorawit in collaboration with composer Antonia Barnett-McIntosh.
Sorawit and Hōhua Thompson will lead a collaborative discussion of Ursula Le Guin’s text “The Carrier Bag Theory of Fiction,” which reflects upon language, storytelling and technology; arguing for a narrative mode which redefines science and technology as a “cultural carrier bag rather than weapon of domination.”
See It Like This is an exhibition of drawing, ceramics, video and textiles by Wellington-based artist Greta Menzies. Working in an intuitive, stream-of-consciousness state, Greta meditates on belief and meaning-making. Exploring a push and pull between a deep scepticism and romantic fascination with the power of rituals, symbols and belief, Greta draws on a variety of influences from cults, sects and faith healers, to quantum woo, conspiracy theories, the absurd and the amplification of ideas in digital echo chambers.
Join artist Jeremy Leatinu’u and Enjoy’s Toi Māori education and audience intern Hōhua Thompson for an open discussion in response to Matavai Taulangau’s moving image installation Ma’u Pe Kai, on at Enjoy until 7 September.
Taulangau takes notice, observes and explores the value of different kinds of work through his lens-based practice. His video work and photography strives to highlight forms of labour and knowledge that are often overlooked, emphasising the value of people and their experiences.
Our ongoing lunchtime talk series recommences next week as Professor Geoffrey Batchen presents a distilled version of his essay in the Adam’s forthcoming catalogue: On the Last Afternoon: Disrupted Ecologies and the Work of Joyce Campbell. Batchen is no stranger to Joyce Campbell’s photography, having included an example in Emanations, a 2016 exhibition for Govett-Brewster devoted entirely to cameraless photographs.