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How to Live Together

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How to Live Together How to Live Together Brook Andrew Chris Braddock Qiane Matata-Sipu Christian Nyampeta with dialogue group Kalisolaite 'Uhila The Otolith Group Sam Hamilton Poata Alvie McKree Deborah Rundle Hetain Patel Sister Library Sriwhana Spong Pallavi Paul with Samoa House Library Bridget Reweti James Tapsell-Kururangi Curated by Balamohan Shingade ST PAUL St Gallery, AUT Galleries One and Two, Frontbox, Samoa House Library, the residence of Helen Jean Linton in Rotorua, and other offsite locations 12 July – 18 October 2019 University Press, 2013, xxii. University Press, Columbia York: Barthes, trans. Kate Briggs, New Roland course and seminar at the Collège de France (1976–77) simulations of some everyday spaces, notes for a lecture 1 Exhibition Guide For his 1976–77 lecture course How to Live I roto i ana kauhau o te tau 1976 ki te 77, e kīia Claude Coste, ‘preface’, Together, Roland Barthes borrows a concept nei ko Me Pēhea e Noho Tahi ai, ka toro atu a from monastic traditions to study forms Roland Barthes ki tētahi ariā nō ngā tikanga o te of communal life. The word idiorrhythmy, hāhi monatiki hei ako i ētahi āhuatanga o te noho which is composed of idios and rhuthmos, hei hapori. E hāngai ana te kupu idiorrhythmy ki ‘one’s own rhythm’, refers to the lifestyles of te ao o Ngāi Monatiki, ka noho takitahi, engari monastics who live alone but are dependent ka whirinaki tonu atu ki te takitini. E rua ōna August 2019 version 1.2, 14 on a monastery; it is a type of sociability that wāhanga, ko te idios me te rhuthmos, arā, ko te respects differing rhythms, temperaments whai i tā te ngākau i tohu ai; he tūmatanui tēnei How to Live Together: Novelistic How to Live Together: and needs. In his course, Barthes opens e kauanuanutia ai tō ētahi atu tāngata ngākau, idiorrhythmy outward from the field of religion tuakiri, hiahia hoki. I roto i tana akoranga, ka to other everyday spaces that “attempt to whakawhānui a Barthes i te ariā nei, mai i te hāhi reconcile collective life with individual life, the kau noa ki ngā mahi o ia rā. Mā reira e tūhono independence of the subject with the sociability anō ai pea te tangata kotahi ki te katoa, te mana of the group,”1 community and solitude. motuhake o te takitahi i roto i te takitini,1 te hapori me te mehameha As part of this year’s programming shift at St Paul St Gallery, this is the invitation to artists and others: Koinei te pōhiri ki ngā ringatoi, ki ētahi atu hoki, For the duration of Semester Two at Auckland e rere tahi nei me ngā whanaketanga ā-hōtaka by University of Technology, let us inhabit How to Live a St Paul St Gallery. Mō te toenga o te hemeta Together as an ongoing enquiry, and this exhibition tuarua ki Te Wānanga Aronui o Tāmaki, ko tā Zone Books, 1999, 124. History of Efficacy in China 2 as a scene or a course guided by the coupled tātou he whai i tēnei ariā, hei ariā kawe i ō François Jullien, question: What is the intimacy we must develop tātou whakaaro, tēnei whakaaturanga hoki hei to create a community? What is the distance we whakaaturanga o te pātai kei runga: He aha te must maintain to retain our solitude? tū me whai e takitini ai tētahi hapori? He aha te tū me mau e ita tonu ai te mehameha? Here, idiorrhythmy also names the curatorial The Propensity of Things: Toward a The Propensity of Things: Toward methodology; it is an experiment in reconciling Ki konei tīkina ake ai te idiorrhythmy hei the differing speeds and slownesses of each whakaritenga mō ngā whakaaturanga; he project within the format of an exhibition. The huarahi e kotahi ai ngā mahi katoa o te , trans. Janet Lloyd, New York: York: , trans. Janet Lloyd, New exhibition is not defined and contained a priori, whakaaturanga, ahakoa te āhua o te rere. Kei but by way of artwork coming and going, with roto tonu i te āhua o te rere o ngā mahi, me moving parts within the whole, idiorrhythmy ngā wāhanga iti ka panoni, ā, ehara i te mea he allows an exhibition-project or enquiry to unfold motuhake tētahi i tētahi. Nā te idiorrhythmy i progressively, “to weave along horizontally, āta whanake ai tētahi whakaaturanga, i tuia ai from one case to the next, via bridges and tētahi taha ki tētahi, tētahi kaupapa ki tētahi, bifurcations, each case eventually leading to the ōna hononga, ōna wehenga anō hoki. Mā tētahi next and merging into it.”2 Not everything may wāhanga te tangata e ārahi, e whakaū ki roto i be visible or unequivocal at various stages, but te wāhanga e whai ake ana.2 He wā tōna kāore by the end, an experience will have been lived pea e mārakerake te kitea o ia wāhanga, engari through, a landscape sketched in, an approach i te mutunga iho, he wheako anō ka toua ki te figured for a life together. ngākau, he ao kē ka mau, he huarahi anō hoki ka kitea e noho tahi ai te tangata. — Trans. Parekura Pewhairangi 1 Floor plan 2 3 5 4 1 16 6 8 13 9 12 15 10/14 11 7 2 List of works Gallery One Gallery Two (1) Brook Andrew, Inconsequential I – VI, 2018. (7) Chris Braddock with dialogue group, Screen print on cotton Invitation to Dialogue, 2018—ongoing (2) Christian Nyampeta, Sometimes It Was (8) Sam Hamilton, Sovereignism, 2011. Single Beautiful, 2018. Single channel HD video, sound, channel HD video, silent, 4min 18sec 37mins 43sec screening daily 12.15pm and 3.15pm (9) Sam Hamilton, Sovereignism Amendment #1: The Footnote Asterisk, 2019. Single channel HD (3) The Otolith Group, O Horizon, 2018. Single video, silent, 11mins 48sec channel HD video, sound, 1hr 20min 10sec screening daily 10.45am and 1.45pm (10) Hetain Patel, To Dance Like Your Dad, 2009. Two channel original transferred to single (4) Deborah Rundle, Made for Each Other, channel HD video, sound, 6min 16sec 2019. MDF, paint, LED lights, electrical wires, transformers, dimmers (11) Pallavi Paul, Nayi Kheti, ‘New Harvest’, 2013. Single channel HD video, sound, 11mins 02sec (5) Sriwhana Spong, The Painter-Tailor, 2019. 16mm film transferred to HD video, digital (12) Pallavi Paul, Shabdkosh, ‘A Dictionary’, 2013. video, iPhone video, 32mins 10sec, sound by Single channel HD video, sound, 19mins 16sec Owen Pratt screening daily 10am, 1pm and 4pm (13) Pallavi Paul, Long Hair, Short Ideas, 2014. please check the gallery’s open hours Single channel HD video, sound, 24mins 42sec (14) Bridget Reweti, Tauutuutu, 2016. Single channel Frontbox HD video, sound, subtitled text, 13mins 18sec (6) Sriwhana Spong, Death of Bhoma, 2019. (15) Bridget Reweti, Club Field series, 2019. Canvas, Indian ink, 375 x 320 cm Digital photographic prints, 85 x 48cm Offsite locations Samoa House Library Qiane Matata-Sipu, NUKU, 2018–ongoing. Sister Library with Samoa House Library, upcoming Upcoming dialogues with Aqui Thami Kalisolaite 'Uhila, 5 Minutes, 2019. An invitation Residence of Helen Jean Linton in Rotorua to observe silence for 5 minutes every Monday, 9am at the Rotunda, Albert Park James Tapsell-Kururangi, Living with My Grandmother for One Year, 2019–ongoing (16) Poata Alvie McKree, Hōngongoi: Movement as Medicine, 25 Jul '19. *St Paul St Gallery One Poata Alvie McKree, Hereturikōkā: Women’s wisdom, 25 Aug '19. Poata Alvie McKree, Mahuru: E Hine E, 25 Sep'19. Brook Andrew 1 Inconsequential I – VI, 2018 Sceen-print on cotton “Ngajuu ngaay nginduugirr. Nginduugirr ngaay ngajuu. — Trans. Brook Andrew from Wiradjuri,‘I see you. You see me.’ Aotearoa, Australia and South Asia are tangled-up He mea here a Aotearoa, Ahitereiria me Āhia ki in what historian Tony Ballantyne has called the te Tonga ki tētahi taukaea kotahi, e kīia nei e Webs of Empire. For example, the story of the first te tumu kōrero, e Tony Ballantyne, ko te Webs South Asian migrant to Aotearoa has to do with a of Empire. Ko tētahi tauira, ko te kōrero mō Bengali man who jumped a British ship in 1809 to te tuatahi o ngā waewae tapu nō Āhia ki te marry a Māori woman with whom he had fallen in Tonga i tau mai ai ki Aotearoa, he kōrero mō love. During the British Empire, hundreds of ships tētahi tāne nō Penekari (Bengali), i makere iho i with Indian sepoys and lascars aboard travelled tētahi kaipuke nō Piritini i te tau 1809, he mate between the continents of Australia and South kanehe nōna, i hiahia kia piri rāua ko tētahi Asia and the islands of Aotearoa. What were their wahine Māori. I te wā o te British Empire, he encounters like with Māori and Aboriginal and nui ngā kaipuke, he hōia, he hēramana nō Īnia Torres Strait Island peoples? ō runga, i pōkai i ngā whenua o Ahitereiria, o Āhia ki te Tonga, o Aotearoa hoki. I pēhea ā Through his installation Inconsequential I – VI, rātou tūtakitanga atu ki te iwi Māori, ki ngā iwi Brook Andrew seeks affinities between two taketake o ngā whenua o Te Papa Onekura hoki? different indigenous peoples in the colonised worlds: Australia and Kerala in South Asia. On six I roto i tāna whakaaturanga, i a Inconsequential handwoven sarees from Kerala, Andrew restages I – VI, ka tirohia e Brook Andrew ngā hononga i archival imagery from his personal collection, as waenganui i ētahi iwi taketake e rua, kua tāmia i well as the colonial holdings at the State Library roto i te wā, i Ahitereiria me Kērara (Kerala), i te of Victoria in Australia and the Museum of taitonga o Āhia.
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