St Paul st Gallery AUT

Exhibitions

How to Live Together

Brook Andrew, Christian Nyampeta, The Otolith Group, Deborah Rundle, Sriwhana Spong

Chris Braddock with dialogue group, Sam Hamilton, Hetain Patel, Pallavi Paul, Bridget Reweti

Qiane Matata-Sipu, Kalisolaite 'Uhila, Poata Alvie McKree, Sister Library with Samoa House Library, James Tapsell-Kururangi

Curated by Balamohan Shingade

ST PAUL St Galleries One and Two, Front Box, Samoa House Library, the residence of Helen Jean Linton in Rotorua, and other offsite locations

Opening Thursday 11 July, 5.30pm

12 Jul 2019 - 18 Oct 2019

Alpine hut in right-hand corner of image

Bridget Reweti, Playground of the Gods, 2019. Digital photograph. Courtesy of the artist.

How to Live Together: exhibition guide (version 1.2)


Christian Nyampeta, Sometimes It Was Beautiful screening daily 12.15pm and 3.15pm

The Otolith Group, O Horizon screening daily 10.45am and 1.45pm

Sriwhana Spong, The Painter-Tailor screening daily 10am, 1pm and 4pm

Kalisolaite 'Uhila, 5 Minutes, an invitation to observe silence for 5 minutes every Monday, 9am at the Rotunda, Albert Park

Poata Alvie McKree will hold three Art as Medicine gatherings for women. To register your interest to attend any or all of the gatherings below, please email: kiaora@alviemckree.nz
Hōngongoi: Movement as Medicine, St Paul St Gallery, Thursday 25 July, 5.30pm
Hereturikōkā: Women's wisdom, St Paul St Gallery, Sunday 25 August,  2pm - 5pm
Mahuru: E Hine E, Wednesday 25 September, time and location TBC

For more works and details, please see exhibition guide.


For his 1976–77 lecture course How to Live Together, Roland Barthes borrows a concept from monastic traditions to study forms of communal life. The word idiorrhythmy, which is composed of idios and rhuthmos, ‘one’s own rhythm’, refers to the lifestyles of monastics who live alone but are dependent on a monastery; it is a type of sociability that respects differing rhythms, temperaments and needs. In his course, Barthes opens idiorrhythmy outward from the field of religion to other everyday spaces that “attempt to reconcile collective life with individual life, the independence of the subject with the sociability of the group,” community and solitude.[1]

As part of this year’s programming shift at St Paul St Gallery, this is the invitation to artists and others: For the duration of Semester Two at Auckland University of Technology, let us inhabit How to Live Together as an ongoing enquiry, and this exhibition as a scene or a course guided by the coupled question: What is the intimacy we must develop to create a community? What is the distance we must maintain to retain our solitude?

Here, idiorrhythmy also names the curatorial methodology; it is an experiment in reconciling the differing speeds and slownesses of each project within the format of an exhibition. The exhibition is not defined and contained a priori, but by way of artwork coming and going, with moving parts within the whole, idiorrhythmy allows an exhibition-project or enquiry to unfold progressively, “to weave along horizontally, from one case to the next, via bridges and bifurcations, each case eventually leading to the next and merging into it.”[2] Not everything may be visible or unequivocal at various stages, but by the end, an experience will have been lived through, a landscape sketched in, an approach figured for a life together.


[1] Claude Coste, preface to How to Live Together: Novelistic simulations of some everyday spaces, notes for a lecture course and seminar at the Collège de France (1976–77) by Roland Barthes, translated by Kate Briggs (New York: Columbia University Press, 2013), xxii.
[2] François Jullien, The Propensity of Things: Toward a History of Efficacy in China, translated by Janet Lloyd (New York: Zone Books, 1999), 124.


Gallery One

From left: Sriwhana Spong, The Painter-Tailor, 2019; Deborah Rundle, Made for Each Other, 2019; Brook Andrew, Inconsequential I - VI, 2018. Photo courtesy of Sam Hartnett.

Gallery Two

From left: Sam Hamilton, Sovereignism, 2011; Sam Hamilton, Sovereignism Amendment #1: The Footnote Asterisk, 2019; Hetain Patel, To Dance Like Your Dad, 2009; Chris Braddock with dialogue group, Invitation to Dialogue, 2018–ongoing. Photo courtesy of Sam Hartnett.

Brook Andrew Brook Andrew, Inconsequential I - VI, 2018. Screen print on cotton. Photo courtesy of Sam Hartnett.

Brook Andrew detailBrook Andrew, Inconsequential I - VI, 2018. Screen print on cotton. Photo courtesy of Sam Hartnett.

Brook Andrew detail 2

Brook Andrew, Inconsequential I - VI, 2018. Screen print on cotton. Photo courtesy of Sam Hartnett.

Brook Andrew detail 3

Brook Andrew, Inconsequential I - VI, 2018. Screen print on cotton. Photo courtesy of Sam Hartnett.

Christian Nyampeta and Brook Andrew

From left: Christian Nyampeta, Sometimes It Was Beautiful, 2018; Brook Andrew, Inconsequential I - VI, 2018. Photo courtesy of Sam Hartnett.

Brook Andrew and Christian Nyampeta

From left: Brook Andrew, Inconsequential I - VI, 2018; Christian Nyampeta, Sometimes It Was Beautiful, 2018. Photo courtesy of Sam Hartnett.

Christian Nyampeta

Christian Nyampeta, Sometimes It Was Beautiful, 2018. Single channel HD video, sound, 37mins 43sec. Photo courtesy of Sam Hartnett.

The Otolith Group

The Otolith Group, O Horizon, 2018. Single channel HD video, sound, 1hr 20min 10sec. Photo courtesy of Sam Hartnett.

The Otolith Group

The Otolith Group, O Horizon, 2018. Single channel HD video, sound, 1hr 20min 10sec. Photo courtesy of Sam Hartnett.

The Otolith Group, O Horizon, film still

The Otolith Group, O Horizon, 2018. Film still. Courtesy of the artists.

Sriwhana Spong and Brook Andrew

From left: Sriwhana Spong, The Painter-Tailor, 2019; Brook Andrew, Inconsequential I - VI, 2018.Photo courtesy of Sam Hartnett.

Deborah Rundle and Brook Andrew

From left: Deborah Rundle, Made for Each Other, 2019; Brook Andrew, Inconsequential I - VI, 2018. Photo courtesy of Sam Hartnett.

Deborah Rundle

Deborah Rundle, Made for Each Other, 2019. MDF, paint, LED lights, electrical wires, transformers, dimmers. Photo courtesy of Sam Hartnett.

Sriwhana Spong

Sriwhana Spong, The Painter-Tailor, 2019. 16mm film transferred to HD video, digital video, iPhone video, 32mins 10sec, sound by Owen Pratt. Photo courtesy of Sam Hartnett.

Sriwhana Spong Frontbox

Sriwhana Spong, Death of Bhoma, 2019. Canvas, Indian ink, 375 x 320cm. Photo courtesy of Sam Hartnett.

Sriwhana Spong Frontbox detail

Sriwhana Spong, Death of Bhoma, 2019. Canvas, Indian ink, 375 x 320cm. Photo courtesy of Sam Hartnett.

Chris Braddock

Chris Braddock with dialogue group, Invitation to Dialogue, 2018–ongoing. Photo courtesy of Sam Hartnett.

Chris Braddock

Chris Braddock with dialogue group, Invitation to Dialogue, 2018–ongoing. Photo courtesy of Sam Hartnett.

Sam Hamilton 2011

Sam Hamilton, Sovereignism, 2011. Single channel HD video, silent, 4min 18sec. Photo courtesy of Sam Hartnett.

Sam Hamilton 2019

Sam Hamilton, Sovereignism Amendment #1: The Footnote Asterisk, 2019. Single channel HD video, silent, 11mins 48sec. Photo courtesy of Sam Hartnett.

Hetain Patel

Hetain Patel, To Dance Like Your Dad, 2009. Two channel original transferred to single channel HD video, sound, 6min 16sec. Photo courtesy of Sam Hartnett.

Pallavi Paul

Pallavi Paul, Shabdkosh, ‘A Dictionary’, 2013. Single channel HD video, sound, 19mins 16sec. Photo courtesy of Sam Hartnett.

Bridget Reweti video

Bridget Reweti, Tauutuutu, 2016. Single channel HD video, sound, subtitled text, 13mins 18sec. Photo courtesy of Sam Hartnett.

Bridget Reweti photograph

Bridget Reweti, Club Field series, 2019. Digital photographic prints, 85 x 48cm. Photo courtesy of Sam Hartnett.

Kalisolaite 'Uhile 5 Minutes

Kalisolaite 'Uhila, 5 Minutes, 2019. Photo courtesy of Robert George.