all things common
Darcell Apelue, Edith Amituanai, Wendy Bornholdt, Jordana Bragg , Mary-Louise Browne, Ruth Buchanan, The Estate of L. Budd , Sarah Buist, Fiona Clark ,Yvonne Coleman, Fiona Connor, Dale Copeland, Jane Dove, Charlotte Drayton, Luise Fong, Marti Friedlander, Catherine Griffiths, Gil Hanly, Christine Hellyar , Li-Ming Hu , Maree Horner , Sarah Hudson, Sonya Lacey, Tessa Laird, Vivian Lynn, Alison Maclean, Merata Mita, Joanna Margaret Paul, Biljana Popovic, Nova Paul, Shona Rapira Davies, Lisa Reihana, Pauline Rhodes , Dorothy Richmond, Marie Shannon , Susan Te Kahurangi King, Lauren Winstone, et al.
All Lines Converge, the collective has drawn on research they undertook on utopian ideologies of ‘no place’. Leading on from for the coming good, 2016 (Yuill/Crowley, Sydney) all things common was produced in collaboration with visual practitioners trans-spec (est. 2012), who were engaged to re-draw and re-imagine the architectural condition of indigenous housing typologies, such as Native Dwelling Type 1 B implemented by the Department of Native Welfare, State Housing Commission of Western Australia, 1953, which has the aproximate dimension of a standardised Auckland, NZ carpark. et al. have drawn on Sophie Berrebi’s idea of the ‘dialectical document’ (after Walter Benjamin’s notion of the dialectical image) as a would-be work of art that adopts the form of a document and the strategies of a documentary. However the work simultaneously and self-consciously questions the codes and conventions implicit in these. This creates a paradoxical object: it is both an object of interest in itself, and at the same time is only there to attest to the existence of something else. (No. Of Pieces: 60) 50 steel frames, blankets, and archive resources including scale models. 20 fabricated folding camping stools, cast objects, cardboard models, pottery and A0 inscribed documents. Site specific installation - 84 sq. metre space.