PM00000020000002131 15: 2012 § Leave a comment
A handful of observations on HOME in no particular order …
1] Exhibitions can be seen as opportunities to reflect upon & reposition oneself in regard to presenting one’s work publicly; presenting in collaborative circumstances; curating personal work within curating the exhibition; the location of oneself within a group piece.
2] HOME might be located as the commencement of a series of excursions into curation; each one developing ideas of collaboration, organization, forums for debate, using or creating online tools for building an exhibition.
3] The schedule that Michael Rodgers & Nick Scammell laid down for MEMORIAL in the early Summer of: Interest → Commitment → Progress report → Space requirement kept preparation for that exhibition in motion & should be adopted/adapted for each exhibition we prepare.
4] Future exhibition preparation might consider alternative spaces, online spaces, print spaces, guerilla spaces, pavement spaces, lunchtime spaces, human spaces …
5] The HOME blog was late in arriving but provided space for many considered and motivating posts. Many of these were text pieces & the place of text/TEXT in representative form needs exploring more. Alex McIlhiney’s ‘fractured’ texts are examples.
6] The ideas that came to pass during the length of the preparation didn’t get sufficient hearing. Most of the contributions to the HOME blog represented & revealed intimate personal experiences; many of which were valid representations of urban experience. It needn’t take exhibition preparation for these to emerge & the CL sessions would be enhanced by them.
7] I can’t help feeling that we missed a trick in not beginning HOME earlier & enhancing the development of it by one or two more meetings devoted to its development. The idea of Astrid’s to create the Home within the Gallery could have been explored more.
8] Sound is an area we have yet to explore in depth.
PM00000010000001831 15: 2012 § Leave a comment
PM00000010000005330 15: 2012 § 2 Comments
In the collection of Morton feldman’s volume of essays is one relating to a seminar that he held in Frankfurt in February 1984. Here’s one entry from that seminar:
“There is this marvelous story about Duchamp and an art student in San Francisco many years ago. Duchamp goes to that art school and he sees this kind of tough, macho San Francisco painter and Duchamp looks at the picture he doesn’t know. He says to the fellow, “What are you doing?” And the painter says, “I don’t know what the fuck I’m doing.” Duchamp pats him on the back and says, “Keep up the good work!”