Many artists have a deep-rooted instinct to keep their work private. I would suddenly think “a show that is not seen, why? We want to be seen! That’s the whole point of showing, isn’t it?” And so developed an internal dialogue about the value of privacy in general and its particular value in the creative process. Throughout the process of developing the show every so often desperation would again rear its head. The show brings a context that highlights the value and beauty of this “having a project” and makes an argument for its inclusion within the boundaries of what constitutes art. It allows us to say, perhaps it is enough to have a project, to fight against the gravity and meaninglessness of life and the heaviness of yourself. But more than this it makes a persuasive argument for blurring the line between artwork and life. It has created a context for all staff to participate and relate to the spaces and people that are the ICA. This social aspect has brought creativity and invention into the everyday relations of the building.
It was clear that here was a concept that would dramatize and contextualise the work in a way that would not have occurred had it been shown in the main spaces or a space outside the ICA and that would even create new freedoms through its restrictions.īoth Russell and I felt that it was important to make the exhibition open to all staff regardless of whether they were an artist or not. Inspired by Jens Hoffmann’s curatorial practice he suggested the use of the private spaces in some way.
However, the conversation with Russell yielded something new and, most importantly, realistic. Most of them involved proposing the use of the main spaces in the ICA in some way during the interim between exhibitions. I had been talking to lots of people about my idea for a staff show and various models for the show had evolved. The beautiful and eloquent idea of using the private spaces as a platform for private lives and private work came out of a conversation between Russell and me. But the project has gone far beyond this starting point and has developed into something more interesting, more various and more rewarding than I could have possibly imagined. Because it allows me to still make art work! And so hours are spent making surreptitious notes that describe the trajectory of possible ways out!” Without the initial raw impulse of desperation the show would never have got off the ground. Fighting the boredom and telling myself that I do this job because of its flexibility.
NARITA BOY STOREROOM MOVIE
I have spent too many long hours sitting in the gallery projecting my own work into the space or watching the same movie three times in a day. I have seen and heard a lot of thought-provoking and inspiring things!! However, I still want to escape. It has been a real education, I love the people I work with. But I would continue: “I love working at the ICA. Desperate because I have worked at it for too long.” You might be put off by this answer.
“Desperate because I work in a job that doesn’t pay very much. You might ask “But why so desperate?” The answer is not so long in coming. This was the first step in the creation of this show. Desperate to show and desperate not to remain hidden. A person who has the desire to create a staff show does so out of desperation. Paiva, Geraldine Walsh, Herbert Wright, Infinite Livez, Iona Scott, Isolda Pujol Piza, Jasleen Anand, Jen Wu, Jennie Sharpe, Jens Hoffmann, Jitan Patel, Joe Schneider, John Dunning, Julia Hamilton, Julio Pereira, Jussi Brightmore, Kate Street, Kate Wallace, Laura Karacic, Lee Curran, Lena Nix, Liana Nobilo, Lucy Brown, Mara Castilho, Marcus McSweeney, Mark Harrison, Mari Reinjders, Martha Pym, Matt Packer, Michael Ajerman, Nathaniel Mann, Nicola Chambers, Oki Uhure, Pamela Jahn, Patrick Waters, Patrick Coyle, Paul Sammut, Paul Shottner, Pearce White Productions, Puneet Sulhan, Richard de Cordova, Roy Brendon, Russell Herron, Sarah Scarsbrook, Sean Garland, Simon Humm, Sipei, Tim Anderson, Toby Messer, Viniita Moran, Yimkin PRIVATE participants : Andrew Bala, Angelo Madonna, Anna Schori, Anjana Janardhan, Astrida Grigulis, Ben Parsons, Ben Woodeson, Bimba Champion, Chris Grounds, Claire Lloyd, Claire Moore, Clare Evans, Danny Birchall, Deva Palmier, Dougie Belford, Duncan Smith, Edvine Larssen, Emma Pettit, Fabio Henrique M.
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