Art at the edge can be scary and challenging. Last week when in Dresden I was openly asked to be challenging in what I had to say. It a strange one for artists, we spend so much time alone, in isolation creating our work through its up and down it traumas and its bliss that we forget that what we say is also important, valued.
Its a bit like being the “Best Man” or Woman at a wedding, you have to come prepared. But most artists will say: How?
The problem today is that artists are born into a culture of commodification which by its very name implies superficial, contrived, processed. To be commodified is to be packaged and sold and therefore, unless you are happy with being bought for decoration, adornment and valuation then you need to change, to refuse.
But how? You have to use the NO rule!
Artists work inspite of money not because of it.
I am looking for the next location for MONUMENTS? But where?
To-date the installation has been in the most iconic, thought provoking and outstanding locations:
The largest and most ornate banking hall in Britain, located in Liverpool. It had been closed down for many years and now 5 years later is still waiting for a plan for its it’s re-use or the bull dozers. MONUMENTS was installed there ironically as the world economy went into free-fall in 2008. Following this it was re-installed in Liverpool Anglican Cathedral during Lent.
In 2009 it was installed in the Palazzo Contarini as part of the Venice Biennale. An amazing location, the Palazzo that Ruskin had said was the finest Gothic Palazzo in Venice.
In 2011 it was installed in the subterranean bowels of a brutally iconic modernist building in Bloomsbury London: The Brunswick Centre.