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Curating Political Change

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Curating Political Change Agency and affect: curating political change Simon Maidment orcid.org/0000-0003-3984-5222 This thesis is submitted for the degree: 475AA Doctor of Philosophy – Victorian College of the Arts, University of Melbourne. Submitted 31 December 2017. The research was carried out in the Centre for Ideas, Victorian College of the Arts, University of Melbourne. This thesis is being submitted in partial fulfilment of the degree. 190103 Art Theory Studies in Creative Arts and Writing not elsewhere classified 199999 (Curatorial Practice) 190101 Art Criticism 229391 Aesthetics 1 Abstract Agency and affect: curating political change is a practice-led research project that considers the relationship of art to political change, and the critical possibilities for agency in this relationship. To establish this, I develop and elucidate a theoretical framework for understanding art's operation in the social and political sphere, and relationship to the individual audience member. By foregrounding first an understanding of how an artwork operates within a relational sphere of individual subjectivity, I elaborate a new position arguing that the artwork and its affective potential can generate individual insight into the limits that bound behaviour and thought and, through this, enable a sense of agency in contributing to change through challenges to those limitations. I develop this framework through the process of conceiving, developing and staging a series of curatorial projects, employing the practice of critically-engaged curating as a research methodology, using a mode of curating situated within the discipline's contemporary discourse. The ideas of social agency, and engagement of a political nature, are intrinsic in the content, form and presentation context of each curatorial project. Interspersed between, various ideas are tested against these curatorial projects over the course of the research, and the results form the ground for the subsequent projects. This process of testing and evaluation of concepts against actual artistic projects and their strategies, feeds into the development of a robust theoretical framework for considering art and agency. The research paper concludes with an argument for how this framework offers a recalibration of the nexus between art, the political and everyday life and, in light of this, the ways in which an artwork might be measured and understood. The creative work is the curatorial development and realisation of the three projects: Civil Twilight End, 2011, a permanent public artwork situated in Melbourne’s Docklands; [en]counters, 2013, a program of temporary performances and installations staged in the public sphere of Mumbai; and David McDiarmid: When This You See Remember Me, 2014, a retrospective exhibition presented at the National Gallery of Victoria, Melbourne. This creative work is documented through still images in the accompanying Durable Creative Record. 2 Declaration This thesis comprises only my original work towards the 475AA Doctor of Philosophy, Victorian College of the Arts, University of Melbourne; due acknowledgement has been made in the text to all other material used; and, this thesis is fewer than the maximum word limit in length, exclusive of tables, maps, bibliographies and appendices. _____________________________________ Simon Maidment Acknowledgments My supervisors at the University of Melbourne: Elizabeth Presa, Head of the Centre for Ideas; and, Nikos Papastergiadis, Director of the Research Unit in Public Cultures, School of Culture and Communication. Interlocutors who have at various times provided critical insight: Andrew Benjamin, Claire Bishop, Paul O’Neill, and especially Louise Burchill and Justin Clemens. Kathy Temin in acting as external examiner for my confirmation seminar and Barb Bolt for chairing my completion seminar. My collaborators on each of the projects: Natalie King, Elise Foster Vander Elst, Sally Gray, and my colleagues at the National Gallery of Victoria. The artists involved in each of the projects: Kate Daw and Stewart Russell; Kay Abude, Steve Bull and Kelli McCluskey, Veronica Kent and Sean Peoples; and David McDiarmid. Supporters of Satellite Art Projects and its activities including Equiset and Lovell Chen Architects in realising Civil Twilight End, and Creative Victoria and the Australia Council for the Arts for grant support towards [en]counters. Finally my family, especially Vikki McInnes who has provided immense support and critical engagement with each project and this research, and our daughter Clementine. 3 Table of contents List of tables, figures and illustrations ................................................................................. 5 List of all third party copyright material ................................................................................ 7 Introduction ....................................................................................................................................... 8 Chapter 1: Curating and the curatorial .................................................................................. 16 Chapter 2: Art and social change: a crisis ............................................................................. 31 Chapter 3: Context: place and specificity .............................................................................. 36 Chapter 4: Civil Twilight End ..................................................................................................... 44 Chapter 5: Relationality, judgement and artistic strategies .......................................... 59 Chapter 6: [en]counters................................................................................................................ 67 Chapter 7: Experience .................................................................................................................. 86 Chapter 8: David McDiarmid: When This You See Remember Me ................................. 94 Chapter 9: What can be said, done and seen .................................................................... 109 Conclusion ..................................................................................................................................... 116 Notes ................................................................................................................................................ 121 Bibliography.................................................................................................................................. 132 Appendix A: Plaques accompanying Civil Twilight End, Kate Daw and Stewart Russell ............................................................................................................................................. 139 Appendix B: Resist: Mumbai list of issues, approaches and initiatives, PVI Collective ........................................................................................................................................ 141 Appendix C: David McDiarmid: When This You See Remember Me soundtrack by Steven Allkins ............................................................................................................................... 150 Appendix D: David McDiarmid: When This You See Remember Me film series .... 151 4 Figure 1: image provided by the artists to support their proposal, Civil Twilight End, 2009. .......................................................................................................................................................... 51 Figure 2: west elevation of proposed bell tower and Goods Shed North by Geoffrey Barton, Lovell Chen Architects, 2010. ......................................................................................... 52 Figure 3: mock-up of proposed bell tower height, Goods Shed North, 2010. ....................... 53 Figure 4: bell maker Dr. Anton Hasell with completed bell, 2011. ........................................... 54 Figure 5: Civil Twilight End, corner Bourke and Village Streets, Docklands, 2011............. 55 Figure 6: Civil Twilight End plaque installed on Goods Shed North, 2011. ............................ 57 Figure 7: McCluskey and Vasa cheering on a participant, PVI Collective, Resist: Mumbai, 2013. .......................................................................................................................................................... 80 Figure 8: Foster Vander Elst in discussion with a curious crowd, Kay Abude, Production Line (Mumbai), 2013. .......................................................................................................................... 82 Figure 9: Kent and Peoples performing in The Telepathy Project, Dreaming the Arabian Sea, 2013. ................................................................................................................................................. 83 Figure 10: ACON safe sex and safe injection posters by David McDiarmid (right) alongside related artworks, David McDiarmid: When This You See Remember Me, National Gallery of Victoria, 2014. ................................................................................................ 99 Figure 11: audience members inspect vitrines in the first room of David McDiarmid: When This You See Remember Me, National Gallery of Victoria, 2014. ........................ 101 Figure 12: audience members surrounded by wallpaper of McDiarmid’s HIV Living Mardi Gras float in David McDiarmid: When This You See Remember Me, National Gallery of Victoria, 2014. ................................................................................................................
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