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Bloomberg New Contemporaries 2010 26 November 2010 23 January 2011

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Bloomberg New Contemporaries 2010 26 November 2010 23 January 2011 Bloomberg 26 November 2010� New Contemporaries 23 January 2011 2010 Bloomberg New Contemporaries / 26 November 2010—23 January 2011 www.ica.org.uk/learning ICA possible that we may consider someone note that we’re really working with people Bloomberg involved with an institution in another in the show at every level, especially New Contemporaries country but for me I really feel that it is around the public programme, providing more distinguished if you retain that different platforms and situations for 2010 prominence of just having artists. We have encounter and discussion. Interview had ‘advice’ from someone suggesting that we have a collector and a dealer on MATT � It is very much the On Friday 29 October 2010, ICA the panel, or someone from the internationalism of art schools and their Learning Coordinator Vicky Carmichael sponsorship board, but then it becomes reputation. met with Director of New something else and introduces agendas I interviewed Hannah Rickards who Contemporaries, Rebecca Heald and that aren’t about the work. was in New Contemporaries in 2003, and ICA Curator, Matt Williams to discuss For me I love looking at art with other asked her if she felt she had developed a the upcoming exhibition. artists, I think you really get a different core group. I don’t think she had an perspective. Just look at the short texts in opportunity to for that to happen so much. this year’s catalogue. We held a social event last night at the VICKY � The ICA’s Learning team ICA and I felt it was really successful in encourage students to visit the ICA and MATT � If you did get a dealer or collector bringing people together. have a responsibility to nurture their on the panel then it has the potential to interest and inspire their creativity. An become another version of the recent REBECCA � If you want broad brush I think exhibition like New Contemporaries is an Saatchi television programme. there is a real thirst or interest in the excellent tool and accessible platform for public to see work from this stage in us to use to achieve this. I’d like to start by REBECCA � It just turns into politics and it is people’s careers. And the way New opening up the processes within New not about that. At root it is about art so to Contemporaries is set up, its integrity, Contemporaries. How do you bring have it just artists has a coherence. It is means it survives and all the others come together your selection panel, and in turn true to the art through and through. and go. There is something innate about how do they select the work to exhibit? the need for it. VICKY � Each year it seems that there is REBECCA � There are pieces of paper with another new exhibition showcasing the MATT � I think it is because the principles names on that have been passed down best of recent graduates. Why do you of New Contemporaries have been so over generations! It is a very considered think it is important that New consistent over the years which is really and nuanced process and we treat it in a Contemporaries continues to exist and important. Plus as a curator New very secret way – we make sure the door what is it that sets it apart from the other Contemporaries is an opportunity to see is shut when we are discussing it! shows? fresh work and fresh ideas. It also You are looking to get a balance of provides you with an idea of what is being people, people who don’t already know REBECCA � Now there are so many different taught at present to the point whereupon each other, you don’t want consensus. shows that are along similar lines but house styles start to become apparent Ideally we want to have a couple of people there is something about New whilst reflecting themes within that we don’t know ourselves so you don’t Contemporaries that means for one contemporary culture. have that familiarity. We always aim to reason or another it has survived through have an international voice. So within that various ups and downs. I think this is VICKY � We are seeing more and more we are looking for different kinds of mostly due to its complete commitment to artist-run spaces providing affordable voices, people that work in different media art and quality. This is allowed to come studios, gallery and project space; for so people see that when they are looking through at every point because of the example The Woodmill in Bermondsey or to apply. With Mark this year and his anonymity of the process. Historically New TAP in Southend. Going back to the point practice we were hoping to get more Contemporaries has given a really vital about developing core groups – these performance through, but that didn’t and valuable platform to people at a really spaces are helping bring people together, happen so much. crucial point in their lives and careers, encouraging dialogue about their work when they are worried about what might and building networks. MATT � It is interesting as they all have a happen next. strong identity in their own practice for When Mike Nelson talks about being MATT � Well those spaces are great in example, you wouldn’t put Gabriel’s work in New Contemporaries, the same year as providing affordable space for artists; they any where near Dawn’s. What interests me Chris Ofili, Edward Lipski, Simon Starling are often based in redundant buildings is that you always select artists – do you and Gillian Wearing among others, he says that would otherwise be left empty. They take into account if they have any that the experience of being in New can be used as a tool to promote young background in education, if they teach? Contemporaries and bobbing around in a artists and their agendas which is a really little group all together for a while gave positive thing. It reminds me a bit of REBECCA � Yes that’s a consideration, but it him this real feeling that they were all in Damien Hirst and Freeze, the whole YBA doesn’t dictate. Mark teaches at this as a group - going through this thing and a sense of do it yourself. You Städelschule in Frankfurt, Dawn at the process and slightly uncertain time gain a huge amount of experience working Royal College and Gabriel has been a together. in this way. visiting tutor in different places, I know he It’s more complicated now because of enjoys it. They all get a lot from teaching the internationalism of art schools in the VICKY � How is New Contemporaries which I would think is part of their UK. So while Mike and his crowd at that different to going to a degree show, or art motivation for coming to New point might have had all that time together fair? Contemporaries. Last year we had all at New Contemporaries and as soon as artists and this year we are aiming along they started going to openings, they start MATT � I was talking to a group of the same lines although we may introduce to see each other around. Now, people students about New Contemporaries, this a writer. Essentially you are looking for are coming from all over to go to art one student asked why it was coming to people that aren’t associated with school and at the end of it they often the ICA, were we packaging it like an art institutions, especially in this country. It is leave again. This year it’s important to fair, and I said actually no, far from it. You Bloomberg New Contemporaries / 26 November 2010—23 January 2011 www.ica.org.uk/learning ICA have all the history of the ICA, resources reasons, which does unfortunately that people engage with directly, serially in place working around the Learning infiltrate art schools, and their level of – you have to make it work in different programme, events and talks. It is ambition. ways, and it’s hard. It is a real challenge. probably more consumer friendly in the current political or commercial climate to REBECCA � You also get that with MATT � Even just the installation of the put it in a warehouse in East London. performative practice, and that is one if videos has been quite demanding, and But to put it in the ICA you have all the the things I find really strange in the New obviously each artist wants their work to historical context rather than a commercial Contemporaries submissions is that it is be presented as true to their original one. just not coming through. So that is installation as possible. It is about something to really build on the next little ensuring that the individual voices are REBECCA � To have input like that, to think while. It’s like the film/theatre thing where seen and heard and that the installation very distinctly about the commercial performance has got that real immediacy respects that voice but at the same time aspect of it or have people ask you and as the political climate becomes more we need to be careful that it doesn’t go difficult questions I enjoy that because it charged it is a very direct way to work and off at too many different tangents. It has helps me articulate what it is actually engage with audiences and it is definitely to feel like it is an exhibition; New about. going on, as born out by the programme Contemporaries is the umbrella – the here at the ICA.
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