Spaces Of Mediation
Spaces of Mediation was the title of a seminar, which took place in King's Wood in Kent. The focus of the day was to generate discussion around the role of curator as communicator and mediator. This blog is a site for reflection of the conversations that took place on the day, as well as a way of encouraging further dialogue. If you would like to comment, please click on 'Submit'. - Sian McMillan, Seminar Organiser
The next chapter of this discussion investigates institutional and organizational agendas. How do we negotiate partnerships where there may be differing agendas?
Kate Phillimore, Matthew De Pulford and myself have discussed the role of the curator as someone who is there to diffuse conflict, and while acknowledging that often polemic is an important part of a creative work, managing the dissemination of this tension through working relationships, funding bodies, or institutional agendas can be very sensitive and complex.
A key point that came up was the importance of clearly defined roles and allocation of tasks when starting on a new project. I suggested that perhaps a strong sense of responsibility within a role can aid in the prevention of conflict. Maggie Anwell and Jim Shea responded to this.
Maggie Anwell discusses tension in creative partnerships.
Jim Shea talks about finding a balance between structure and flexibility when managing a project.
On our walk through King’s Wood. Matthew De Pulford reads an excerpt from Hamish Fultons’ Walking Through (1999).
The challenges involved in passing from one specialism to another have no doubt also had a positive impact on contemporary art, the cross pollination of genres has lead to hybridized art forms and continues to aid in a progressive discourse. Matthew King, a composer, pianist, lecturer and artist, occupies quite a unique position. Here, he discussed how he grapples with all of these elements. Sandra Drew and Maggie Anwell also feed into this discussion with some interesting thoughts on the politics of language.
Dual or multiple roles seem to have become commonplace within the arts; as a matter of career progression, varying and changing interests or simply survival, particularly for practicing artists who also hold a job. We discussed the shift between roles and how perhaps different roles and agendas might feed each other or detract. Is it possible to separate a personal practice from a professional one, and should we try? Beth Anderson, fresh out of university, shared with us her experiences upon graduating and finding her way into the workforce.
Matthew De Pulford picked up on Maggie’s notion of ‘sweet talking’ in order to mediate and overcome differing agendas, he asked her to expand on the mechanics of this.
On our walk we pass under Richard Harris’s growing archway of coppiced chestnuts. Untitled (1994).
Seminar group
