I have said a few times that European cultural journalism of the sort published in free press is generally better than what Australian ‘elite’ media publish. This is not because am mean and/or hate Australia, but because standards of cultural journalism in Australia are held very low.
To demonstrate what I mean, here is an interview from Electronic Beats, a magazine I picked up in a bar a few days ago, here in Berlin. The interviewee is Chris Dercon, the director of Tate Modern:
You’re known for using interviews as platforms to make people aware of such societal developments. To quote you: “There are millions and millions of people […] who don’t know what social class they belong to and who can’t identify with any particular political agenda. And they’re becoming more and more. Those in power are hoping they don’t realize how many they’ve become; they’re hoping that they just continue to exploit themselves . . .” Do you think the art of modern governance lies in the skill to make the millions of members of the freelance “precariat” believe they’re only struggling for themselves individually?
I am completely aware that broaching sensitive topics like that is probably not something that’s expected from the director of a major art institution. A director’s job in the twenty-first century is not only to assume responsibility of a space for art, but also, and maybe even more so, to supposedly create a “time-slot” for art. That’s not my interest and never has been. I want to institute an institution, and this means to really create a space, to establish the conditions that fulfill particular needs and allow for certain experiences, and to make possible events in the future. This shouldn’t be equated with simply celebrating art’s “time-slot” within the larger scheme of socio-political events. I think most politicians see art as entertainment, as an expression of consensus of thought and taste, not as a form of critique. To make the impossible probable, and to celebrate the demos—that’s what I see as my task at Tate Modern, and that’s why this job is so intriguing. The Tate Modern is both sexy and democratic. You see celebrities and famous thinkers, but also groups of school kids and tourists who just arrived in London with the Eurostar . . . not to mention the twenty million visitors who use our online tools every year. And they all want something different. An exhibition like Gerhard Richter: Panorama is just one thing people want to experience amongst a host of other offerings. Curating exhibitions, selecting artists and art works; that’s one thing. Getting a message across is another. That’s why I like talking about small-scale organizations and what they can achieve.
OK, let’s talk about it. How do small-scale organizations fit into the picture?
Enthusiasm about being creative is a key aspect of self-exploitation nowadays, and that’s one of the biggest issues in an era where millions of people are freelancing. Today’s inequality is indeed unbearable. The art world is an ecosystem made up of art schools, art fairs, auction houses, galleries, museums, art publications, et cetera. And within this ecological mix, small-scale organizations become more and more important because they’re forced on the one hand to deal with so many other parts of the ecosystem and to adapt, while on the other hand still being absolutely unwavering about their mission. Most of them operate under almost impossible—I would even say unbearable—conditions. And yet they continue to operate.
You mean they are forced to operate in the face of failure?
That’s exactly why I’m interested in them.