i left Wellington for a number of reasons. pertinent
to this discussion
was my growing sense that there were a whole lot people in the city,
interested in similar things as myself, who worked in isolation and
didn't share, not because they didn't want to but because (like myself)
they didn't realise their work might be valuable to other people, and
even if they did think it was valuable there was no established place to
How about thinking of established *methods* to share? Why the 'lab'
the arts market in New Zealand is as far as i could
in post-colonialism and so heavy with theoretical nonsense that i always
felt it was impossible to approach it coming as i am from a position of
having no formal arts training.
But having a CNZ funded something-lab isn't going to refocus the NZ art
world -- it is going to reflect it. OK, so you mentioned before you
were keen on corporate co-sponsorship, but that won't help the art.
It'll morph into 'innovation'.
i started organising events to try to rectify what i
saw as a tragedy of
lost opportunities. this was the point of the Bleep series of workshops,
and although they were successful in doing what i was hoping to achieve,
i quickly realised that without any infrastructure the overhead of
effort was enormous, and that i was not cut out for organising events;
moreover without follow-up the social aspect was quickly lost, and it
was hard to make these follow-ups happen in an informal way.
Isn't this an argument against a hack-space: it will fail, because in
your actually experienced reality nobody cares much?
when i put together Sounds Like Light, Lights Like
Sound for the
Fringe festival in 2007, i thought that because the work that i was
making was coming from a more practical approach to artistic work, it
was somehow lesser art, or perhaps not even art at all because it was
so technical. these feelings are something that of course come from
my identity as a New Zealander, but i know that if there had been a
hacklab space in Wellington i would not have felt so isolated and
confused about what it was that i was actually doing, and as a result
i believe the work i could make would have been much better.
that's what it means to me, and that's why i
care, because i know there
are other people back home dealing with the same shit i was dealing with
in my head, and that since such a place would have helped me, it could
help them too.
You know Damian, probably not. Young men, early twenties, feeling
isolated and confused, think they might be artists? There is nothing
that can help them.