My name is Cecilia Alemani. I am one of the curators of No Soul for Sale, which is the event that is taking place right now at Tate.
No Soul for Sale is a festival of independent art spaces, so what we did, we simply invited 70 organisations from all over the world to come and present their own activities here, and this is what you see down in the Tu\rbine Hall.
I’m James Brett. This is the Museum of Everything. We are an independent organisation of no fixed abode or form, and No Soul for Sale contacted us, asked us if we wanted to do something for the show, and we thought, why not put a call-out to everybody in Britain who maybe thinks they are one of these artists who are outside the mainstream, and see who turns up, see who comes along with work. We’ll meet them, we’ll get their details and take their photo. Then they’ll come and meet our board of trustees. We’ll look at the work, we’ll decide if they should be displayed, and if they should, bang! Up they’ll go.
And it’s nice to see artists or people who normally don’t exhibit. It’s definitely interesting.
Our curators are Maurizio Cattelan and Massimiliano Gioni. Maurizio Cattelan, as you probably know, is an Italian artist. He lives in New York and he was, let’s say, the creator of No Soul for Sale as an idea, and then we just realised it altogether, and it was very interesting. I think everything is on the same level, so there is a kind of unity, in a way, and democracy that is not usually visible in art, I think.
Black Dogs are an autonomous collective based in Leeds, and we came here to the Tate today a bit troubled by the idea of being an independent art group in the Tate. We posed the question how not to sell your soul at No Soul for Sale, so around the bar today and throughout this weekend we’re collecting people’s proposals to try and deal with that problem.
My name’s Ric Blackshaw, and I run Scrawl Collective, which is an organisation that works with artists – we do large-scale murals, we sell prints on line, we do all sorts of different projects, with exhibitions all round the world. Today, we’ll be painting that wall. Well, I’m not, but they are!
Not an Alternative:
I’m Becka. I’m part of the group called Not an Alternative. There was an artist in the Nineties, Rirkrit Tiravanija who built his New York apartment inside a gallery space, a two scale model, and invited people to eat, take naps. Life and art was blurred, so he fast-forwarded to 2010, we’re in the middle of a participation paradigm. Its structure is the internet business models, in architecture, in everything. And so here we’re really commenting on the limits of participation, who gets to participate music [inaudible 00:03:30] so we built Rirkrit Tiravanija’s apartment, but your participation in the piece is foreclosed.
My name is Matt Carlson, and I’m in a group, an art collective called Oregon Painting Society. The thing we have over there are circuits that are controlled by plants. It uses conductivity. The more contact, the more electricity flows, the higher the frequency of the oscillator goes.
My name is Thurston Moore. I’m here representing White Columns, it’s an alternative art space in New York City. I have a publishing imprint called Ecstatic Piece Librarian. We’re doing a book with Yoko Ono where the books turns into a kite, the sort of poetry kites that we have poetry on the tails of the kites. I’m going to play 12-string acoustic guitar – some new material and some more vintage material – and no sound check. Sound checks are for squares!
To celebrate the tenth anniversary of the Tate Modern is quite an honour.