A masterclass for dissident gallerists
A masterclass for dissident gallerists
My recent visit to the States of Violence exhibition at the a/political gallery-cum-project-space, South London (24 March-8 April 2023) gave me pause to consider general lessons for dissidents.
States of Violence contains sculpture, photography, installation, video, performance, multiples and mixed media, all relating to the theme of state surveillance and violence against dissidents. There is an installation using blood and another of a fraction of top-secret diplomatic cables printed out as hardback books. Subjects include political prisoners in Spain, work by Wikileaks, the case against Julian Assange and state surveillance via the Pegasus malware system. Considering the political sympathies of the venue and artists, it is unsurprising that the concentration is upon how these issues impact causes and individuals who are left aligned. Whatever one thinks of the contents and forms of material presented at this space, there is no doubt that it is a coup de theatre. Art or otherwise, this rhetorically adept display makes its case and impresses. See my review here.
However, there is nothing that makes matters of political repression by the state explicitly and solely problems for the left. The right is now the single highest priority for the security services in the USA and UK, despite more political violence being committed proportionately by the left, eco-activists and Islamists. So, one could imagine a mirror-image exhibition where the topics and artists were of the right. The fact that most of the material was primarily factual and secondarily artistic means that any diligent producer with an eye on memorable presentation and access to resources could produce similar work from a different perspective.
In a pamphlet about the Barbican (2022, now out of print), I pondered what would be needed to make viable an arts centre which supported counter-elite values and platformed dissident art. In that case I was thinking of fine art, especially the grander arts of opera, theatre, orchestral performances, classical dance, fine art and so on. However, if one accepts that action via artivism may be effective at presenting values whilst not necessarily having much (or any) value as art per se, then a commercially viable project space seems a necessity for any counter-cultural movement. So, given that a group may find it advantageous to make such artivist displays, what are some basic observations that could be followed by any dissident gallerist who wishes to engage in artivism?
Here I present lessons learned from my visit to the States of Violence exhibition for a dissident gallerist willing to enter the field of artivism.
1. Get a good project space that is flexible and easily accessible via public transport, preferably in the capital or another important city. Consider doing mobile actions through flash events and pop-up venues as an addition, but try to keep a stable centre.
2. Build an audience. Set up a website and email list of supporters that can be used for venue events and additional projects, like events, talks, performances and publications. This can be used for financial drives.
3. Operate commercially. Sell on a regular basis, especially at low prices to a mass audience. Purchase works at an advantageous prices, loan those to increase profile and value, sell advantageously or donate to museums to increase prestige. Use your venue’s political commitment as a way to incentivise your collectors and visitors.
4. Use crowdfunding to source money for events, increase engagements and generate publicity. Points 2, 3 and 4 are related.
5. Build links with artists. They will loan works and amplify your events and profile. Make them feel part of the gallery’s mission and momentum. Goodwill will help your operation.
6. Put on dramatic media-friendly displays regularly. Showstopper images or concepts grab headlines and stimulate social-media buzz. Related events that are memorable can be timed to promote exhibitions or crowdfunding campaigns. Cultivate the press, especially by using a public-relations company.
7. Accompany events with free materials, such as posters, cards, brochures and newspapers. Make perks available to regular donors, such as signed limited edition works, artist talks, performances and so on but remember that free material promotes art, artist, venue and causes, circulating widely.
8. Run a programme that is diverse in form but politically disciplined. Events should have cross-over appeal. Put on talks, performances and concerts during the run of an exhibition. Do work online to allow supporters who cannot visit the chance to listen to events/discussions. Encourage collaborations of gallery creators. Promote unique performances and actions. Build a core of expertise in music, cinema, performance, speech, drama and so forth, and learn how to deploy that in a manner that amplifies messages and augments displays.
9. Try to have an international angle, even if the material is all domestic in origin. If you can build relations with foreign figures and press, this makes you a destination for visitors from there and will attract future collaborators. It also enhances the venue’s status.
All of these lessons have been understood by a/political and they are not partisan issues. If a dissident group wants an artivist wing as well as a traditionalist/fine-art wing, it would do well to learn from the current event.
States of Violence is on show a/political, The Bacon Factory, 6 Stannary Street, SE11 until 8 April 2023
Something else occurred to me. Most people who identify as conservative, let alone dissident, in the US don't like artists. And I mean any kind of artist. To them art is either entertainment or decoration. Some might go for stuff like Charles Kincaid or the happy trees guy but other than that their brains just don't operate on the level of images, gestures and sounds in time. I hope things are better in England.
Thinking a bit further. (Bear with me.) NFTs are an interesting idea. Regular people are able to capture a part of the miracle of the relic by buying one without the intimidation of the art gallery, and they could be cheaper. You propose to Jeremy Clarkson, or some other non-crazy star, that you will make a series of real life objects (RLO) associated with his farm or show. Could be images of him and his co-reality associates, or the cow Pepper, or whatever you feel is appropriate. You could use Mid-Journey AI. He, or another amenable star, gets a piece of any sales that could also go to some charity for animals, the farm, etc. by turning the RLO into a jpeg NFT. Like Damien Hirst, you make some kind of gallery event as part of the buying process; maybe the star (Jeremy) shows up at an event where the buyers decide if they want the NFT or the RLO. You need to tie the NFT into the real world though. I think that's really of key importance.