Bosphorus Art News Paper Interview
1. Can you tell us about the creation process of the exhibition?
I suppose that there isn't a singular line of action when it comes to organising an exhibition and especially when experimenting with new ideas some things you discover in the process. Being a founding member of Collaborative Art along with Jonathan Bradbury, we have been organising events and exhibitions since 2009 and there is a basic pattern we follow, such as find what we want to talk about, find the venue (when necessary), choose and liaise with the artists and then it‟s all about the logistics of time frames, budget and every other thing that is necessary to reach to a successful and enjoyable event.
2. How did you determine the artist that take part in the exhibition?
The artists were invited according to their previous work and thematic scopes of practice. After introducing the theme they were asked to propose a project/work that they believed fitted to the theme of the exhibition. The majority of the artists worked on new projects and working close with them we reached the outcome you see in the book.
3. There are artists from different countries. What do they have in common?
I think that the theme can tap into a wide spectrum of ideas and interpretations and part of our aim was to encompass a diversity of opinions and practices. The artists work are catalysts that either complement each other or totally contrast, which creates an interesting and intriguing environment when all placed in the same exhibitional space. I don‟t necessary think that the artists have something in common, nor that was an intention, you will find that their practices and approaches differ a lot, but juxtaposing their interpretations of the same theme has brought a beautiful and challenging result.
4. The exhibition is originated/formed as -literally- a book. What made you make an extraordinary exhibit like this, instead of using accustomed/standard exhibition forms? What are the reasons for this?
The idea of using a book as an exhibitional space came mainly from a thesis I was writing exploring the new term of „book curator‟ and the alternative exhibition spaces and my inspiration came after the Xerox book, 1968 by S. Siegelaub and J.W. Wendler, which is a very similar project to the „Tracing my Echo‟ book. Following their steps I wanted to experiment with the idea and also observe the way that the artists and viewers attempt to overcome the familiar identity of the object and engage with it in its new context.
5. It is entitled “Tracing my Echo”. Can you give us information about the concept?
Tracing my Echo reflects the attempt to search, locate the source and the origin of a course. The artists were invited to explore this course and create new parallel paths that span from a universal approach to a very intimate personal space, while debating concepts of science, history, social identity, spatial awareness and emotion.
6. Was is harder to find a gallery (or a sponsor) for your project? Or what difficulties did you encounter?
This specific project evolved after I was invited by Tettix gallery in Thessaloniki, Greece to organise an exhibition. The book is presented in this exhibition as the second part of a lets say „physical‟ exhibition with works around the gallery, but we are planning to exhibit the book in different countries around the world presenting the book solely as the exhibition space, so I will have to get back to you about the difficulties we encounter.