What was you approach to selecting artists for this show?
We picked the artists in the show based on individual works that we genuinely admired, as opposed to their practices as a whole. We were conscious of not just picking works that would look good or work well in miniature – we knew that some pieces would be near-impossible to remake exactly.
The sourcing of images from the internet seems to be of significance you why?
We are very interested in the way we digest contemporary art online, and many of the works we found through this avenue. There is a very strong correlation between this process of absorption through the internet and the physical space of Mailbox, in the way that one moves through or along it. The windows of Mailbox almost become screens, small snippets of information that one tends to linger on for only a little while. When you throw miniatures into the mix, it questions whether it is necessary to see the original artwork in its original context, or if this mediated version suffices and allows for a similar experience of the original. So in a way, the miniatures in DUMMY operate in a similar way to photographic documentation of a show. It becomes transformed and mediated in it’s translation.
What were the challenges in presenting this show? I could imaging coordinating 19 artists would have been quite challenging.
There was a lot of correspondence with the artists! That was mainly the sheer number than anything else.
Have you worked together in a curatorial capacity in the past? Will you do so again in the future?
This is the first curatorial project we’ve undertaken together, however we have collaborated in other ways over the years. I’m sure it will happen again! Watch out for us in Documenta 19 ;-)
I know you have both curated shows at DUDSPACE and Madé you run and curate it- are you attracted to finding ‘tricky’ or unconventional exhibitions spaces to exhibit work- why?
Certainly. It’s much more challenging using unconventional spaces. It pushes the artists (and curator/s) to think outside the square (or the white cube?) and find innovative ways to present their work. It’s becoming increasingly difficult to justify traditional exhibitions in your everyday pristine space. It’s a bit of the Contemporary Art Daily effect – that these spaces are attractive because the documentation will look good and it’ll look like a pro show. It’s much harder working with confined or alternative spaces and I guess that keeps it interesting and engaging for the audience.
You can see more of Madé’s work here