Don’t mess with Durban Artists – have some Respect!

As an independent curator who runs two independent alternative gallery spaces (at Bean Bag Bohemia and at Home restaurants), I am well aware of the vital importance publicity plays in promoting artists’ careers. Not only does adequate media representation relay vitally important information about the context of the artwork and the artist who created it, but it also gives the work a broader audience allowing access to those who may not logistically have been able to experience the work themselves. Media representation also endorses and adds value to the artwork in the same way it might a beverage or garment.

In fact, it is no secret that prime media time, when given to commercial goods, translates directly into money.

Sponsorships and buy-ins from brand managers and the economic sector is not merely based on the intrinsic qualities of an event but rather on the event’s potential to ‘steal’ them media attention and those prime time seconds.

Artists have the power to excite the imagination of the media and earn those valuable prime time minutes. However, their artwork is seldom represented properly, often simply providing a decorative foil in an elaborate branding exercise. Fortunately, some artists like myself have been able to foster the independence and freedom required to speak out against this type of manipulation. In fact, it is my mission as an arts curator to empower my fellow artists to such a position of freedom, as it is my belief that a vibrant and healthy artistic community is reliant on this degree of autonomy and self-respect.

I have no doubt that these qualities were what won me the honour of curating this event and enabled me, quite literally, to bring to the party a number of highly sought after artists.

It is also what requires me to challenge the motives of the DDC production team. Had they read or considered my article pertaining to the art side of the event and published in the Mercury newspaper, they might have had a better understanding of the fragility of artists and the nature of cultural property. This article clearly explained the importance of relationships in the perception of art. (Incidentally, it was the one and only article published in the Natal Mercury regarding the artists and Red Eye).

I must admit that I too am implicated through my own gullibility and naý:ve faith in the honourable intentions and limitless potential of the project as a whole. Perhaps I should have been more vigilant in protecting the interests of the artists, the Durban Art Gallery and our funders, Itrump. However, I could not have foreseen the last minute high jinx that played out directly in the public eye. In light of the greater good of the event I did not address these issues immediately for fear of sabotaging the event and I apologise for this.

The last minute unilateral changes in arrangements to which I refer follow. Firstly the sudden and complete exclusion of all artists from the inside areas of the City Hall and from the Brutal Fruit VIP Press area on the upstairs balcony which stood empty, its open bar left stocked whilst snacks withered on hot trays. This space was intended for press interviews and to foster exchange between the 20 + editors of high profile magazines from around the country with participating local artists, designers and models. So vigilant were the DDC security people about this last-minute rule that artists, in front of the public, were threatened with removal by security upon attempting to enter the building.

Secondly, toward the end of the Friday evening, a TV media person asked me if he could borrow a series of interviews I had filmed prior to the event. His channel had specifically wanted to cover the art side of the event through interviews with artists but this had not been arranged for him. It was too late in the day to remedy this. Our usual publicist had not been employed on the understanding that the DDC publicist would be giving the Red Eye the same opportunities with the press as were being given to the DDC.

In fact, there is no doubt in my mind that all TV press had been lured to the event by the cutting edge ‘Urban renewal through art and fashion’ concept. Surprisingly, only one artist was interviewed out of the potential 40 + artists involved and this seemed to be quite by chance. No records were made of which artwork belonged to whom. In fact, the programme presented to the press went to print without my knowledge. I was not given an opportunity to proofread it and it was consequently embarrassingly inaccurate.

On offering my assistance in identifying the works to a number of film crews, none accepted. This underlines the media’s perception that the art was merely a decorative sideshow. In fact this very perception was one that the entire project was supposed to remedy by presenting the artists on the same platforms as the designers etc.

Thirdly, throughout all meetings leading up to the event it was agreed that branding on the outside areas would be prohibited. The main funder and facilitator of the City’s involvement in closing off of the roads, cleaning up of the parks, etc, Itrump, is also responsible for controlling and monitoring street signage and branding on municipal roads. This rule was strictly adhered to by Brutal Fruit, Itrump, Red Eye, Durban Metro and all the container participants.

However, late on Friday afternoon, several six metre Natal Mercury banners were installed to flank the side of the building in direct defiance of this restriction that had been placed on all sponsors. Thus they staked branded claim to the entire event.

I am left with the haunting image of Devin Bauermeister’s glistening, silver gift-wrapped cannons, decorated with bows and ribbons, directly in front of these towering Natal Mercury Newspaper banners. I warn that artists’ generosity is a most powerful gift that should under no circumstances be toyed with.

Article courtesy of ARTTHROB