Working as curators with Tao Wells and The Wells Group on The Beneficiary's Office was
an incredibly important experience for us as Letting Space. The work
had a significant effect in the way it successfully generated discussion
through questioning of the way we value work and labour of different
kinds, and the limits on expression within the media, public space, and
public commons generally (digital and physical). Tao was
fearless in putting himself out there in a way that left him vulnerable
to the 'personality politics' of the media, but also exposed them
ruthlessly.
What
maybe was less apparent for the public however was below that how the
project also successfully brought together a collective of people (The
Wells Group) and instituted an experiment in creating an office as
project. Our work with Tao in this was greatly inspiring in
terms of the work we have undertaken since in exploring ways for
collectivity and ways of sharing in our projects with artists. The
Beneficiary's Office inspired a project with Mark Harvey, Productive
Bodies in exploring notions of value with work and usefulness working
with a group of people, and this has had further iterations and
reflections throughout our work, and those of the artists we
commission.
In
sum, we consider this project The Beneficiary's Office to be of great
significance both for our work as public artists, but also in testing
some important boundaries for the role of the artist in society. It was a
hell of a ride. Five years on we are still fed by and continue to find
inspiration in. - Mark Amery
From me Sophie:
Dear
Tao, you asked us for a response, or a memory, 5 years on of that most
significant of projects that we made together and I’m really grateful
for your request.
It
is said by psychological researchers that emotional events are often
remembered with greater accuracy and vividness than events lacking an
emotional component. For me The Beneficiary’s Office was an intensely
emotional event as much as a conceptual and artistic one.I know you
don’t necessarily remember the same things so here are some of my
memories.
I
recall the early wrangling, like kids in a mud pit, with you. I recall
your challenging me and Mark about our intentions with Letting Space
and feeling frustrated because I didn’t feel I could ever get ‘level’
with you. I recall some stress in not having a site for the project
until the week before we were due to start (Labour Day having been the
focus end point) and considering a huge empty floor on top of a building
on The Terrace. I recall rushing in from Paekakariki one evening to see
another site before 5pm
and the relief at Ian Cassells agreeing to the project for his building
in Manners Street. I recall the meetings with the group of volunteers
(what great collaborators we met through this project) once we had the
office. I recall the quiet opening days, and biking to work in the
office as if I was simply commuting to an office job.
I remember thinking it was like Mark and I were in loco parentis, very
reluctantly, and it was hard to be just one of the crew. I recall the
press machine begin to wake up and the anxiety as we found ourselves
(‘all of us’, suddenly united by external attack) subject to severe
scrutiny for using cultural money for political challenge, essentially
for not making ‘tame’ enough art. I recall Minister of Social Welfare
Paula Bennett, and ACT’s Roger Douglas weighing-in on national TV and
the sense that we had tripped a (nasty nerve) wire. I remember feeling
strong gratitude that Creative NZ came out in public support of Letting
Space. I recall of course the personal attacks that you and Laura
suffered, and the nights of angst about the hurt that was coming. I
recall the deep contemplation we went through for months (years?) after
and wondering if we could have made the project without such personal
damage, without the martyrdom involved.
The
questions (like, what is a useful life?) that were raised by the
project have gone on to inform many of the artists we have worked with
since. Mark Harvey’s Productive Bodies and Productive Promises were
certainly part of this legacy, and Ash Holwell’s imminent Ako Ako for
TEZA 2015 (involving role-swapping with members of the Porirua
community) has ‘Bene’ traces too. However these are more gentle and
possibly more whimsical than your smiling assassin approach, Tao.
What
is wonderful about your practice is your personal immersion and
constant vigilance. I recall a conversation with you a few months after
The Beneficiary’s Office where you really asked me to name that which
enabled me to be doing what I was doing, working in the arts, - because
as we know, commissioning and curating contemporary art projects is not
on the national register of essential well paid tasks for the NZ
economy- …. As uncomfortable as it was at the time I realised that the
capital raised by my husband in his architectural practice has plugged
our income holes. Your scrutiny has helped me to be proud of that,
rather than hide it. You have always been a warm and friendly
assailant, if a mercurial art-partner. It’s hard to be a conscience for
the whole country but your prodding has certainly made us sit up
straighter.
With warm regard for you and the growing family
Sophie
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