Welcome to the resource detailing the process behind a three year pioneering project in curating; Turner Contemporary's exhibition Journeys with 'The Waste Land'.
This was a major exhibition exploring the significance of T.S. Eliot's poem The Waste Land through the visual arts. The exhibition was the culmination of a three year project designed to develop a pioneering approach to curating.
project.
The approach underpinning this resource was devised and developed by Trish Scott (Research Curator) and Michele Gregson (External Evaluator) in conversation with Mike Tooby and the Waste Land Research Group. The resource is designed by Lydia Laitung and funded by the John Ellerman Foundation.
I'm interested in:
the Facilitating
Curators
the Gallery Team
the Participants in Research Group
the Audience
the Evaluator
The Research Group identified emotional themes that evolved over the three years that they worked together. They are woven through the story of the group and their individual journeys through the project. On this timeline, we have tried to show where different emotions were felt most strongly at particular times, and were part of a shared group experience.
introduction
Journeys with ‘The Waste Land’ has been an innovative three year project, bringing members of the community and Turner Contemporary together to develop the gallery’s major spring 2018 exhibition. The starting point was T. S. Eliot’s famous poem, 'The Waste Land' (1922), parts of which were written whilst Eliot was convalescing in Margate.
Learning is at the heart of Turner Contemporary, evident in this unique project, where participation and engagement comes to the fore. This work tests a new curatorial method which incorporates the knowledge and insight of members of the local community at all stages of co-curating an exhibition.
The exhibition was developed by Turner Contemporary, facilitated by external curator Professor Michael Tooby, and Research Curator, Trish Scott, in collaboration with local research participants.
This resource identifies the key events leading up to ‘Journeys with The Waste Land’, as defined by local participants coming together as ‘The Waste Land Research Group’. It hosts direct vocal testimonies, by a cross section of people with a stake in the process. It presents multiple versions of the exhibition’s genesis, without a single voice assuming ultimate authority (as can sometimes be the case with more traditional evaluative reports).
This format was intentionally devised to mirror the multi-voiced methodology underpinning the development of the exhibition itself, and to enable the ongoing story of the project to be held and mediated by all those involved, (i.e. not just those in professional gatekeeper roles).
Audio clips from 16 hours of recorded conversations were selected by Michele Gregson, with all contributors having the opportunity to comment, clarify and react to source material as it was generated and presented, through a number of iterative steps.
This resource should be understood and read as a reflection on ‘moments’ in the exhibition process, as constructed through the memory of participants, rather than as a comprehensive report into every detail of the exhibition process.
concept & inception
Before the beginning: Concept Development
Journeys with 'The Waste Land’ began many years ago, with conversations between Mike Tooby and Victoria Pomery long before Turner Contemporary opened. Mike wrote a proposal for the exhibition in October 2012, working with the Head of Learning Karen Eslea. The methodology of Journeys with The Waste Land was developed during his Senior Research Fellowship with the Henry Moore Institute, Leeds. A funding application was made in the Autumn of 2014.
the beginning of
formal talks at
Turner Contemporary
2013
setting up the project
April - August 2015: Recruitment and formation
In August 2015 Trish Scott is appointed as research curator with support from the Paul Mellon Centre for studies in British Art. Over the summer, Trish engages with individuals and community groups in Margate, to gauge interest and the parameters for participation.
An internship programme with the University of Kent tests the research methodology.
On Friday 15th August, an open call is sent by email: "...if you'd like to get involved with researching the poem and contributing ideas for a ground-breaking exhibition, join The Waste Land research group. No experience is needed, just your enthusiasm."
125 people respond; 67 gather at Nayland Rock Shelter for a reading of the poem..
number of people who
attended the first meeting
67
number of people who
attended the first meeting
September - November 2015:
Call to action
From September fortnightly meetings are held to share and discuss the five sections of the poem. The meetings are held at different kinds of venue with a variety of inputs designed to appeal to a broad range of interests and learning styles. Sessions are led by artists, literary experts, curators, secondary school pupils, a philosopher and a sound improvisation group.
Between 40-70 people attend each of these meetings.
A members’ project website is set up with support from University of Kent interns.
Patrick Seery also set up a platform called slack to enable the Research Group to interact.
- Virginia Fitch
number of people who
attended the first meeting
number of people who
attended the meetings
70
November - December 2015:
Start up research sessions
Additional ‘working’ meetings to discuss curatorial process and decision making are held with an emerging core group. A Research Group of 22 regular members evolved.
In December participants bring their first suggestions for exhibits. A Philosophical Inquiry is held. From this emerging themes are identified.
A long list is compiled
December 2015:
Members take the lead
Group debates around the concepts of ‘agency’ and ‘intention’ are presented at the Herbert Read Gallery. Meanwhile, separate, self led meetings of a walking group and a reading group are being held.
A research group emerges with a core membership of around 20.
research & selection
January - May 2016:
Thematic research
Fortnightly meetings of the Research Group. further define the process, and generate a long list of possible exhibits.
In March funding from the John Ellerman Foundation funding is confirmed, securing continuity through to the end of the exhibition.
A group of Coventry based participants begin to meet, to start work on a touring version of the show, with introductory sessions run by Margate participants.
I missed quite a few sessions during winter months but made a decision to commit to the RG in early 2016 as I felt it was such a brilliant opportunity, and I was enjoying the challenge and it was well worth travelling to Margate from Canterbury where I lived.
- Virginia Fitch
£
June 2016: Deciding the artworks
The Research Group hold a ‘selection’ day, devoted to identifying priority loans and key works. For many this is a key moment where the art and literature come together.
The group start to lead the sessions, providing the input and leading the thematic research.
A shortlist of works is agreed.
July - August 2016: Administering Loans
In July the first loan requests are made. The gallery team handle the administration, but the content of the letters to collectors and galleries comes directly from the Research Group.
The group begin to be invited to take part in other events, e.g. The University of Kent’s ‘Writing Buildings’ conference, Margate Bookie, the POW! Festival.
Unfortunately, I had to miss this pivotal day as I was away on holiday.
- Virginia Fitch
September - November 2016:
Reconnecting the Group
Research group meetings continue, but are interspersed with different events intended to ‘reinvigorate’ the group and connect them back to the poem, and the art. There are studio visits, talks by artists approached by the Group, research visits to exhibitions and archives, and study trips.
In November the Coventry group visit Margate, and a joint research meeting is held.
revisions & decisions
December 2016: Public scrutiny
Work-in-progress, themes and ideas are presented for community feedback. 70 academics, curators, artists, and representatives of community interest groups attend. This is a key moment when the Research Group open themselves up to public scrutiny for the first time.
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January 2017: Revising the list