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.
2013
the beginning of
formal talks at
Turner Contemporary
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.
.
January 2017: Revising the list
of artworks
In response to feedback from the December meeting, artists who are under-represented are prioritised and a new round of loan requests are decided. Partnerships with local venues are developed and plans are laid down for an extended public programme.
Regular fortnightly meetings continue; smaller working groups focus on specific tasks, eg installation design.
A project team is established with representatives from Turner Contemporary Departments to ensure integrated working and delivery.
March 2017: Conceptualising the design
David Herd delivers a talk to the Research Group. The poem is revisited in terms of how it’s form might inform the design and spatial arrangements on finalised works.
Further funding bids are made including a successful application to Porchlight's Live Well Innovation Fund. This bid is led by one of the Research Group, an occupational therapist.
The Research Group take the lead interviewing artists for commissioned works.
The Reading Group gave a performed reading of the first part of the poem which was received well by the gathered audience. This was when I realised how much I enjoyed the frisson of reading and performing poetry, and I wanted to do more. The Reading Group went on to perform the whole poem every fortnight in the Gallery during the run of the exhibition with Talks about the poem during alternate weeks.
- Virginia Fitch
Such a good idea and one that would have an important effect on Margate during the exhibition.
- Virginia Fitch
number of people who
attended the meetings
20
number of people in core membership
design & production
April 2017: Exhibition Design
The working group for interpretation and design appoint Nick Mortimer to collaborate with them to develop an initial exhibition. This is revised in ongoing conversations with the group.
Projects initiated by group members to feed into the exhibition get off the ground. Tess Denman-Cleaver is appointed lead artist for ‘In the Waste Land…’ a commission to develop a work for the exhibition with participants from The Richmond Fellowship and the Kent and Medway NHS Partnership Trust.
June - August 2017: Interpretation
Different strategies for interpretation are identified and tested, including a session with an invited test audience to glean responses.
Audio experiments are held in the West Gallery.
Members of the research group do further studio visits, including the artist John Newling.
Tours, talks, walks and card readings, led by the research group are planned to accompany the exhibition.
September 2017: Shifting roles
The pace quickens as logistical decisions need to be taken quickly. The gallery team increasingly take a lead role in the realisation of the exhibition. Some members of the Research Group are now very focused on the off-site programmes. A newspaper ‘Promenade’ is published to coincide with the exhibition .
40 off-site events are planned in collaboration with 16 partner venues and included in the exhibition guide.
A designer is appointed by the group and all press and marketing material co-written and finalised.
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
I remember this as being a very exciting session as we tried out bringing sound (in the way of different recordings of the poem including TSE himself) after hours in the gallery and on the stairway. It felt like we were breaking new ground – adding our own interpretation of the overall design of the exhibition. It was nevertheless a controversial concept, which some did not like at all. Personally, every time I walked up the stairs during the exhibition I felt the same excitement that I had the first time we experimented with it.
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
In collaboration with UCA
- Franca Pauli
opening and post exhibition
January 2018: Installation and opening
Members of the Research Group come in daily during install. They collectively brief gallery staff on the exhibition and attend the press brief to be interviewed by national newspaper and television journalists. The exhibition opens on the 3rd February and features work by 60 artists.
The exhibition closes on the 7 May, having attracted 114,480 visitors. The Journey with ‘The Waste Land’ exhibition saw 114,480 visits to the gallery - he second largest audience for a spring exhibition.
Legacy
Many feel this project demonstrates that collaboration is more powerful and insightful than established and accepted practice. Both community and gallery team partners felt that Journeys with The Waste Land successfully tested this methodology, creating a community of participants who could produce a high quality, critically acclaimed exhibition, that had wide public appeal.
Life stories
Throughout this project, many members involved went through challenging life events; serious illness and accident, bereavement, divorce. But Journeys with 'The Waste Land' also brought joyful, profound change. Life-long friendships (including a marriage), a place in their community, unexpected career paths, self fulfilment and transformed identities are the legacy for many.
the question is...what next?
