Wellington, February 2010
Recently I met James R Ford, the New Zealand curator for the international traveller’s box project. We discussed the possibility of an interview, and reached agreement. I felt excited by the prospect of interviewing the New Zealand representative of an international art-project. I’m a practicing artist and an occasional art-writer. In the latter capacity this was easily my biggest assignment, and the first time I’d managed to land a writing gig on an international project. I prepared adequately and did my research to ensure I had the goods and didn’t come across as an amateur hack. I was delighted that the Travellers box was sent to my Wellington studio for the interview.
JM: Well, to start with let me just say what a pleasure it is to have you in New Zealand, and more specifically actually visiting my studio. I’m very pleased, so thank you and welcome.
TB:
JM: So, you’re here in New Zealand engaging with the local arts community as part of a broader international project. Can you tell us a little about how you’ve found the experience so far?
TB:
JM: Let me be more specific. Have you found the New Zealand arts community and local artists interested in your presence in New Zealand, and the nature of the traveller’s box project?
TB:
JM: Ok, moving on from the local arts community. Perhaps you could enlighten our readers about the nature of the project in its international scope?
TB:
JM: (mutters: “hmm, awkward silence”) I have to say I’m somewhat taken aback by your steely irresponsiveness; do you always start interviews this way?
TB:
JM: Alright, never mind that. Starting in Denmark the project has been around since 2004. In that time dozens of artists from around the globe have participated in all manner of projects, utilising or incorporating the travellers box, that’s you, in their practice or specific art works. The works have covered pretty much every aspect of contemporary art. Can you explain how it is that you’ve managed to be applicable and relevant to such a wide range of projects and approaches? Is it that in your inherant functionality there is an underlying practical usefulness that allows you to blend in with virtually any artists practice?
TB:
JM: Ok, no thoughts from you on that, but I think this needs to be explored a little further. According to your official website “Artists who receive The Travellers Box are encouraged (but not limited) to work with issues concerning socio-cultural relations as well as related issues within the artistic community itself. The works can be based on an interpretation of the cultural divide in attitudes, habits, lifestyles, places, spaces, or by private individual’s complexity. Within those realms, politically-oriented, perhaps sensitive issues can be taken on, examined, considered and incorporated into the artistic process.” Can you tell us, in your own words, how you think this project and perhaps art in general, can be used to effectively generate a meaningful and progressive dialogue around these very issues?
TB:
JM: (mutters: “Shit. This is going really badly”). Very well, perhaps you’d like to share your thoughts on the nature of contemporary art, and how you see your role within it?
TB:
JM: Look, I don’t mean to be rude, but you’re not making this particularly straightforward. Just sitting there, silent and inanimate, won’t enlighten our readers as to your aims intentions and accomplishments at all. Perhaps you could just share an anecdote from your many travels?
TB:
JM: Can I ask, do you think that stonewalling interviewers is the height of sophistication, or is it that you feel so accomplished that you just don’t think it’s necessary to respond?
TB:
JM: (mutters: “…unprofessional Julian. You don’t say things like that in an interview”) Sorry. That was entirely inappropriate. Please just go ahead and make any comment at all that you’d like to our readers.
TB:
JM: Ok I don’t see how this is going to work. If you’re not going to say anything, I’m going to have to terminate this interview.
TB:
