Biennial Bulletin: City States!
Hobnobbing with foreign artists over a glass of Hennessy and emptying wheelie bins into a skip: Lucie Fialova reveals the glamorous life of an arts intern…
When I first joined the Biennial Volunteer Media Team, I had no idea that a week later I would be offered the curatorial internship. I was thrilled: this meant I would get the chance to work with a number of key players in the UK art scene, help make the Biennial happen, and, in short, live and breathe City States.
This is exactly what happened and, in a way, ended up being both a blessing and a curse. I know the City States exhibition and the sorting office space like the back of my hand and I am genuinely proud of what the team achieved there, but heaven forbid you should ask me to comment on other Biennial shows and events, let alone those organised by our partner venues. Doug Aitken, Ming Wong, Everton Park, the Anfield project, Unexpected Guest – what are you on about?
I joined City States at the height of delivery phase. This meant long days, tired feet, eating lunch on the go, dirty work and limited time spent at the office. While my fellow Biennial Media Team volunteers made themselves busy helping with installation, setting up exhibition spaces, interviewing artists from all over the world and documenting the whole process; I was ordering skip hire, sorting out a carpet crisis, arguing with cleaners, masterminding a Dogville-esque storage space with the help of some masking tape and ordering around a troop of volunteers clearing out the vast space and its immediate surrounds.
My personal highlight has to be my involuntary introduction to the wonders of Health and Safety regulations. Meanwhile at home the pile of dirty dishes grew taller every day.
I paint a bleak picture, but this is not my intention. I didn’t just run around like a headless chicken – if I did, this only happened in the very run up to opening. The curators of City States made it very clear that my contribution to the project mattered and listen to what I have to say. In turn, I learned a lot about their line of work and the ins and outs of organising and managing large scale exhibitions.
I got the chance to proofread interpretation panels, author and edit artwork descriptions and liaise with external curators. At meetings with various external stakeholders I came to appreciate the sheer complexity of the project and the importance of not letting contemporary art be scuppered by Health and Safety.
Moreover, through exposure to such a vast array of art forms I experienced a definite shift in my critical thinking about contemporary art. As I realised I was totally in my element in project work I also felt a sense of vindication in choosing a difficult but incredibly rewarding career.
Last but not least, thanks to City States I met a set of wonderful and inspirational people from all over the world; artists, technicians, curators and volunteers, including (but not limited to) City States artists Taus Makhacheva, the creator of the amazing furry car, Masha Godovannaya and the lovely Miguel Palma and, of course, our volunteer John who worked at the sorting office for 25 years and clearly can’t keep away. These and others provided fascinating conversations and banter and made getting through a 12 hour day seem like a piece of cake.
On Monday, the prevalent mood was that we were trying to pull off a small miracle. As we opened the building to press on Thursday and Friday I realised how smoothly everything slotted into place. Visitors were amazed by the artworks on show but also the building itself: many seemed more interested in the building and Royal Mail paraphernalia than the exhibition. Each to their own. The stunning performance of A Crimson Grail at the Anglican Cathedral was the perfect close to what seemed like an endless week. I briefly attended the opening party but frankly I felt more like a nice cup of tea and a sit down.
As we hand over to visitor services I have to say I look forward to a slight lull in activity and the chance to being a visitor myself: to explore the other Biennial exhibitions, attend some of the fascinating events in the Public Programme diary and watch all the video artworks in City States which, for shame, I never got the chance to see.
This week has been incredibly hard work but now we all reap its rewards. The installation of the Black Pillow provided a defining moment and a turn for the better. As we gathered around and cheered audibly as the pillow grew bigger and bigger in front of our eyes, I am sure we all recognised the sense of achievement. This is happening. Be there.
Lucie Fialova
Images courtesy Andy Minnis
