Explanation of the Jester Project, Chapter 3 –Art Collection, Curation and ExhibitionOctober 11, 2013
This is a brand new project, made by two pretty obscure characters, and lacking in any support from major organizations. It was pretty ludicrous, as undertakings go, in the first place. If anyone was going to have access to it, or even be made aware of it at all, we were going to have to find some effective way of sharing and advertising it.
So rather than show people the music, Louis Barabbas, head of Debt Records, suggested we employ visual artists to draw pictures of the music, and show people these instead. This would create a ‘mythology’ and general curiosity around the record, in the few months leading up to the point where we would finally share with people the music.
We took this as an opportunity to get more perspectives, more varied angles, more disagreements and more personalities on board.
It was a way of making the thing belong to more people, basically. More than anything, ownership of this project was to be shared further, and thus made richer.
Inzani and I met with Bristol artist Laurie Lax, who agreed to be involved in the project, but only if a collection of the best, most fitting work be chosen, and presented, to ensure coherence and quality of the collection. Being chaotic musical scoundrels we hadn’t considered the need for this.
Laurie masterfully curated the collection, and the exhibition at the launch, which would be another item around which people could gather, and get involved, and consider the thing to be their own.
NEXT EPISODE: Chapter 4 – Pledge Campaign, Mon 14th October