Special FocuS
AZ: Absolutely, that is the idea. That is what we want, we spaces and then really much larger spaces, all of which will
want curators to come in, and if the collection doesn’t satisfy offer different things to different people.
them, then they go out and do whatever they want. But of
course we hope, because we have chosen that curator, that AZ: When I started thinking about the space, I found that
they will use the collection as well. curating was quite sterile and quite boring. I was very much
thinking, ‘I can do better than this’. I could find curators,
AR: So what kind of people do you imagine are going to young ones who can do amazing things, and I see when I
come to 176? look at things how organic things can be and how three-
dimensional things can be. It is so exciting to see how far
AZ: I imagine that we will get a lot of people from the curators can go. I think it is an area that is not explored fully
artworld, which is wonderful, and I hope we get a lot of at all. It’s just in its infancy. I think it is a very interesting
the local public coming in, because we have got the local area – are curators artists? Are artists curators?
markets around us and it’s a really buzzing area. We have
got a really interesting community around us who aren’t AR: So what would you like the average visitor to be
exposed to anything like this. It is going to be new, and I thinking after they have finished a tour of 176?
hope they use us. There is going to be a public library open
for reference to students, and we hope that they come and AZ: I want them to be educated. I want them to walk out
use that. There is a lovely café too. We want a community and feel that they have learned something from it. I don’t
spirit and we want a buzz around here; we want the space mean educated in the sense of an intellectual way but in
to have an active feeling that is more than just the cold the sense that they have learned something new – whatever
Presbyterian church that it was originally. it is, an idea, a thought, something that they will go to bed
at night and lie there and think about. Like when you see
EN: We’re also putting a very active element within each a good film – if you see an awful film, you go to bed and
exhibition. There will be an artistic residence for the first you forget it and go to sleep. If you see a good film, you go
month and for the first show, and she will be working with to sleep thinking about it and you wake up in the morning
people around the building. We are aware that this building thinking about it – and that is what I want for the people
is quite a focal point in this area, so we are going to try and who come and visit us.
open it up a bit as well.
AR: Is that kind of how you view the role of art?
AR: How do you see this place fitting in with London’s
existing arts institutions? AZ: Yes, I view art for myself in that way. When I see a great
piece of art, it doesn’t leave my mind at night. It becomes
AZ: That’s interesting, I think it is different to the other part of me and that is it. I have to go with it, and that is how
institutions. We are actually supporting the other institutions I view art in a sense. And also, I suppose, if you go and see
as well, so we are showing to support them and we feel that a great show in one of the museums or art galleries, you just
we have our own individuality. We are curatorially run, and come away so enlightened. It is such a good feeling, it is like
basically we have our own purpose. It is collection-based a feeling of freedom that you have moved forward and there
as well, and it has got a whole blueprint of its own that I is an excitement. It is a fantastic feeling.
think will only complement what is going on around. You
know, the public are hungry for art, so the more that is AR: One of the things that many people associate with the
around, the better it is for all of us. And maybe the public role of art is a sense of freedom – that art can be anything,
won’t recognise that the artists here are totally different to left wing, right wing, pornographic, disturbing. Do you
the artists in, say, the Tate, because there most of the artists think that you can maintain that sense of freedom when you
are usually well established. What we are showing is really are opening up your collection to a public audience?
emerging art. Some of these artists are little more than a
year out of college, so it is different, but I don’t know if the AZ: This can be a problem. I mean, some of our art is based
public would recognise that really. The other difference is on primitive art, so the artists are looking at certain things
that people who come here are walking into a raw space. All that will not be that public-friendly, but I think the way that
the other institutions are white, beautiful, pristine spaces, we would deal with that is by just making sure there are
so when people come here they are going to think, ‘What is warnings and that the public are advised and that if things
this?’ Either they are going to love it or hate it. I don’t think are not so child-friendly, the public will know beforehand.
it is going to be anything in between.
EN: We will have to meet those challenges along the
AR: So do you think this ‘raw’ space reflects the kind of art way. If people want to bring in works that we feel very
you are showing? uncomfortable with, then we will have to see how we cope
with that when it happens.
AZ: I think it reflects a lot of things, really. It reflects the art
because while some of the art that we have in the collection AZ: We’ll have to see how far we can actually go. I don’t
sort of begs for a pristine space, most of it does not. The want to insult people or to create a sensation, I just want
artists would love this kind of space. It suits the art. It suits to do what we’ve been talking about. That is what I want
the times. out of it.
EN: I think it is also a question of the different kind of Project Space 176 is located at 176 Prince of Wales Road,
scales that you get within this building. There are small London. See Listings, page 118, for further information
Collecting_Zabludowicz.indd 92 6/11/07 12:02:26
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