Extremely interesting article! I found myself both agreeing and disagreeing with it at various points. I've never been a believer that art should have to be politically correct as a first condition of existence, and in fact I don't think it's a weakness for art to be deliberately ambiguous and create a space which people feel obliged to fill with their own interpretations. There are points where this article seems to be suggesting that ambiguity isn't good enough - you have to take sides and state your political position loud and clear - anything else is a cop-out. On the other hand, I do share a distaste for "monumental" works of art which are "airlifted" into policitally sensitive situations in order to borrow a suggestion of "relevance", without engaging with the people or the issues on the ground. As the article says, "Ignorant of their own class power and the cultural capital that oils it, they [Artangel] still want to place art wherever they choose, even when told quite forcefully why it’s insensitive and dodgy by those who suffer the material consequences of demolition."

Of course this is a one-sided account of the project and its eventual collapse, but it does leave you with the distinct impression that Artangel were simply lazy. They had an off-the-shelf project and they were looking for a "suitable" space into which they could plonk it, and it was too much like hard work for them to get in touch with the locals at the outset, get them on board, and risk having to revise the project to take account of their views. But the subtext of the article is that the underlying reason for this failure is that the art/business/local politics nexus from which organisations such as Artangel draw their financial support has the long-term effect of gentrifying them and detaching them from community engagement. No doubt this is an argument in which Mark and Ruth are both extremely, perhaps even painfully, interested, as they're so conspicuously trying to tread a different path, and finding it a financially difficult one.

- Edward
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