|Richard Layzell – Talking to Tania 10|
October 2008 • London
TK So The Manifestation is finally here at Cafe Gallery Projects. Did you think it was going to be a breeze then? Did I give you the impression it would fall into place and we'd made the tough decisions already? Had you fooled on that one. What's up?
RL I've been stressing about The Dialogue. Like it's a visual fulcrum. But the words aren't coming because they're still live while we're in the construction phase, and still making decisions about the show.
TK That's the nature of The Manifestation. That was the deal. This is the reality. Wake up and get used to it. And keep talking so the words have momentum. Sure it's an artificial construction in some way, and not how we dialogue for real. But the people don't need the nuts and bolts. They want a narrative.
RL I've been trying out the A3 photos on the curve and it makes for an interesting wall of Penzance and Skyros. I can imagine us working nicely into the white surface and it's easy to cross-reference one image with another when you can see a group together.
TK Fine. So I see. But worthy as it sounds, 'interesting' may not hit it. We can't actually make a decision on this until we've tried out a large projection. And the tables. And this Dialogue. These are 3 important integrated elements, not to mention The Radiant Curve. This wall is a combination of White on White and The Radiant Curve, made manifest for the first time. You should bring in a curve measurer.
RL Think I've had a breakthrough.
TK For fuck's sake Richard. I keep telling you this can only be decided when the front of the wall is resolved, as well as the lighting for the tables. The Perfect Image may need renaming in this context and we have to come back to this. Oh, God, you haven't gone ahead and ordered them from the printers have you?
RL Almost. Thought I should check with you first. But we're running out of time if they're going to be mounted as well. Monday morning at the latest.
TK I should bloody well hope so. I thought I was the fucking curator here. Keep your smart ideas under control. You're working with me for a reason. And it's not to overcomplicate a sharp show.
RL Ok. But I did suggest to Kiera that we didn't necessarily need all 12 tables. I mean if it seemed crowded or wasn't reading quite right. Especially as she's representing you in some way.
TK Assistant curator is as far as I'll go on this one. Sure she's an asset but did you actually explain the significance of the number 12, the one and the two? And how this relates to the one and the two encapsulated in the selling price of Cream Pages, the change from the £6 being the one and the two pence coins? And how in numerology the 'one' represents the sun (man) and the 'two' the moon (woman)?
RL No. There wasn't time really.
TK Bollocks. Do I need to remind you of the table as metaphor as well? No doubt there wasn't time for that either. What have you been doing exactly, making coffee, walking the dog?
RL I've been wondering about titles and how they might function in terms of reading the work as a whole. How about Falling Phoebe having an explanatory text panel? Wouldn't this be a solution, a provocation?
TK Good idea. Leave it to me. I'll write something. Your explanation will be deeply boring if Glasgow was anything to go by. I'm not ruling out using other titles as well. After all, these words have often been our own reference points in the evolution of The Manifesation.
RL Isn't it going a bit far to give your statement a title? Is this going to be a trend, by the way? I mean, if so, maybe I could start making proclamations as well.
TK I think we can do without your magic words until you've sharpened up your syntax. Come to that, I notice this version of The Stumbling Block was kept pretty close to your own chest, not much discussion there. I hardly think you're in a position to be pointing the wayward finger of accusation.
RL Ok. Fair enough. It's not black and white. Thanks. You're a tonic.