I reiterate: this is not what the title of the show would have been. We had to change it because we were worried what people would think of it, not just by those who often frequent the space but also by those living right next to 1646. [ … ] people might have gotten the ‘wrong’ idea. Wrong as in different to what is intended. Here is an excerpt from a chat we had about the title of the show:
… like, it’s frankly “provocative” and we think, well we would even do it if it is really necessary … but … is it?
It is necessary: “Recent Improvements with Sand ****** and Friends.
Or “sand ****** and friends”, yes, sand ******, sand ****** … There may be many nasty interpretations; I can only count on the positive and light hearted ones in this case.
We haven’t got bulletproof jackets in the budget.
I understand your hesitations. But I think it is a good option for the artists here; Take Takuto: he performs with his sculptures, creating situations that mimic and resemble habits and objects in popular culture. However, he often puts himself in a very clumsy impractical position by purposefully misinterpreting the meaning of these objects. [ … ] Where normally meaning and use of objects are interdependent, it seems that Takuto tries to debunk use from meaning and the other way around. It never really works, which is exactly why it is interesting. [ … ]
It is this very contrast between a newly proposed idea and old ways of doing/interpreting things, that is captured well in “Recent Improvements with Sand ****** and Friends”. [ … ] Perhaps the presentation of the title is a delicate issue here … Improvement is a move away from an old mode of existence whilst maintaining a (recognizable) connection with the very thing it is leaving behind. Like a [ … ] performance that is appreciated because the audience can see the performer getting better at it or not making the same mistakes. For this show it is perhaps interesting to see the success of a “thing” in this light, as a measure of how much we recognize or don’t recognize the existing or old in the “new”. This was particularly important for the original choice of the exhibition’s title.
It is the work of 5 individuals shown here. And as these artists do not necessarily work together, with practices concerned with differing areas, it seemed that the exhibition’s title could only be conceived at the actual moment they would be working in the same space, at the same time. However, exhibiting is accompanied by certain automatisms, enforced by all sorts of practical things. One of them is that the audience should get a clue or feel of the identity of the artists, the content and/or intention of the work before even seeing or experiencing the exhibition [ … ].