Following the series of interviews I made with sound workers in China back in April, and since I’ve now (temporarily!) moved back to the UK, I’ve taken the opportunity to record a further set of chats with people and groups in this country. Generally speaking these people interested me because of their approach to the way a practice negotiates the social fabric. The relationship between these speakers activities and what one might call a cultural practice is perhaps quite an ambivalent one, in some cases even an irrelevant consideration for them. I point that out because such activities have in some cases been subsumed within an art practice—specifically the “dialogic” approach—but such practices may at times be seen to “work” better when kept at a distance from such a context, a choice of position which in the process calls into question the efficacy of an art-based practice in attempting to come to grips with the world.
I just received the new edition of LEAP 艺术界 magazine with my piece about alternative artists working in Beijing. The article didn’t come through too badly, though they had to cut 4 of my interviews because of space restrictions.
An interview with Elaine W. Ho and Fotini Lazaridou-Hatzigoga at HomeShop.
Edward Sanderson: Elaine, you’ve been here three years, how did HomeShop start? Have you and Fotini been working together the whole time?
Fotini Lazaridou-Hatzigoga: I’ve been to China a few times now, and we have collaborated on several projects, but it’s only at this moment that I’m joining in, as we are trying to think about HomeShop’s future. Elaine will be able to tell you more about what she’s been doing so far.
Elaine W. Ho: I think HomeShop really came out of my experience of living in China and my fascination with the juxtapositions between public space and private space here, which I think a lot of people notice or are intrigued by when they come here. A lot of the work that I do involves the public space and looking at alternative settings with which one is interfaced with an idea or a “work”, and because of that particular interest in negotiating a public space and a private space—not only on a spatial level but also on a social, economic level—this idea came to me: let’s play with the commercial space and see what we can do with that. So this was how it originally came about, and all the projects we’ve done here are based around this environment and the people here and are determined to a great extent by the architecture and the way that this space in particular relates to the community.