This project is designed to facilitate collective ownership of cultural artefacts. This humble experiment will establish a social method for cultural preservation, acknowledging cultural production and consumption as inherently collective. Inspired by an interest in alternative models of exchange, paired with the imminent pragmatic concerns surrounding my upcoming relocation, I have devised a system of social custodianship of my artwork.
Upon entering a transitional phase of my life, I am no longer able to care for an ever-growing collection of works. I want to invite others who value my practice and work (maybe you), to enter into custodial relationships with one or multiple of my pieces. This relationship is personal and reciprocal, formalised though the signing of a legally binding custodian agreement. Custodians become caretakers responsible for the continuation and maintenance of the artwork under their care, but also are able to access and enjoy the work freely. They become part of an extended network of custodians, acknowledged as active supporters and entitled to a financial stake in the work. Ultimately this relationship is intimate and personal, encouraging dialogue and conversation about our positions within the production, consumption and preservation of culture.
The template Custodian Agreement is available here. This agreement can be used or modified by anyone interested in adopting a similar custodial structure.
— Tamen, Miguel. (2001). Friends of Interpretable Objects. London, England : Harvard University Press
— Hirsch, Antonia Ed. (2012). Intangible Economies, Vancouver, Canada : Fillip Editions
— Simpson, Moira. (2007). From Treasure House to Museum… and Back. In Watson, Sheila (Ed.), Museums and their Communities. New York : Routledge
— Hyde, Lewis. (1983). The Gift: Imagination and the Erotic Life of Property, Canada: Random House
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