Pavel Buchler in conversation or 'Making ALMOST nothing happen'...

 

Last night Maria Balshaw from the Whitworth Art Gallery in Manchester coaxed Pavel Buchler to share some of his views on his practice, prizes, democracy and opportunities for artists.

First up it was an entertaining talk, and not short of a quote or two. Pavel is a lecturer and tells a good story, I only wish I had decamped to the Victoria and Commercial Hotel after to hear more of his outspoken musings and anecdotes.

What on earth possessed you to nominate me?'

As director of the Whitworth, Maria is responsible for the nomination of Pavel for the Northern Art Prize, much to his consternation, Pavel is a most reluctant recipient of the honour of being shortlisted for the prize, being uncomfortable with competing against fellow artists, (including one of his best friends Ian Rawlinson). If anything artists are competing against history. 'What on earth possessed you to nominate me?' he quizzed Maria. Thankfully Maria gave Pavel food for thought, stressing that she did not care who actually wins, the maintenance of work and profile in the North of England, resulting in very strong work being exhibited together was important, and the prize was a vehicle for this to happen. Pavel did concede that the money would be extremely handy, (failure of his boiler being on his mind) that he was proud of the seal of critical approval from people he respected (Maria) and to show work in a good institution with people he respected was also a postive.

Another issue with the nature of competitive prizes is how the audience then receives the work, a prize pits people against each other, and skews the way in which people come to view the work. The more 'sensitive' viewer would filter out the 'competition' aspect.

Artists are good at squeezing the last drop of use out of things that are on the threshold of obsolescence'

Pavels describes his work as 'making almost nothing happen'  citing the job of the artist to keep their eyes open to things that are already in the world but pass by unnoticed, the stuff we have little inclination to pay notice to. The obsolete (where the useful function has become superseded) and the overlooked in our culture are what interest Pavel.

There should be fewer 'opportunities' for artists

Artists should concentrate on their professional practice, and not on filling in grant applications, or spending their time responding to commissions.

Provincial V Provincialism

Manchester is the only provincial city he knows (he lives there, and cannot speak for the rest of the UK) that does not suffer from from provincialism. What does he mean by this?

The Art Market

 Pavel is represented by three galleries in the UK and abroad. Perhaps for the sake of congenial relations we should caveat that he thinks very well of his own galleries, but sees galleries as having replaced the old system of collectors buying via the studio visit. He perceives their main function is to represent artists at Art Fairs which are critical to presenting work and attracting collectors affording them the chance to see un-curated work and get back in touch with the scene. All too many dealers pressurise their artists (who are selling well) to produce more work, more quickly and more of the same. 

Democracy is bad for art (when asked about the public vote for the prize, and it's influence upon the final judging) however it's good for not getting into trouble. Artists are privileged  in Western democratic society as they push boundaries of acceptibility, artistic licence is one to trespass on behalf of the rest of us, because it makes us feel good to tolerate and accommodate such trespasses.