A chance encounter
with something at a temperature, a texture, a scent similar to mine
While wandering around at http://your-mind.com,
in the section called 'Why on earth are you doing this?'
I came across the 6th interview featuring 'Gallery Factory'..
(excerpt)
When I opened Factory in 2002, it wasn't that I had a grand ambition to 'become' something, it was simply that I wanted to endlessly 'do' something. And in that 'doing,' I wanted to work 'together,' making eye contact with various people one by one rather than alone. So probably because I've kept that attitude, the word 'connection' came to your mind. Over the past ten years, I've met so many people, done so many things, consumed and produced so much, but looking back over ten years, I kept coming back to my very first thought. What stays in the heart in the end is really just the memory of working joyfully with someone. That's why I made changes to Factory's second floor too. The space, centered on an office, was reorganized into an archive and a video screening space, and I also added a small kitchen so that small meetings could be held often. You could say the space was changed to open up wider possibilities of 'connection' beyond just 'display'-centered exhibition programs.
(excerpt)
Rather than 'improvement,' it's closer to wanting to adopt a new attitude. For now, it's the work of making internal promises. And not stopping at making promises, but carrying them out one by one to firmly build up the inside — that feels most important to me. These days I strongly feel we need to become a 'place' or a 'thing' that is solid on the inside and flexible on the outside.
(excerpt)
Conflict and collision always seem to come from vague expectations. Even I, making my living in the 'communication' field, still find communication with people to be the hardest task. I've experienced countless times that when you leave a topic you want to avoid, a moment you want to escape from, vague and ambiguous just to momentarily dodge it, that ambiguity grows larger, gets distorted, and eventually becomes a big problem. That's why I try, as much as I can, to bring up the most painful topic first in the most 'direct' way, but it's still a difficult feeling every time. In particular, unlike fields like design or architecture where the communication process is very important, communication with artists in the pure arts always has its hard parts. Sometimes, it's exactly this point that makes me want to give it all up. I can't completely prevent the conceptual differences around what people call 'common sense,' or the expectations, disappointments, and miscommunications that come from them, but I'm constantly making efforts to convey my opinions clearly without beating around the bush, while also trying to think from the perspective of the people I work with. After all, everyone has their own position and reasons.
(source: http://yourmind-bookshop.com/archives/3099 )
