verifyErrors }}{{ message }}{{ /verifyErrors }}{{ Looking ahead to the future of design and repair with artists and activists Superflux, Bridget Harvey and Tenant of Culture An interesting question would be whether this series is conceptual art? Undoubtably the ideas behind the work take precedence over any traditional notion of aesthetics but Wentworth often identifies pleasing patterns created by light and instinctively recognises strong colour combinations and compositional forms. And whilst it is not sophisticated or accomplished at a technical level there is no sense that Wentworth is actively building a vernacular snap-shot aesthetic into his work, the photographs just happen to be that way. In some ways it is a companion book to John Pawson’s A Visual Inventory (5); Pawson, an architect, has collected over a quarter of million images that record landscapes, buildings and architectural details that inspire or just intrigue him. Like Wentworth he uses the camera as a note book, a visual diary, and whilst he is more often investigating form and the juxtaposition of colours and patterns his work is similar to Wentworth’s in that it reveals the thought processes of an accomplished practitioner in an art medium parallel to photography.

A door wedged open with a gumboot, the clapper of an alarm bell silenced with a Fudge bar still in its wrapper, a catering-size tin of peas used as a cafe doorstop. These kind of uses have always been the mainstay of Making Do, but many other photographs are less to do with the utilitarian, and more to do with the happenstance arrangements of things, or ad hoc kinds of display, especially the pavement displays of second-hand furniture outside the junk shops of Caledonian Road in north London. Rows of old armchairs lined up by a bus stop, vacant sofas at the kerb, upended chairs like fallen men.

Azadeh Sarjoughian Can you explain why you chose the title ‘Every Day’ for the 11th Biennale of Sydney, and what was the necessity of choosing this theme at that time? Visitors will have the chance to view a selection of photographs taken by influential artist, curator and teacher, Richard Wentworth. The images chosen for the exhibition, depicting ingenious examples of repair, are taken from Wentworth’s on-going project Making Do and Getting By. Beginning in the 1970s, the project records the artist’s encounters with the extraordinary use of ordinarily mundane objects in the modern world.

Quotidiana’ (5 February–21 May 2000) was curated by David Ross, Nicholas Serota, Ida Gianelli, Giorgio Verzotti and Jonathan Watkins New works commissioned for Eternally Yours from British-Lebanese multimedia artist Aya Haidar’s Soleless Series will also be displayed. Developed during a four-month artist residency programme working directly to reintegrate newly arrived Syrian refugee communities into the UK, Haidar embroidered first-hand accounts of migrants' journeys upon the soles of their worn-out shoes to evoke themes of loss, migration and memory. ​ That art is all about the private experience becoming public, and being turned into fame and fortune. There are artists with great life stories – Louise Bourgeois, Francis Bacon. But art is also made in a thousand other ways. In July 2009, he curated the Lisson Gallery's Summer show oule to Braid featuring a large number of works from his personal collection and that of Lisson director Nicholas Logsdail. [2]Firstly, whilst the photographs neither reference nor act as references to his sculptures there is an obvious alignment of philosophy and output in the two mediums. Secondly, his choice of subject is not only a very personal perspective of urban life but has been consistently and deeply explored for four decades. We can be tempted into over analysing his photographic work and align it with various movements in contemporary photography but in reality the only relevant reference is the artist himself. This in itself makes this series unusual, it has been created outside of and in parallel with the mainstream of photography history, uninfluenced and seemingly unaware that the mainstream exists; in the interview with Hans Ulrich Obrist that introduces the book (2), he discuses sculptors, architects and writers; photographers are notable by their absence. And so we find, among Wentworth's discoveries, a wine glass upended on the cast-iron spike of some railings, a car seat wedged in a plastic dustbin. We might groan at these examples of the out-of-place, but they have a kind of abject poetry. It is impossible not to be aware of Wentworth's self-conscious artist's eye, his sculptor's feel for things - how things are piled, or angled, how the plastic cups are crumpled and stuffed into the space between wall and drainpipe. He notices things that look like his sculptures, which seem to operate by the same organisational principles. From the late 1880s until the 1920s, Atget wandered Paris, photographing the streets, doorways, facades and shop signs of the city. His photographs are mostly unpeopled. It is not that his Paris is deserted - just that the humans do not linger for enough time in the long exposures of his camera to be much more than a fleeting blur. Sometimes we catch a glimpse of the photographer, but only as a shadow on a wall, or a presence reflected in a shop window or mirror. Anna Dezeuze, ‘Photography, Ways of Living, and Richard Wentworth’s Making Do, Getting By’, Oxford Art Journal, vol 36, no 2, June 2013, pp 281–300