I’ve been meaning to update you all on the documentary project I’ve been working on since June. As I wrote back in the summer, I traveled to Dublin with the DukeEngage cohort to undertake my own investigation: the recent suspension, via the Dublin City Council, of The Exchange, a collective arts center in downtown Dublin. At present, I’m 34 pages deep in transcriptions from interviews I conducted with Exchange volunteers, activists, academics, arts administrators, and politicians. Once I’ve transcribed the last few interviews, I’ll begin to post updates on the blog from time to time as I put the pieces of the story together.
It’s still difficult to visualize, at this point, what exactly the story I write will look like. But I am certain, especially in the midst of ongoing press about the closure of The Exchange and similar arts venues in Dublin, that the story I write will attempt to interrogate both the closures themselves and the ways in which I came to know them, and their sphere of actors and participants. Why do I care? What experiences stateside, both personally felt and otherwise, contribute to my interest in the collapse of creative spaces anywhere? What kind of story can a relative ‘outsider’ tell about these stories generally, and The Exchange’s story specifically?
A few days ago, writer, artist, and radio documentarian Gareth Stack published a short audio documentary about the startling trend of creative spaces closing in the city, and what can be inferred from this trend about Dublin’s, and Ireland’s financial wherewithal. Put another way, in the prelude to his report: “Could the city’s economic status be gauged from the number of independent arts spaces that’ve closed down, suggesting a new competition for space?” In the piece, Gareth interviews representatives of several different arts spaces about gentrification, the relationship between art-making and place, and the ways in which arts organizations’ structures are changing as demand for real estate threatens to erase them.
Gareth actually contacted me over the summer, referred by an Exchange volunteer who I talked to several times during the two weeks I was in the city. He was just then beginning the radio piece and was looking for more contacts, more stories of spaces being threatened with closure (or in the process of closing). His piece is helpful as I continue to contextualize The Exchange’s story within other ones, as well as recreate my experience from the summer on the pages of a Word document.
But the thing I like most about Gareth’s piece—which stands alone as culture reportage—is the way it’s embedded, on his personal website, within a longer (written) narrative of his own connection to these creative spaces, especially The Exchange. You can read this piece, replete with photos from his time at The Exchange, here. He talks about how he found both The Exchange and another non-hierarchical collective space, Seomra Spraoi, after graduating from college. “I found myself footloose and penniless,” he writes. “Ireland didn’t seem to offer anything in the way of meaningful, ethical work, and I couldn’t afford to emigrate.” Volunteering at The Exchange offered him an alternative, and quickly became a vibrant community in which he played a key part. He calls his time there “three of the most creative, rewarding years of my life.” The language he uses to describe and to commemorate his time there is not dissimilar from that of other volunteers I interviewed over the summer. I have hours of audio recordings that are made up, simply, of different voices describing their favorite events, exhibitions, and moments spent at The Exchange. The details of their experience testify to the venue’s uniqueness. I wonder, still, what it would’ve been like to be there.
Gareth’s longer narrative is another voice, and another testimony, for this evolving archive. (Several of the volunteers I interviewed told me my piece would add to the archive, too). And I say “evolving” because in the wake of these closures there’s another trend forming: what these people will do with their memories, with their relationships, with their art, with their activism. There’s the question of what Dublin’s —or Durham’s, or any city’s—creative architecture will look like in 10 years, but there’s also the question of what it will look like in two months. And this archive is part of that doing.