The skeletal remains of Sutton Scarsdale Hall continue to decay. A dilapidated wreck of a structure, you enter at your own risk. This decay needs to be resisted and Sutton Scarsdale needs to live again...
In the very heart of England, Sutton Scarsdale Hall is to become the Pavilion of Postcontemporary Curating. What is a pavilion of postcontemporary curating?
First it will be a new international art facility set in the beautiful Derbyshire countryside. The current Hall is a perfect exhibition/ performance space, lit from above, with high walls, neutral floor. It will be dedicated solely to new curating.
2nd. The Pavilion of Postcontemporary Curating will be a sculptural work incorporating the remains of Sutton Scarsdale Hall.
3rd. The pavilion of postcontemporary curating will provide a home for the Centre of Attention and its archive.
Also, the space will have a special remit to act as a 'patron' to working class artists and curators by providing these facilities for free.
As a functioning work of art/art centre, it should provide everything the contemporary curator requires and be able to evolve as those needs change...
Importantly it will facilitate new media production as well as old, it will have a library, archive, research facilities and study resource, studios and accommodation as well as a gallery dedicated to the history of the house.
It will be a base for new ways of looking at art and its production. A sculpture, it will become part of the regional landscape and act as a beacon to advanced ideas and art praxis in the regional and international scene.
Dramatic gestures define Sutton Scarsdale Hall:
the 3rd Earl of Scarsdale absconds with the underage daughter of a wealthy merchant;
the 4th Earl, Hogarth's inspiration for 'the Rake's Progress', ruined by rebuilding the house into a rival Chatsworth;
Joseph Arkwright, the impotent aristocrat and coal mine owner, model for DH Lawrence’s Clifford Chatterley
Post war, the Sitwells rescue the ruin, passing the burden on to English Heritage in the 1960s.
The House's history closely embraces the building and the trajectory of the nation: from courtiers, merchants and industrialists to property speculators, dilettantes and conservationists. The fate of Sutton Scarsdale is our fate.
In 1919, local builders demolish parts to re-use in their suburban home developments; Paneled rooms were sold off. One reached the Philadelphia Museum of Art where it frames its British painting collection; other rooms going to Randolph Hearst for his fantasy home of San Simeon and to Hollywood director Mitchell Leisen for the (Oscar nominated) sets of his 1945 feature film 'Kitty'.
One aim of this project is to break from Romanticism’s stranglehold on our epoch and other para-modern attitudes, by shifting the building from a narrative space back to a functional container.
Using the spinning jenny of the internet, the pavilion of postcontemporary curating becomes a vomitorium of ideas and an incessant interface of images and information, downloading like earth on the victorian corpse: Undead.
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