The other thing is that, as the artist Martha Rosler says, the future often flies in under the radar. Artists have antennae that allow them anticipate things. Now we also see more of an idea that first was put forward in the 1960s, about having an artist on the company board. I think then it was a utopian idea, but it was taken very seriously in Germany and the question of whether artists should have a seat at the table is being considered again now.
Why is it, as a percentage of the population, that so few people have any interest in art?
A couple of years ago I took a taxi to go to the Serpentine very early and the driver asked if I worked there and I said, “Yes, indeed.” He started to tell me a story of how he’d gone for a walk in the park with his daughter and she ran into the Serpentine Pavilion – it doesn’t have doors, which is kind of relevant – and one of the great things about museums and galleries in the UK is that so many collections are free. So I asked if they then visited [the gallery] and he was silent for a moment and then said, “No, that kind of place isn’t for the likes of me.”
We have to find ways in which art can appear in places where we expect it least – in hotel rooms, on a mountain peak, on a train, in a magazine, taking the show to the people. We need to find new forms of engagement for art. The Pavilion is that. Public art is art. Look at how the US developed these amazing programmes in the 1930s to bring art to every school, every post office, on murals. It’s interesting to think about that again today, in the way artists are, for example, experimenting with technology [such as] video games, which brings art to a new audience. We’ve seen that with [the artist] KAWS recently, where we had his work on the landing page of Fortnite and that’s being seen by 400 million players.