Tucked away in a poorly-signposted corner of the V&A, an interesting little experiment in curating is afoot. Most people will know the Museum for being brimful of old treasures in vitrines. However alongside the temporary exhibitions programme, which upholds a more active conversation about design, old and new, there is now a team responsible for the Museum’s dealings with the contemporary world of design, architecture, and digital artefacts: and they have developed a new practice that they’re calling ‘rapid response collecting’.
What this means is, instead of hopping over to Milan and acquiring the most interesting new chair, they are fishing around in current affairs, global politics and supply chains – identifying and collecting items that are particularly telling about the world as we know it. Or rather, more interestingly, that reveal the inequalities, injustices and awkward facts about the made world that we often choose to ignore.
So in this first round they have a digitally printed gun, some Katy Perry fake eyelashes handmade by low-paid third world workers, an IKEA toy that became an unlikely mascot of protest, the App that proved so addictive its maker removed it from circulation – and eight other objects of similar potency.
This all feels, of course, highly political (even though the text accompanying the objects is nicely neutral). Consequently – better than just positive coverage for the V&A – it has already sparked quite a bit of commentary and debate – including in the New York Times. It’s absolutely appropriate that the Museum should be instigating a public conversation in this way, but how often does it really happen? This step towards repositioning the public role of the museum is no small achievement by Kieran Long, Corinna Gardner, and their colleagues. I look forward to seeing what they do next: especially in an election year.
The other thing to say is that for those who know very little about design history – and even those who do – this collection is a perfect entry point to the rest of the museum. Context, after all, is what makes design interesting – and we are all immediately familiar with the context of these objects, in a way that most of us aren’t with the historical and political milieu of a pair of medieval church doors, or Italian renaissance ceramics. I wonder if these 12 objects – and whatever else comes next to the Rapid Response team – might make the rest of the vast collection seem somehow more approachable? Perhaps eventually it could be moved to somewhere a little more easily in the path of the casual visitor.
For now, if you’re intrigued, go up the stairs by the Exhibition Road entrance, along to the end of the 20th century gallery, and just beyond the 1940s, there it is.