For such an iconic British artist, why do you think it’s taken this long for a retrospective to emerge here in the UK?

There have been survey exhibitions of Hirst’s work before, such as at the Archaeological Museum in Naples, and at Tate we have included his work in many group shows and collection displays over the years. But it’s also worth noting that he is only in his mid-forties, so I think this is an appropriate moment to look back over almost twenty-five years of his practice.

With twenty years of work to curate, how was the process of delving into Hirst’s back catalog?

This exhibition seeks to give audiences the opportunity to make a journey through Hirst’s development as an artist. Bringing together for the first time the key elements of his early career, it traces the emergence of the themes and motifs that were introduced in his seminal series of works, and follows their development in subsequent transformations and incarnations: Arrangements of objects and animals in cabinets and vitrines, the life-cycle manifested by butterflies and flies, and his trademark spot and spin paintings.

Which pieces stood out as the most important to showcase and why?

We will be bringing together over seventy of his works, including those he exhibited at Freeze in 1988, and the seminal sculptures from the early 1990s, such as The Physical Impossibility of Death in the Mind of Someone Living and Mother and Child Divided. Also on show will be important vitrines, such as A Thousand Years, and his medicine, pill and instrument cabinets.

What makes Hirst stand out as one of the most influential artists of his generation?

Throughout his career, Hirst’s work has been experienced by the majority of people through the filter of photographic reproduction and headline reportage. This exhibition will be an important opportunity for everyone to examine the works themselves at first hand and to appreciate why they became such iconic images.

What is your personal favourite from the exhibit and why?

One particular highlight will be In and Out of Love, a two room installation featuring live butterflies which has not been shown in its entirely since its creation in 1991.

Where do you envisage Hirst’s work ultimately sitting in British art history?

Hirst’s art uses a language that pays homage to the recent history of art as well as the wider aesthetics of display within Western culture. These connections range from the specific – such as with Francis Bacon or Jeff Koons – to more broadly art historical tropes, such as his use of the vitrine, his interest in precious materials, and his fascination with the memento mori.

Damien Hirst: In Retrospect runs from 4 April – 9 September. Tickets are £15.50, with concessions available.
Words: Jenny Cusack

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Explain the collaboration with Louis Vuitton – when and how did it first come about?

The project started in November 2011 – we were invited by ReCreative, Tate and Louis Vuitton to come up with some ideas for how we could collaborate to create an installation that was inspired by Yayoi Kusama’s work, but also drew upon our experience making installations that span physical and social network worlds, creating feedback loops.

What interested you about the project? What do you enjoy about the partnership?

We love Kusama’s work. That was the primary attraction. That said, the prospect of collaborating with some of the ReCreative teams was something that we knew we’d enjoy, as it we had so much fun at workshops and events before. We always aim to make work that takes you into the moment – using technology to make an experience that feels like magic. Wonder.

Explain The Hello Cube, which went live on Saturday – what does it exhibit and aim to explore?

The Hello Cube directly references Kusama’s “The Passing Winter”. Physically, it is a mirrored sculpture – internally and externally. We have replaced an internal mirror with a screen that screen that responds to two external inputs. Firstly, a series of microphones inside The Hello Cube allow for visitors in the Turbine Hall to use sound to alter what is being displayed on the internal screen, reflected into infinity. The second way for people to interact with The Hello Cube is via Twitter. Messaging @thehellocube during the week also changes the interior of the cube – and you’ll get an image in response, showing your result in real time. In a sense, anyone in the world will be able create their own unique art work, that they can share with their followers, and physical visitors to The Turbine Hall. We love to make systems, not narratives.

Take us through some of your most recent influences.

Ridley Scott. Moebius. Jean Cocteau. Marcus Mix. Shabazz Palaces. David Deutsch. Eric Sati. Radiohead. Tim and Barry. Boiler Room. Yayoi Kusama. F.A.T. open Frameworks. Lightning Bolt. Rasberry Pi. Porky Heffer. Snug and Outdoor. Miller Goodman. Prior Art.

What now? What are you working on next?

We are going to open source The Hello Cube immediately. We can’t wait to see what others will do with it. We’d like to take The Hello Cube to other places around the world. In other work, we are going to be concentrating on our two iPad apps for children on the autistic spectrum: http://reactickles.org and http://somantics.org.

Words: Jack Mills

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