An exemplary model?
In 2017, CAHN decided to test out the idea of critiquing an ‘exemplary model’ through a visit to a new Maggie’s Cancer Centre, recently built by Richard Rogers, in Manchester. Unlike discreet works of art placed on any hospital wall, Maggie’s Manchester had been conceived as ‘non-institutional institution’ (Charles Jencks). Not only does it boast high-quality art works (borrowed from the Whitworth Gallery) but the building was designed by the world-renowned architectural firm, Norman Foster + Partners.
Whilst running our fingers through shag-pile carpets and the fronds of spider plants, one researcher in our group asked: when we are being critical, what place and position are we able to do that from? Are we doing it from an assumed utopian space that we don’t quite know we are occupying? Where do you stand when you are doing the critical thing? Aren’t we also coming from the position of - it could be better, it should be different - which is also a kind of utopian position?
These questions led to the development of some essays, published in an electronic publication titled, Double Agency. Artist and Radiographer - and doctoral student - Sarah Smizz, used this phrase to frame her own critical standing within the interdisciplinary field of Arts and Health, curating a series of events off the back of this book. She edited and designed the final anthology, which explores competing and hidden form of knowledges.
Further speculations on the role of aesthetics and design in making us feel ‘comfortable’ were developed by Becky Shaw as part of a conference presentation titled “Class, Cool and Care: The Maggie’s centre and the discomfort of criticising the ‘Well-being’ aesthetic”. This was presented at the Space and Place group conference at Sheffield Hallam University, on ‘The Comforts and Discomforts of Place’ 10th July 2019.
In this presentation Becky Shaw humorously focused on the Orla Kiely hand towel she found in the Maggie’s Centre bathroom, questioning whether Maggie’s ‘middle class taste’ was comfortable for everyone, and asking whether the exquisitely tasteful design of the centre was designed for patient’s comfort or as a visual signifier that encouraged investment from private funders. To criticise Maggie’s feels sacrilegious as it is so established as the pinnacle of good cancer care, but also because it caused us to reflect on the distance and privilege of a critical position. This brought to life the complexity of trying to think critically about the often warm and cosy terrain of arts in health