BOOM!! A surprise call-out arrived by email on Monday 17 August 2020.
After six months of locked-down, doom-laden, isolated existence – during which time the arts and social-living had been sacrificed on the altar of coronavirus safety – this was a much-needed breath of renewed life for enthusiasts.
The email also said: “sign up sooner rather than later as there are space limitations.”
Ninety-nine minutes later, my application was in.
Applying was the easy part. Getting accepted proved harder. My own experience was a reverse hokey-cokey: out, in, out, in. By the end of the following week, successful applicants started getting emails saying: “Congratulations, you have been selected to participate in Spencer Tunick’s latest installation“. Esther got one; I didn’t. Esther was in; clearly I was not. After a few days of inconsolable moping, I decided – in the words of Peter Cook – that “I wasn’t taking ‘no reply’ for an answer.”
On 1 September, I sent the most humiliating, cringing, hand-wringing, begging email I’ve ever sent to anybody in my life. I wasn’t proud, I was just desperate. This will be wholly unrelatable for the overwhelming majority of sentient lifeforms but, for reasons I can’t explain, participation in body-positive art installations has become my passion. Opportunities are so rare these days, even without a pandemic, that this one could not be missed. Somehow it worked; next day the answer came: “OK: YOU’RE IN!”
And then five days later I got another email saying: “Due to the current pandemic, we have had to limit the number of people we can have on site at once, and unfortunately we are now at maximum capacity with participants so on this occasion, we won’t be inviting you to take part in the installation this weekend.” Ah, fate is a cruel trickster. I responded immediately, expressing my grave disappointment but adding: “I’ll go along anyway as you’ve still included my girlfriend.”
Source: Steve Ritter
Original publication 23 September, 2020
Posted on NatCorn 2 weeks ago
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