SS: How does Tenthaus connect with and support artists/ creatives?

T: Tenthaus tries to be a platform for artists who otherwise don’t have one. The list of activities is too long to cover, of course, but to give voice to artists who need to be heard. One example is that every June, we hold an exhibition thematizing queer/gender perspectives. 

In addition, we would like to emphasise to ensure fee for artists through different funding structures, experimental budgeting, workshops, and exhibitions. We are also committed to maintaining a flat structure and ensuring that members involved in the core operations—such as space management, applications, and budget oversight—are fairly compensated for their work.

SS: In your view, what is the urgency of having an independent/artist-run space/collective/organisation? How do you position Tenthaus within the current social context?

T: The urgency is clear: as individual artists, none of us would be able to achieve what we do collectively at Tenthaus. On our own, we wouldn't be able to afford space—whether it's for an office, studio, or gallery. When it comes to funding, the projects we apply as Tenthaus would be impossible to tackle individually, as funders and projects often require the legitimacy that an established institution provides. Moreover, sharing resources goes beyond just finances. We share knowledge and distribute tasks based on our skills, allowing each of us to focus on what we do best while others take on tasks they are good at.

We also value the healthy exchange of critical questions and the pushback that helps us grow. We don't have to agree on everything, but we respect and value each other's opinions. Collective practices have been fundamental to human survival since the dawn of time. In today's financially unstable climate, we need this sense of collectivity more than ever, though it's not always warmly welcomed. Tenthaus has always operated within the undercurrents of the art scene, and we will likely continue to do so.