Everyone I Have Ever Slept With 1963–1995 1995

Editor: Tracey Emin’s "Everyone I Have Ever Slept With 1963–1995" is a tent covered with names. It’s such an intimate concept, presented in a really unexpected way. What layers of meaning do you think the tent form adds to our understanding of the work? Curator: The tent itself becomes a potent symbol of shared intimacy and vulnerability. Consider the tent as a space of childhood storytelling, of temporary shelter, or illicit encounters. What memories are evoked by this simple structure? Editor: That makes me think about the blurring of private and public, which seems very intentional. Curator: Precisely. The tent, a traditionally private space, is here exposed. The names, stitched onto the fabric, become like votive offerings, mapping a personal history onto a shared cultural object. Editor: It’s fascinating how Emin uses such a commonplace object to explore complex ideas about memory and relationships. Curator: Indeed. The tent transforms into a powerful icon, carrying layers of personal and collective meaning.