Jesse Ash, Michael Asher, BANK, Robert Barry,
Nina Beier and Marie Lund, Nina Beier, Daniel
Buren, Stella Capes, Tomas Chaffe, Michael
Elmgreen & Ingar Dragset, Lara Favaretto, Claire
Fontaine, Simon Fujiwara, Ryan Gander, Mario
Garcia Torres, Jens Haaning, Jeppe Hein, Adam
McEwen, Jonathan Monk, Alek O., Fernando
Ortega, Kirsten Pieroth, Wilfredo Prieto, The
Hut Project, Dan Rees, Mandla Reuter, Gregor
Schneider, Santiago Sierra, Andreas Slominski,
Simon Starling, Ron Terada, Mungo Thomson,
Jan Timme, Bedwyr Williams
La mostra GALLERY, GALERIE, GALLERIA mette
in scena una storia della galleria d’arte, esaminando
i modi in cui alcuni artisti l’hanno utilizzata
nei loro lavori. Sono incluse opere di artisti
di diverse generazioni – fra cui alcune create
appositamente per l’occasione – insieme a
un’esposizione di documenti, opere e cimeli
collegati a lavori site- e situation-specific
concepiti dagli artisti per altre gallerie.
Tutti i lavori in mostra sfruttano un’ampia
varietà di approcci rispetto all’uso della galleria
come luogo d’indagine, punto di partenza, soggetto
oppure mezzo in se stessa, così da affrontare,
sfidare e modificare il contesto in modo
fisico e concettuale.
GALLERY, GALERIE, GALLERIA nasce in parte
come reazione all’idea antiquata e tuttavia
ancora in parte latente secondo cui la galleria
commerciale, in quanto spazio definito dalla
vendita di opere d’arte, costituisce un ostacolo,
un intralcio alle possibilità di ampliamento
degli orizzonti artistici e dell’ideazione
di mostre. Allora è piuttosto il museo – spazio
teoricamente incontaminato, sacro e in apparenza
puro – a permettere l’innovazione e
a far sì che le opere e le mostre vengano
inserite nel canone di ciò che è storicamente
importante. In contrasto con questa visione
GALLERY, GALERIE, GALLERIA, pur riconoscendo
i vantaggi dello spazio museale rispetto al settore
commerciale, aspira a offrire un punto di
vista diverso e a presentare una storia in cui gli
artisti dimostrano il contrario, servendosi della
galleria nelle proprie opere in modo creativo,
critico e vitale.
In occasione della mostra verrà pubblicato un
bulletin contenente un breve saggio del curatore,
esplicativo dell’idea centrale della mostra
e un elenco delle opere presenti.
Jesse Ash, Michael Asher, BANK, Robert Barry,
Nina Beier and Marie Lund, Nina Beier, Daniel
Buren, Stella Capes, Tomas Chaffe, Michael
Elmgreen & Ingar Dragset, Lara Favaretto, Claire
Fontaine, Simon Fujiwara, Ryan Gander, Mario
Garcia Torres, Jens Haaning, Jeppe Hein, Adam
McEwen, Jonathan Monk, Alek O., Fernando
Ortega, Kirsten Pieroth, Wilfredo Prieto, The
Hut Project, Dan Rees, Mandla Reuter, Gregor
Schneider, Santiago Sierra, Andreas Slominski,
Simon Starling, Ron Terada, Mungo Thomson,
Jan Timme, Bedwyr Williams
GALLERY, GALERIE, GALLERIA is an exhibition
that will stage a history of the various and diverging
ways that commercial galleries have been
utilised by artists, examining and presenting
artworks both past and present. The exhibition
will encompass works by a cross-generational
group of artists – including a number produced
specifically for the occasion – some of which
will address Norma Mangione Gallery and
its location, as well as a historical display comprised
of documentation, artefacts and ephemera
related to site-specific and situational works,
conceived by artists for other galleries.
All of the artworks included in the exhibition
take a wide range of approaches in their use of
the commercial gallery as a site for investigation,
a starting point, a subject, or as a medium
in itself, in order to address, challenge, and
intervene both physically and conceptually
with this context.
In part, GALLERY, GALERIE, GALLERIA reacts to
a somewhat archaic and extreme, yet partially
latent argument, suggesting that, as spaces
defined by the selling of works of art, commercial
galleries hinder and prevent any potential
for broadening the horizons of art and the
staging of exhibitions. Following this argument,
rather, it is the museum – a supposedly
untainted, sacred and seemingly pure space –
that allows innovation, enabling both art and
exhibitions to be co-opted into the canon of the
historically important, and playing a part in its
lineage. In contrast to this view, while the museum
traditionally offers a number of benefits
not found in the commercial sector, GALLERY,
GALERIE, GALLERIA aims to offer and demonstrate
a very divergent situation and outlook,
and one that presents instances in which artists
have proved the contrary, using the commercial
gallery in their works creatively, critically and
with vital purpose.
A bulletin will be published on the occasion
of the exhibition, featuring an essay by the curator
elucidating on the core ideas of the show
and the works included, and a checklist of the
works on display.