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En estos tiempos de hipercomunicación bastaría la invitación de enviar a un amigo cualquiera de los textos que consideres interesantes algo redundante: demasiada comunicación, demasiados textos y , en general, demasiado de todo.
Es posible que estemos de acuerdo... pero cuando encuentras algo interesante en cualquier sitio, la red, la calle, tu casa, o un lugar escondido y remoto, compartirlo no sólo es un acto (acción, hecho) de amistad o altruismo, también es una manera de ahorrar tiempo a los demás (y de que te lo ahorren a ti (si eres afortunado) a costa del tiempo que tu has podido derrochar (emplear) y el gustazo de mostrar que estuviste ahí (o donde fuera ) un poco antes (el tiempo ya no es más el que era).
Comparte con tus conocidos aquello que encuentras, es evolución.
The Wrong Gallery * The greatest little gallery on earth
30-09-06 Seleccionado por: Arty Show 

 


Until recently, the Wrong Gallery was just an expensive-looking doorway in New York. A yer ago it opens in its new home: Tate Modern.

By Christopher Turner


If you ever visited the Wrong Gallery in New York, you might have been greeted by a blunt notice: "Fuck Off We're Closed". As it happens, the gallery, which launched in 2002 as the smallest exhibition space in New York, never actually opened. It was nothing more than an expensive-looking glass door, identical to those of the Chelsea white cubes it satirised. Viewers would peer through it into a meagre two and a half square feet of floor space, where in the course of its three-year existence the Wrong Gallery exhibited the work of 40 internationally acclaimed artists. Few passers-by would have guessed that the "Closed" sign - a piece by British artist Adam McEwen - was itself the work on view.The Wrong Gallery's founders were Italian art-world jester Maurizio Cattelan (most famous in Britain for his controversial mannequin of the Pope crushed by a meteorite) and two editors turned curators, Massimiliano Gioni and Ali Subotnick; they jokingly referred to the sliver of a gallery as "the back door to contemporary art" - one that's "always locked". It was entirely non-commercial, literally only accessible to window shoppers. The name came about because, as Cattelan now explains: "We loved the idea of people saying: 'It's a great show, but it's in the wrong gallery.' "

In July, the Wrong Gallery was evicted from its doorway. This week a full-scale mock-up will appear, Tardis-like, on the third floor of Tate Modern, where the Wrong Gallery has been granted temporary asylum.

It remains to be seen how the Wrong Gallery's signature pranks will be adapted to the canonical collection of the Tate. Most of the interventions it has staged have played in some way on the idea that there might be more - or less - to the gallery than met the eye. The Polish artist Pawel Althamer hired two Polish illegal immigrants to smash in the door with a baseball bat every Saturday - "I think we had to change four or five doors in total," Cattelan recalls, "a good way to keep the window cleaned!" Jamie Isenstein displayed a "will return by" sign that was motorised so that its clock always pointed a quarter of an hour into the future. Andreas Slominski kidnapped the door and took it to a dinner party in Hamburg, where he held it hostage for two weeks. At a recent show in London's East End, a photocopy was displayed reading "Lost. Have you seen this door?" accompanied by a grainy picture of the Wrong Gallery and a telephone number.

Cattelan, Subotnick and Gioni have free rein over what they can show in their Tate Modern toe-hold. "We'll have to adjust to a different environment," Cattelan says of the transfer to the Tate, "gather new energies from our neighbours and at the same time work against them, try and look different from them." He drily suggests that they might start selling works, or subletting their space to commercial galleries. When they originally leased their doorway in New York's Chelsea district, it was on the condition that they exhibit the work of the landlord's wife. The curators made no effort to mask the nepotism: "Once a year we had the Landlord's Wife's Show," Cattelan tells me. "I hope we don't have to do anything like that at the Tate!" Their first exhibit there is the Orgasm Box, a video installation by 72-year-old artist Dorothy Iannone, which shows her younger self masturbating. But whatever it shows, one thing is sure: the subversive gallery has itself become a work of art.

It has also, despite itself, become a kind of institution. It even publishes a yearly newspaper, the Wrong Times. The gallery has been given its own space at the upcoming Whitney Biennial in New York (its exhibit has already proclaimed its independence by having different opening and closing dates to the rest of the show), and the directorial trio has been invited to curate next year's Berlin Biennale. They immediately started a fake Berlin Gagosian gallery (a cheap knock-off of the New York, London and Los Angeles versions, housed in a shabby former plumbers' merchants), hijacking the actual gallery's logo and stationery to create a bootleg or "guerrilla franchise". They describe it as a "stepsister" to the Wrong Gallery - Cattelan jokes that "our dream is at one point that Larry Gagosian buys the Berlin branch".

When I visit the building in New York that once housed the Wrong Gallery the shutters are up; there are no clues to the doorway's former use. There is a Jehovah's Witness hall next door and a waiter is arranging a table of fluted glasses in a gallery on the other side of the street. A block away, Andrew Kreps, the gallerist whose basement doorway the Wrong Gallery occupied and who was evicted from the building at the same time, is shivering in his new temporary space. He has a pair of longjohns wrapped around his neck and a magnum of champagne cooling on the desk beside him.

"We still get their mail," he says, laughing. "They had the same address as we did." (the Wrong Gallery simply added a ½ to Kreps's 516A, and were amused to get numerous job applications for gallery assistants and guards.) "Basically," Kreps says, "they were a parasite." Later, Cattelan tells me: "We used his pens, pencils, hammers, nails, screws, drills, ladders, mailboxes, answering machines. We would sit in the office and have coffee when it was winter and we were installing in the street." He drilled a hole through the wall that divided the two galleries and connected the Wrong Gallery's lights to Kreps's. "They'll be a parasite on Tate Modern too," Kreps says, with mock seriousness. "They need hosts, and then they infect them."

Despite being a parasite, the Wrong Gallery soon had a greater share of the building's facade than the Andrew Kreps Gallery, though the facade was, of course, all they had. They expanded into another doorway of the building a couple of years ago, and flipped the font on their new glass door so that it looked like a mirror version of the original. "We thought that one day," Cattelan says, "we would get to have as much real estate as Gagosian, only split up into very, very small lots."

Some "lots" have been, frankly, infinitesimal. There is a mousehole-sized replica of the Wrong Gallery in a Museum of Contemporary Art in Japan, and collectors can now buy an 18in-high scale model of the doorway for just under £700, which includes miniatures of all the artworks ever shown there (a homage to Marcel Duchamp's famous museum in a suitcase). "The idea is that anyone can play at being a dealer at home," Cattelan says. "It is a sign of the times. In the 1960s every man could have become an artist; now everyone wants to make money."

As I put heel to toe to measure the small recess that was once the gallery, I notice that someone has used the narrow niche to take a dump ("In Italy it's good luck to step in shit," Gioni later reassures me). Perhaps it was left there by an art lover, and intended as an homage to the Wrong Gallery's litany of scatological shows. Paul McCarthy's Santa Butt Plug was decorated with excrement, and Noritoshi Hirakawa manipulated a volunteer's diet to produce the perfect odourless turd. Says Cattelan of my find: "One man's trash is another man's treasure"


Artists at The Wrong Gallery

Tomma Abts, Makoto Aida, Pawel Althamer, Charles Avery, Martin Boyce, Michael Cline, Peter Coffin, Phil Collins, Mathieu Copeland, Martin Creed, Roberto Cuoghi, Sean Dack, Trisha Donnelly, Milena Dragicevic, Ingar Dragset, Sam Durant, Michael Elmgreen, Simon Evans, Doug Fishbone, Claire Fitzsimmons, Harrell Fletcher, Dara Friedman, Christian Frosi, Liam Gillick, Delia Gonzalez, Mark Handforth, Roger Hiorns, Noritoshi Hirakawa, Jens Hoffmann, Evan Holloway, Jamie Isenstein, Cameron Jamie, Piotr Janas, Carol "Riot" Kane, On Kawara, Robert Kusmirowski, Erik Van Lieshout, Justin Lowe, Paul McCarthy, Adam McEwen, Charles De Meaux, Nathaniel Mellors, Alan Michael, Jonathan Monk, Kenneth Mroczek, Dave Muller, Silke Otto-Knapp, Philippe Parreno, Peter Peri, Gail Pickering, Olivia Plender, Florian Pumhosl, Jason Rhoades, Dieter Roth, Gavin R. Russom, Elizabeth Peyton, Michael Sailstorfer, Martin Sastre, Norbert Schoerner, Tino Sehgal, Shirana Shahbazi, Gedi Sibony, Roman Signer, Andreas Slominski, Monika Sosnowska, Hayley Tompkins, Lawrence Weiner, Tommy White, Michael Wilkinson, Keith Wilson, James Yamada, Carey Young


Published at guardian



   
 

Rating: 4 - 1 voto(s).

   
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