Most up to date artwork galleries have little in widespread with our houses. The artworks on show would possibly take care of quotidian topics, however exhibitions have a tendency to not appear like home settings. Their white partitions, harsh overhead lights, and quiet ambiance all level towards their obvious goal: to encourage the viewer to provide their full consideration to the artwork on present, to let it dominate their notion fully. Within the white-walled, “non-domestic” gallery, it’s simply you and the art work. Such a communion between the exhibition and the viewer appears to require whole abstraction from the detritus of on a regular basis life. However what occurs when the gulf between house and gallery is crossed? At first, seeing exhibitions incorporating house furnishings frightened me; they appeared to dilute the distilled expertise I describe above, putting artworks alongside merchandise and turning galleries into retailers for luxurious items. However this fear is misguided. Furnishings is a false flag that doesn’t reliably sign commercialism. In truth, an area that seems like house can facilitate an embodied form of engagement with artwork that the barren artwork galleries we’re used to don’t supply.
Orlando is the title of one in all Virginia Woolf’s characters, a never-aging author and aesthete. Final yr, Pi Artworks in London staged a gaggle exhibition titled An Ode to Orlando which imagined what their house would possibly appear like in the event that they had been alive at the moment. Orlando can also be the title of a loveseat made by Ada Interiors, a luxurious inside design model whose furnishings was on present as a part of the exhibition. Getting used to sparsely furnished non-domestic galleries, seeing the trimmings of a bourgeois house life invading this exhibition felt jarring. It jogged my memory that the work and sculptures on present weren’t simply there for me to take pleasure in as a viewer; they had been additionally merchandise on the market. Just like the chairs and tables that they shared the house with, they had been objects a part of the way in which by a journey that will finish in a transaction.
Galleries don’t simply present furnishings alongside artwork; typically furnishings is the artwork. For instance, David Zwirner’s web site advertises divans, coat racks, and plastic chairs made by Franz West on the market with costs beginning at $12,000. The museums are at it too: Some time in the past, I overheard the Barbican’s blockbuster Noguchi retrospective known as “the IKEA exhibition” — presumably due to the various paper lampshades, now mass-produced by the Swedish furnishings big, on present. As in An Ode to Orlando, blurring the road between artwork and furnishings appears equal to blurring the road between a gallery and a store. It turns an area for delighting in artwork into one for looking for artwork. It appears that evidently the non-domestic gallery’s goal is for viewers to have interaction with the work on present while the gallery-cum-furniture-showroom is for purchasers to make purchases.
However furnishings within the gallery is a false goal. Though it’d make me consider a cynical and business method to exhibition programming, it doesn’t represent it. The gallery that appears extra like a house just isn’t essentially extra responsible of commodifying the artwork that it reveals. The vendor who turns their nostril up at together with furnishings in an exhibition is simply as possible to consider artworks — or extra worryingly, artists — as merchandise. Moreover, I’m positive that if the correct collector supplied the correct sum of cash for one of many works they present, then they might be ushered right into a back-room to sit down at a mid-century mahogany desk on a design-classic chair to write down a cheque.
I imagine that we must always resist artworks being handled and transacted like merchandise, however perceive that furnishings within the gallery is basically value-neutral. In truth, it might even be an excellent factor. Individuals have been making the case towards galleries that try to transcend actual life for so long as they’ve existed. In his guide Contained in the White Dice: The Ideology of the Gallery House (2000), Brian O’Doherty describes the non-domestic gallery as a spot the place “that odd piece of furnishings, your personal physique, appears superfluous, an intrusion.” He makes an excellent level: To realize the form of communion I described earlier, one is anticipated to one way or the other go away behind one’s personal existence as a bodily physique, an expectation that appears unrealistic and deeply problematic.
At HOME, an aptly named multifunctional house in North London, this expectation is dropped fully. Along with operating a program of exhibitions, it gives a communal desk to work at, a small library of books and magazines to learn, and armchairs to sit down and skim them on. There’s usually music taking part in and there’s a kitchen within the nook the place anybody is welcome to make themselves a cup of tea or use the microwave. Right here, I really feel welcome to lounge, learn, hear, eat, drink and benefit from the artwork on show. Right here, the physique just isn’t a superfluous intruder however a central a part of my expertise of the exhibition. Areas like this affirm to me that we shouldn’t be frightened concerning the presence of house furnishings in galleries. We now have seen that it isn’t a dependable marker of a business perspective in direction of displaying artwork. After we perceive the transcendent, abstracted expertise that non-domestic galleries seem to supply as an unrealistic ultimate, the house discovering its method into the gallery turns into a chance to embrace a extra concrete and embodied method of experiencing artwork.