Most up to date artwork galleries have little in frequent with our properties. The artworks on show would possibly cope with 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 objective: to encourage the viewer to provide their full consideration to the artwork on present, to let it dominate their notion utterly. Within the white-walled, “non-domestic” gallery, it’s simply you and the paintings. Such a communion between the exhibition and the viewer appears to require complete 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 apprehensive 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 reality, an area that appears like house can facilitate an embodied sort of engagement with artwork that the barren artwork galleries we’re used to don’t provide.
Orlando is the title of one in all Virginia Woolf’s characters, a never-aging author and aesthete. Final 12 months, 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 have been alive at this time. Orlando can 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 get pleasure from as a viewer; they have been additionally merchandise on the market. Just like the chairs and tables that they shared the house with, they have been objects a part of the way in which via a journey that may finish in a transaction.
Galleries don’t simply present furnishings alongside artwork; generally 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 numerous 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 searching for artwork. It appears that evidently the non-domestic gallery’s objective 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 would make me consider a cynical and business method to exhibition programming, it doesn’t represent it. The gallery that appears extra like a house is just not essentially extra responsible of commodifying the artwork that it exhibits. The seller who turns their nostril up at together with furnishings in an exhibition is simply as probably to consider artworks — or extra worryingly, artists — as merchandise. Moreover, I’m positive that if the suitable collector supplied the suitable sum of cash for one of many works they present, then they might be ushered right into a back-room to take a seat at a mid-century mahogany desk on a design-classic chair to jot down a cheque.
I consider that we must always resist artworks being handled and transacted like merchandise, however perceive that furnishings within the gallery is basically value-neutral. In reality, it could even be a superb factor. Folks have been making the case towards galleries that try to transcend actual life for so long as they’ve existed. In his ebook Contained in the White Dice: The Ideology of the Gallery Area (2000), Brian O’Doherty describes the non-domestic gallery as a spot the place “that odd piece of furnishings, your individual physique, appears superfluous, an intrusion.” He makes a superb level: To realize the sort of communion I described earlier, one is anticipated to in some way 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 utterly. Along with operating a program of exhibitions, it affords a communal desk to work at, a small library of books and magazines to learn, and armchairs to take a seat and skim them on. There may be usually music enjoying 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, pay attention, eat, drink and benefit from the artwork on show. Right here, the physique is just not a superfluous intruder however a central a part of my expertise of the exhibition. Areas like this verify to me that we shouldn’t be apprehensive 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 exhibiting artwork. Once we perceive the transcendent, abstracted expertise that non-domestic galleries seem to supply as an unrealistic ideally suited, the house discovering its approach into the gallery turns into a chance to embrace a extra concrete and embodied approach of experiencing artwork.