What happens behind the scenes of an art show? An overlap of discussions, meetings, reflections and compromises. What is the necessary premise to achieve it? It lays on a relationship of mutual understanding and trust among artists, curators and gallery owners. Engaging in a dialogue with Galleria Marcolini and its public, Curate It Yourself aims at showcasing the organizational process of the exhibition itself.
The show of the works by artists Célia Gondol (1985 Grenoble, France), Paul Lahana (1988 Castres, France) and Daniel Otero Torres (1985 Bogota, Colombia) is the climax of an enduring and close collaboration between different people. By means of a didactic approach characterized by an institutional vocation, a detailed documentation accompanies the exhibition in order to unveil the process behind the final product.
The artworks have an ‘‘unstable identity’’. Nowadats, artists “willingly move from one discipline to another, from one medium to another, without introducing the slightest hierarchy between an action and an ephemeral sculpture, a video, installation or gestural intervention’’ (Nicolas Bourriaud). In the works of Otero Torres, carved and moulded metal sheets host pencil drawings, thus replacing the traditional technique of drawing on paper. It is through a process like this that the works overcome the distinction between two-dimensionality, a typical feature of painting, and three-dimensionality, proper to sculpture. The installations by Gondol and Lahana combine natural and perishable materials with objects created by human ingenuity and technique. Victims of the inexorable passage of time, these works are preserved through their identification by means of a list of instructions, of a protocol to be strictly followed.
Next to each work, the viewer has access to materials that document the exchanges and and interactions that led to the creation of the show. E-mails, Skype calls, text messages, and receipts of both production and shipment, expose the the making of the exhibition, they unveil the process of its own creation. Printed on an A4 paper, these intangible images acquire materiality and durability.
In conclusion, “The making of an exhibition” is a show without false impressions that provides clues that help appreciate the exhibition itself and understand the whole process of exhibiting art.