Six Feet Under Summer Series. Each week of the series six different sets of curators and artists
While events such as Rem Koolhaas's Soho Prada
store opening and Guggenheim's Armani show appear as the
catalyst for the collapse of High Art, Commercialism, and
Design, they are merely topical results of a much larger and
insidious cultural shift, one greater than any of the single
institutes or individuals involved. As Carl Skelton notes,
"Guggenheimlichkeit is just as fundamental to the phenomenon
of breakfast cereal as it is to any oxymoronic 'contemporary
museum." Whether is in the Upper East Side or Chelsea, the
seemingly 'neutral' trope of exhibition design, in a mix of
"post-industrial guilt" and transparent irony, has been used to
'franchise' museums while making the 'products' within
'peripheral' at best. In her article "Growing Pains" in Art In
America critic Eleanor Heartney remarks that "After what seems
an unceasing round of blockbuster exhibitions ... one wonders if
museums are becoming too much like that quintessential
American industry - the movies." *
'Guggenheimlichkeit' is the theme of White Box's 6 Feet Under 2002. Each week of the series six different sets of curators and artists will explore 'Guggenheimlichkeit' and the role of the museum. While the gallery is impenetrable to the public, the artists will appropriate the view from the outside window as they wish. Above all, the artists and curators involved are critiquing 'Guggenheimlichkeit' while also accounting for their own complicity within such a system in order to map out spaces of its very resistance. The artists see 'Guggenheimlichkeit' not as a fixed narrative but one with excesses, ruptures, and inconsistencies that must be explored and even utilized.
Opening receptions to be held Thursdays 6-8pm, throughout project schedule:
18 - 24 July.
NEW YORK 2002
By Francois Bucher, curated by Jose Roca.
This piece re-enacts historical revolutionary text and appropriates it into a new space as art. Bucher proposes that the artistic field provides a site of resistance, unfreezing history in the present and sustaining its resonance.
25 - 31 July (opening 25 July, 6 - 8) UNTITLED (poster) 2002
Carissa Rodriguez + Garder Eide Einarsson curated by Jennifer Farrell
An installation calling for increased personal autonomy as reaction to and resistance against recent shifts in power, capital, and attention that have restructured relationships between artists, art works, viewers, and institutions.
1 - 7 August.
By The Center for Urban Pedagogy (CUP) curated by Yates McKee.
The CUP has created a municipal demonstration project pertaining to MOMA's recent workforce policies and relocation, appropriating materials from the MOMA 'Workspheres' exhibition.
8 - 15 August.
By Pedro Diniz Reis, curated by Hernani Marcelino.
A video installation by this Portuguese artist examines the site specificity of museum spaces and the desire instilled within the viewer to embody that space.
5 - 10 September.
AIRING THE BELLY AT BILBAO
By Dolores Segwaay, curated by Ralph Whitefin.
Images and text loosely portray a drive through the Basque Country with radio broadcast of ETA attack while on approach to Puppy, Gehry, Armani and ill girl besides Yves Klein's fountain.
11 - 18 September.
By Ayreen Anastas and Rene Gabri, curated by Tanya Leighton.
White Box serves as the interface to a radio station, with programming related to or engaged with September 11 and the responses by figures both outside and within the artistic and cultural community.
*"Growing Pains" Eleanor Heartney Art In America
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