The Making of an Exhibition

14/01 – 01/02/2016, Galleria Marcolini, Forlì, Italy

Célia Gondol (FR), Paul Lahana (FR), Daniel Otero Torres (CO)

Curators: Claudia Buizza, Pietro Della Giustina, Jacques Heinrich Toussaint

  • Exhibition view, The making of an exhibition, 2016
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  • Exhibition view, The making of an exhibition, 2016
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  • Paul Lahana & Gondol, Décalage vers le rouge, 2014
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  • Paul Lahana & Gondol, Décalage vers le rouge, 2014
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  • Paul Lahana, will-o'-the-wisp (2), 2015
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  • Paul Lahana, will-o'-the-wisp (1), 2015
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  • Daniel Otero Torres, just looking, 2014
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  • Daniel Otero Torres, 6b, 2014
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  • Daniel Otero Torres, 6b, 2014
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  • Exhibition display, The making of an exhibition, 2016
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What happens behind the scenes of an art show? An overlap of discussions, meetings, reflections and compromises. What is the indispensable premise to achieve it? It lays on a relationship of mutual understanding and trust among artists, curators and gallery owners. By establishing a direct dialogue with Galleria Marcolini and its public, Curate It Yourself aims at showcasing the organizational process of the exhibition itself.

The display of the works by artists Célia Gondol (1985, Grenoble, France), Paul Lahana (1988, Castres, France) and Daniel Otero Torres (1985, Bogota, Colombia) represents the climax of an enduring and close collaboration between different players. Following a didactic approach characterized by an institutional vocation, a detailed documentation accompanies the exhibition and the artworks in order to reveal the process behind the final product.

The artworks have an ‘‘unstable identity’’; nowadays, 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, the traditional technique of pencil drawing substitutes the paper for metal sheets which are carved and shaped. This process allows these works to overcome the distinction between two-dimensionality, the typical feature of painting, and three-dimensionality, indicative of sculpture. The installations by Gondol and Lahana combine natural and perishable materials with objects created by the human intellect and technique. Victims of the inexorable passage of time, these works are preserved by means of a list of instructions, namely the protocol, to be strictly (re)followed.

Next to each work, the viewer has access to documentation of exchanges 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 making of the exhibition, therefore unveiling 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 tools that help appreciate a today’s art exhibition and understand the whole process of exhibiting art.