The AntiGalleri

The AntiGalleri took place in 2015, where I created a special type of art gallery that wasn't designed for you to enter.

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Normal art galleries you go into and walk around, art is placed stationary, delightfully perfect and centered. The viewer walks in and judges each work, some in excruciatingly close detail. In the AntiGalleri, you stay outside and walk around. While a message is blasted to you through a locked entrance. 

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The doors are locked, cold and rejecting, and a message reads to you as one of scathing insults about selfishness and personal gratification that distract you from the big picture, the printed statement at the entrance read what the message was. While you are kept out, a view of two roses hangs on the clear glass doors. One was right side up and the other, upside down. Forcing the viewer to put the image together in the sliver frame. 

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This is deliberate insight to the sublime ideas that are presented grossly. The two roses affixed to the doors gives a few clues. If you went to the AntiGalleri at the end of the week, the roses would surely be dry, but the flipped rose would have retained its shape, the upright rose would have wilted, the head tipped, over a broken neck, pedals dry, broken and falling. 

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in the middle were 3 pedestals, one of them had Lillys on it, the left pedestal, representing death, another, on the right side has a projector playing a video displaying world catastrophes on it. Fukushima and the BP oil spill. Both which, to this day have yet to be resolved in entirety. The video is unviewable though, because the projector is facing outside. The cards placed at the entrance, showed a group of people standing together, which what what you needed to do to watch the video. Work together. A group of people would have to lineup in front of the projector to make a surface where the other people could watch. and even then, as the video shows, it will not be as clear as you want. The message is muddy. But you will continue to see.

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As you walk around the front middle, you will see another pedestal, but this has nothing on it, if you are instinctively inclined, or compulsively to step on the crack where the brick road ended, you would discover that the pedestal lines up with the image on he wall on the back. In the background, is a large printed visage of an iPhone, which when you stand on the crack in front of the mirrors, lines up with the pedestal tell you that the electric god we put up on a pedestal, means nothing. It isn't really there, we only think that it is. There is a strange irony in being printed on the very media it was intended to replace, as the lines connect on taped paper adhered to the back wall of the gallery, opposite the front outside view.

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When you walk around the AntiGalleri, you have to, in one very intentional sense, step into the view of the work being presented. The viewer can treasure figuring out that, they are standing in the right spot, once they are AWARE of the AntiGalleris intentions. 

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When you are standing in line with the art to make it line up, there becomes an additional layer of consciousness, in the art work itself, as it MOVES within your view to get in the right place. This is the inference of life that the individual takes part in bringing to life, and is held in account, as they settle into the view of the work. 

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The 5 windows in the front have prints of a man falling, through towards us, figuratively meta. He is there, and he isn't. These windows are telling you that everything you see can be put together to create something that was hidden in plain sight, as the image lines up with the sections of the wall partitioned behind them. 

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