GALLERY TRANSLATION by W. Keith Brown
Caro d’Offay Gallery is a unique creative environment that approaches exhibition and gallery events in an unconventional manner. First and foremost the space is seen as a mediator by which objects presented by the artists/creators of the work of art are displayed through connections with the space itself and their formal relation to one another. This approach is unorthodox when reviewing processes commonly practiced by other gallery entities who wish to exhibit works of art simultaneously, they ignore cohesive interplay and juxtaposition. Audiences are used to seeing works that do not relate to one another—imagine an exhibition featuring Joan Miro in the front gallery and Jeff Koons sculpture in the back. The works on display often times lack a formalized conceptual presentation. Caro d’Offay Gallery runs counter to this practice.
Typically, art galleries function as spaces where art objects and audiences connect via opening receptions only. Caro d’Offay Gallery strives to break down these conventional barriers by hosting happenings/experiences throughout exhibitions. Lending more to the era of salon interaction, where artists and patrons were able to exist in the space together on more than one occasion. This idea currently seems groundbreaking, hosting multiple events within the gallery space in order to activate it as a social medium becomes a larger part of what art/creative spaces can offer to those who wish to show work and the audiences who wish to view work. An example of this kind of interplay would be the Ben Brandt and Ben Marcus exhibition, which allowed two different artists to show simultaneously and seamlessly. Almost by accident each artists work complimented the other aesthetically. This is a key focus and common practice at the gallery. Multiple events surrounding exhibitions allows access to ideas and conceptual frameworks used by the artists. By keeping the space and events fluid, Caro d’Offay Gallery removes the pretentious stigma that has come to represent so many spaces in Western gallery practice.
Ongoing Events:
Textaportation exercises integrate artists with the public along the lines of what is explained above. By offering descriptions of everyday objects to artists and non-artists Caro d’Offay Gallery incorporates the challenging boundaries of language, text and object making for a global effort for understanding. The concept here is to relate gallery happenings with non-local audiences. This can be seen as outreach but more importantly it speaks to relationships insider/outsider/artist/non-artist/gallery/public, thus engaging the other or unfamiliar. More importantly, the objects created by individuals via the descriptive text of objects will be on display immediately in the gallery, again passing agency to the participant. Textaportation is open to all who have the desire to participate. Be on the lookout for future exercises, your work could be the next on display at Caro d’Offay Gallery.
On the exhibit by Kumiko Murakami:
Kumiko is a local Japanese artist who is completely enamored by the representation of Spring-like commodities consumed by Chicagoan's. For those of us all too familiar with the harsh cold and brisk winds that arrive with a Chicago winter, Kumiko has observed our always current obsession with the changing of the seasons. Through her personal investigations and research she has constructed her own creative version of a warm climate commodity, often representing flowers and small still life dioramas to express her own identification and reality of anticipating the warmer months to come. The most fascinating aspect of her work is the realization of the everyday practices in conjunction with commodified objects, which help us to cope with our seemingly seasonal depressions. Sampling the "everyday" is a common practice for artists in touch with their surroundings—as a cultural producer and creative person Kumiko has developed a way of representing these experiences through her practices. I am reminded of Henri Lefebvre's "Critique of Everyday Life" where he expresses the understanding of everyday life as an understanding of politics and culture. To reflect on our daily practices is to understand ourselves in a pure light. The humbling experience of the everyday amounts to the majority of our lived experiences/time: i.e. work, leisure and social encounters. By tapping into or highlighting this notion of everyday products that provide comfort and shield us from harsh Chicago winters Kumiko is providing commentary on consumer patterns which guard us from our physical realities. Undergirding this work is a social critique as well as a critique of everyday life.
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