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30.11.2011., srijeda

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The Bureau of Inquiries (second draft)




The Bureau of Inquiries (second draft)





The Bureau of Inquiries was an exhibition I curated in August of 1990.
August?
There are many more reasons to avoid staging an exhibition in August and only one to support it. The advisability of producing an exhibition during a Philadelphia August is questionable. It is the month when the temperature and the humidity replicate a jungle ambience, albeit light on the flora but heavy on the fauna. The weather in Philadelphia during August is stereotypical of that of the Democratic Republic of Congo. It does little to inspire one to leave their air-conditioned homes.
The weather during August inspires the citizenry to go on vacation in droves to escape it. Very few exhibitions open in August. The summer months are used for galleries and museums to trot out group shows, air out work condemned to storage areas and for the exhibition of loss leaders.Typically the exhibition season begins in September and increases dramatically in October.
There is only one reason to stage an exhibition in August and that reason is free rent. Although I have no clear memory to support this, I think that the owners of the building, Mark and Elena Salz, gave us access to the space rent free. If it wasn't for negative publicity and scandal the exhibition might not have an audience at all.
The basic premise of the exhibition was the presentation of the work of Philadelphia artists that were influenced by the Surrealist movement. Surrealism influenced a large contingent of the artist community here and I thought it an appropriate subject to investigate and to present in a group exhibition.
The empty storefront below the Salz' apartment was transformed into gallery. Instead of the Minimalist look of most contemporary galleries, the Bureau of Inquiries was fitted with an antique desk, a very old and heavy rotary phone and other objects from the period that Surrealism flourished. There was a bookcase that contained literature written by Surrealist writers and monographs on artists connected to and influenced by the movement. A professionally manufactured blue metal sign with Bureau of Inquiries in white lettering was hung in the window. It had the name of the exhibition on it but nothing pertaining to the fact that it was an exhibition. There were a number of paintings on the wall but the inclusion of the desk, phone and bookcase gave the place a domestic atmosphere that an uniformed observer might find confusing regarding the purpose of the business in the space. All of the works were small and there were a few sculptures on pedestals arranged throughout the gallery.
A mutiny began before the opening of the exhibition. There were 80 paintings available for hanging in the store area in the back room of the space and a limited space to hang them. To solve this problem I had the works wired so that any four paintings could be hung in a designated spot at a 60" center. There were 20 such spots. My plan was for Kevin and another art handler to don white lab coats and switch paintings throughout the entire opening, him moving clockwise and the other moving counterclockwise. It took 45 minutes for two people at a leisurely pace to change every painting in the gallery, thus creating an entirely different exhibition on view every 45 minutes. This seemed to me as a great solution to the problem of exhibiting a maximum amount of work in a minimum amount of space. This strategy was later used by the Philadelphia Museum of Art for an exhibition about the influence of John Cage but no one from that organization ever acknowledged that the Bureau of Inquiries had invented the scheme. This was typical of their position regarding Philadelphia artists at the time. They ignored them.
I expected a certain amount of opposition to this idea from the exhibiting artists so I waited until a couple of days before the opening to alert everyone. Kevin was vehemently opposed to the idea. Switching paintings in theory was fine with him as long as he wasn't the person switching the paintings. He did not want to be that visible to the audience and he had no interest in being involved in what he saw as performance art. He refused to wear a lab coat. That was not negotiable as far as he was concerned. He saw no reason for us to wear lab coats since we could switch the paintings without them. I wanted the people that switched the paintings to wear lab coats to separate them visually from the audience and give them a professional look that might inspire people to get out of their damn way as they moved artwork through a crowded opening. Frankly if it helped it didn't help much, people either were oblivious to the people moving the paintings or they considered them a nuisance. I had hoped not to be involved in handling the art work, in part because I did that all day five days a week at Philadelphia Museum of Art. We also needed someone to open and close the door to the storage area for us since our hands would be occupied with paintings. I assigned Martha Masiello











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