Essay on Apartment Galleries published on BAS
December 11, 2009
posted by Caroline Picard
This essay, originally written for the ARC Digest boook and then used for FLAT’s publication about apartment spaces was posted on the BadatSports blog. You can read the whole thing by going here, though I’ve included the first paragraph/quote, what was written by one Sarah Stickney who used to live in the space….The quote was taken from a small publication created/curated by Young Joon Kwok and Rachel Shine called “It’s Your Turn.” Their silkscreened, small edition 7″-size publication was also about DIY exhibition practices and how they are important.
On the matter of public (1) space : or my apartment gallery is an arctic explorer
“‘Oh, you have a roommate?’
“ ‘Yeah, she’s actually here right now, but she’s sick….Don’t do that—she’s trying to sleep.’
“I heard them but pretended to remain asleep by keeping my eyes closed; [closing your eyes] is what passed for privacy then. My ‘room’ was in a corner of the kitchen on the other side of a folding screen. If you were tall enough, you could see me from either side at any time. The above exchange took place during the installation of a show when I happened to have a cold. I lived at the Green Lantern from 9/06 to 8/07. Recently out of college, I moved to Chicago to get my bearings. I had just spent two years living in the French countryside with no heat, no car, no Internet, no noise, no zines, no sushi, no shows, no jargon. When I moved in, I had never owned a computer. Suddenly I was in the middle of an art scene.
“Any Chicagoan who’s hip to the jive knows that an apartment gallery poses a unique set of problems. Someone actually lives there—sleeps and cooks and poos there—and yet the obligatory neutral space of the gallery must remain white-walled, spacious, antiseptic. At the GL in the earlier days, the gallery was clean, airy, spare, while on just the other side of a makeshift wall was a seething and barely-controlled chaos. A visiting friend once described the living space as ‘under a great deal of pressure,’ like the lack of density in the gallery half had to be balanced by ultra-density in the living half. This density consisted of, among other things, a large mounted buck complete with antlers, a five foot plaster statue of a fat man with an umbrella, a bong made out of steak shellacked to a milk carton, a taxidermied rooster, two large Chinese screens, many works of art in various stages of undress, two living cats…enough plates and stemware to host a diplomatic gala, a sink doubling as a bookshelf, a home-made up-ended ‘bar,’ an enormous vintage fridge, a miniature vintage stove, an easel, double-stacked books, innumerable trinkets ranging from delicate Eastern figurines to an ancient can of spam, an old-fashioned sandwich press, two Dictaphones, one enormous toaster (not in use) and a tiny one (in use). People liked throwing around comparisons to Alice in Wonderland, but that was legit. The fact that the two-foot high pepper mill was three times as tall as the delicate teapot, for instance, made me wonder if I’d accidentally swallowed a pill. And keep in mind that I’ve listed perhaps a sixteenth of the contents of those two or three improvised rooms. I haven’t even mentioned the huge quantities of building supplies, the aluminum ladder, the planks and tools and cans of paint…” (2)