"theanyspacewhatever" at the Guggenheim
By Emily Hulme
• ‘theanyspacewhatever’ is at the Guggenheim through Jan. 27. 1071 Fifth Ave, 212-423-3500
Liam Gillick, "theanyspacewhatever signage system (prototype)," 2008
Making sense of contemporary art can be difficult. We often need time and perspective to separate the super-hyped from the truly genius. The Guggenheim is attempting to start the dialogue on recent history with its new group show “theanyspacewhatever.”
The exhibit brings together 10 artists who came to prominence in the '90s for pushing the boundaries of art to the experiential rather than just representational; the artists want the viewer to do, not just look, to enjoy the art. The works on view engage the space and the viewer in a way that makes the exhibit itself a work of art.
More after the jump.
That the works represented are site-specific makes the Guggenheim the perfect venue to host “theanyspacewhatever,” given the building’s unique architecture.
Right away, the viewer’s idea of a museum show is challenged by Rikrit Tiravanija’s “Chew the Fat.” The installation, a documentary film in which the 10 artists in the exhibit discuss their work, is situated at the base of the Guggenheim’s ramp. The film is presented on small TVs strewn about in a small, carpeted area. Each viewing station has a few floor pillows and headphones.
The viewer is asked to remove their shoes (in a museum!) before plopping down in front of a TV to watch the show. This living-room-style setting gives the work a comfortable intimacy that would not be present were the film shown in a traditional manner.
This kind of reaching out to the viewer happens throughout the exhibit. There’s an aspect of discovery and fun to it, usually not seen outside of a children’s museum. The exhibit does demand a breakdown of inhibitions on the part of the viewer to really be enjoyed. If you go through just looking at everything, you’re missing the point.
The main failing of “theanyspacewhatever” is that it feels a bit sparse. It’s not clear if the layout of installations is meant to give each one room to breathe, or if they just didn’t have enough artwork to fill the museum. Nevertheless, it’s a fun experience; taking off your shoes or drinking a cappuccino (see below) in a museum feels transgressive in a really good way.
Works on view:
“theanyspacewhatever” encourages viewers to do things they’d never thought they’d be allowed to do in a museum. Here are some of the highlights:
“Cinéma Liberté/Bar Lounge,” Douglas Gordon and Rirkirt Tiravanija. This joint installation consists of a coffee bar and screening room. Viewers can get an actual espresso or cappuccino and then watch a compilation of films that were censored upon their release in the Netherlands.
“Revolving Hotel Room,” Carsten Höller. Consisting of a bed, a nightstand and a small closet, this installation is actually functional. Interested parties can “book” the room, and stay the night in the Guggenheim. Ironically, a sign asks viewers to refrain from touching the piece during the day.
“The Transfer Book,” Pierre Huyghe. This is actually a booklet of iron-on shirt decals that the museum-goer can take home to make their own T-shirt with. At the press preview, there was a volunteer telling people to, “go ahead, take one.”
