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Pierogi is pleased to present The House Party\, a f ull-scale\, participant activated installation by Andrew Ohanesian at The B oiler. Known for his ability to blend fiction and fact\, Ohanesian creates environments that surreptitiously alter the viewer’s perception of reality\ , calling into question preconceived notions about architecture\, space\, a nd the social interactions that take place within. Previous works by Ohanes ian on a similarly immersive scale include: Blind Spot (2007)\, th e reconstruction of a row house which descends into chaos as you travel int o the piece\, built within English Kills Gallery (Brooklyn\, NY)\; and\, Mandies(2010)\, a confessional-booth-sized bar built for one\, whose narrative is formed nightly\, by the interactions of the patrons and barte nders who filter in and out of this living artwork.

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In The Hous e Party\, Ohanesian continues his exploration of architecture and plac e\, faithfully creating a spatially accurate\, quintessentially American su burban home\, which he displaces from its native suburban landscape by reco nstructing it within the walls of the Boiler\, a repurposed urban-industria l space currently functioning as a contemporary art gallery. The House is t hen opened up to the public for a house party on the opening night of the e xhibition. In this at once creative and destructive act\, the artist enlist s the audience to provide the final element of the work itself\, giving eac h viewer the unique opportunity to physically leave his or her own scar on the House\, by partying within it throughout the evening.

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Although  The House Party aims to be an authentic recreation of a uniquely A merican rite of passage characterized by its namesake\, the seemingly innoc uous and gracious host only relinquishes the illusion of control to his gue sts\, discretely imposing his artistic vision and control on the environmen t and its happenings. Accomplished through the architectural structure and hyper-real quality of the space\, which\, by design\, subtly suspends the a udience’s greater awareness of the gallery context itself\; thereby unlocki ng behavioral patterns and social cues usually reserved for a venue outside of the art gallery\, such as an actual house party.

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In contrast to the fine art standard of examination\, which would otherwise be subconscio usly cued by the white walls of a conventional gallery setting\, the enviro nment of The House Party fades quickly from institutional art crit ique\, as one begins to interact within this space on another level of cons ciousness. Rife with external stimuli from fellow participants and the surr ounding environment\, The House Party quickly loses its place as s omething to be examined\, becoming instead\, something in which to be subme rged. Only upon leaving comes the realization that the entire experience wa s manufactured\; the exiting participant faces the question as to what the party\, the house\, and his or her own participation in it actually means.< /p>\n

On its surface\, The House Party is simply that\, a party in a house\, but within that cultural foundation it presents an environment rich for critique. The American home holds within it the key to our notion of what it is to be an American — the entitlement to individual freedom\, personal ownership\, and luxury\, all on a mass-produced scale. In this con text\, The House Party suggests particular relevance to our curren t moment in America\, with the world financial system in decline\, due in p art to the home and its private ownership\, which helped dig the hole of wo rldwide financial meltdown. In effect\, The House Party uses the dirt surro unding that hole to provide a single event to remind us of the reality\, th e flesh and blood that those numbers and trends represent.

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“As a cu ltural touchstone\, The House Party exists in a neither-here-nor-t here space\; it is a car sneakily borrowed and driven by an unlicensed\, ad olescent driver\, a party thrown in a house that is yours\, but that you do n’t own. It is your legacy that you’re leveraging for the enjoyment of othe rs and as such\, it draws a direct analogy to 2012 America. As a society we stand on the shoulders of previous generations for whom the American Dream was a reality. Yet this reality of equity and ownership is revealed to be an illusion\, and the desire to sustain that illusion or the hope of recons tructing anything real is shattered. We find ourselves on standby — in a li mbo of rent or buy\, securely insecure — but still driven to nest\, to buil d onwards\, to throw house parties in houses that are not ours and grounded in foundations of debt\, inequality\, and adolescent desire.” (Ohanesian)< /p>\n

Andrew Ohanesian was born in 1980 in Laguna Beach\, CA and lives an d works in Brooklyn\, NY. He has exhibited with Pierogi in New York and Mia mi\, and has shown widely throughout New York and California.

DTEND:20121111 DTSTAMP:20140919T000241 DTSTART:20120914 GEO:40.7230068;-73.9556587 LOCATION:The Boiler (Pierogi)\,191 North 14th Street \nBrooklyn\, NY 11211 SEQUENCE:0 SUMMARY:The House Party\, Andrew Ohanesian UID:233171 END:VEVENT BEGIN:VEVENT DTEND:20120914T220000 DTSTAMP:20140919T000241 DTSTART:20120914T190000 GEO:40.7230068;-73.9556587 LOCATION:The Boiler (Pierogi)\,191 North 14th Street \nBrooklyn\, NY 11211 SEQUENCE:0 SUMMARY:The House Party\, Andrew Ohanesian UID:233172 END:VEVENT END:VCALENDAR