There is standing tradition of innovative gallerists choosing to site exhibition spaces in their homes, a tactic embraced so enthusiastically in Miami in fact as to have generated the term “Miami model” with the help of celebrated individuals like Sarah Gavlak among others. In this light the inaugural exhibition of The Jacqueline Falcone Bed and Breakfast entitled Marriage, Blood and Adaptation has a value added approach. In addition to installing works in the proprietor’s bedroom/gallery, Falcone expands the enterprise by offering overnight stays including breakfast in the morning for a nightly rate. Further perks include the chance to be serenaded by artist Magnus Sigurdarson performing Icelandic lullabies during an evening’s stay, or the option to have selected artists from the exhibition join you for breakfast the following morning.
Drawn together as a meditation on the complexities of familial relationships in many different shades, the placement of the works in the bedroom feel less like decoration and more like objects one might find naturally in such a context: a shelf of carefully arranged trophies (Kenton Parker), a vintage slide projector manually shuffling through unknown but undeniably familial photos (Kevin Arrow), and an embroidered throw blanket folded neatly at the foot of the bed displaying the phrase “Lucid to the Point of Being Blind” in looping cursive (Sinisa Kukec). Misael Soto included a cluster of personal family images in deep-set wooden frames and for the evening of the opening carried out a performance, Rearranging Furniture, in which he constantly did just that in the living room for the duration of five hours between 7pm - 12am. Meanwhile Falcone, donning an embroidered apron and bearing a spatula, produced piles of steaming pancakes – mentally registering the minutes between greeting guests and keeping the stove-top from burning.
Transcending beyond the mode of "apartment gallery", this project displays a deeper embrace of situation-specificity where social structures and artistic context blend to the tune of domesticity. The deliberate and intentional site in a home and further testing of hospitable models shifts the project from practical arrangement to clamorous and intimate experiment, where experience shifts the attention from that of the objects in the exhibition to the wider context of the situation. Sharing ties with what art historians Claire Doherty and Peter Weibel have described as a New Situationism and Context Art respectively, the project is complicated through the production of a lived experience tangled in reality.
Behaving as a "wrong place", the exhibition does not seek legitimization through a white cube, taking meaning from what Miwon Kwon has described as "spatial politics" in her Art Journal essay from 2000, “The Wrong Place”. In addition to the dislocation experienced through itinerancy, another aspect of wrongness according to Kwon is owing to the exhibition of art outside of traditional contexts, such as museums or galleries. Yet the works in Marriage, Blood and Adaptation also slip the role of interior design/decoration that might be right in a home. Rather than taking on institutional critique, the project is more interested in benignly straddling multiple roles as curatorial project, situation, small business, and performative action.
To make a reservation at the Jacqueline Falcone Bed and Breakfast please contact Jacqueline.Falcone@gmail.com. The nightly rate is $100.00 and includes breakfast. Through December 12, 2012.
(Image on top: Kevin Arrow, Untitled (Sun) [detail], 2012, Altered found slides; Courtesy of the artist and The Jacqueline Falcone Bed and Breakfast)