Gypsy Gallery

A gallery's space can be uncanny with its sometimes murring, often mute remaining assistants halfway hidden behind their counter, and their white walls on which no waymarks nor title plaques help a novice visitor navigating the exhibition. From the beginning it has been Bubenberg's aim to open up the symbolic barriers that shed off the experience of contemporary art from a greater public. Through the many performances, lectures, conversations, screenings etc. and the conception of the exhibition more as a sum of events than as a static hanging of works, our shows have welcomed numerous visitors entering an art gallery for the first time or soon-to-be collectors acquiring their first work of art, as well as strengthening the performative and conversational grounds for the esthetic experience.

By travelling across the country and offering to set up the exhibition to whomever whishes to host it for as little as an hour, Bubenberg's Gypsy Gallery is set to generate encounters with art for a disparate population. And yet, being fugitive and located in private properties, the gallery's white walls seem to be supplanted by the spatio-temporal barriers of an ephemeral one-shot show off public grounds. In a sense, the Gypsy Gallery carries the symbolic barriers of a traditional brick-and-mortar gallery to the extremes. But this time, there's no guestlist, no vernissage, no vip preview, no secret dinner. The gallery's contact list is replaced by a process of geographical randomization. Access with stochastics. Let's see if that works out.