A sequence which corresponds
Union Gallery Before / After
94 Teesdale Street, London, E2 6PU

13/05/2016 - 30/06/2016
Curated by Rosanna Puyol

'A sequence which corresponds' is an act of re-allocation.
A question of space as a value and a subsequent aim to divert the viewer into a situation where this becomes an evident focal point.

"Don't leave bulk storage as a last undertaking and forget it. Place it somewhere in the building where it costs less than other rooms - because, of course, it doesn't need a finish."

The sequence performs an action. By re-allocating the content of the gallery's storage room back into the gallery, Berger frees up space. An otherwise utilitarian prosaically functional room is re-appropriated as the exhibition space.
Is the pre-determined standardised circumstances within which we normally view art a prerequisite for an optimal experience?
By diverting the flow into a cellar storage Berger makes room for a new active work, where artworks were once resting passive, existing only as a commodity in waiting. These works are activated again by their removal and re-housing, brimming in the gallery, still in a wrapped, sheltered state. This is an act that helps pose the question of correlation between a value of a room and its direct assumed value, by default, assigned to any matter placed in this room.

Can the gallery ever really become a resolutely practical room?

Berger both removes and adds to the main gallery space. Removal of the former identity, the gallery's recognisable graphic vinyl covering the street view window, now shows a void between glass and and the unfinished facade of the back of the parallel wall. What once was a statement in covering is now equally so in the material reveal of something considered imperfect and lacking in appropriate finish.

'Adhering to normative standards' is a performance as presence. The Director and her assistant. The evident hierarchy between the two roles lends itself to strengthening the questions posed. The stilted interactions between the two and the visitor and the lending of this illusion of authority to securing the first question. Is the initial appreciation that of installation or accumulation?
As a consequence Berger asks the visitor to take an alternate route, diverting the flow in limited numbers next door, down a few flights of stairs into a new mode of viewing.
By removing the viewing en mass she aims to place emphasis on a spacial awareness removed from a socially heavy labour.

"In a circle one can become intensely aware of oneself"

Here, you can tune into the new circumstance, allowing an unexplored situation, both architecturally and intellectually to heighten the senses. Now ready for a two-take commentary on the situation in which you stand. The actor is a temporary mediator as she delivers a monologue with the artist as the unseen but present author. An easily overlooked artefact in the shape of a shirt hangs outside the most private of domains, a door which remains locked; Berger's temporary residence.


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