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Gallery interventionism, rearrangement to estrange the viewer from it. Setting a moral drama's stage, the viewers the figurants of its abandoned set, asking for the heightened attention to the space directed by Reuter. Attempting to alienate it, the gallery and our experience walking through, to forget the name of the thing one sees. We encounter the experience prior to the objects. Like Irwin phenomologic parables, or Turrel's temples to it, a moral lesson in experiential self-awareness packaged in a fun house arrangement. A Fun house in which perception is amplified through ascetic rather than psychedelic means. The critique of a "capitalist-realist adaptation of art to the experience economy" could be leveled at it, but its much more modernist than that.
Aware of our surroundings too :
Gina Folly and Mandla Reuter at SALTS
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