“Renaissans des Refusés”
“Renaissans des Refusés”
August 2023 - ongoing
PRESS RELEASE: For immediate release
Renaissance des Refusés is about exposure to refusal as a leap of judgement, on behalf of anyone, regardless of context when it comes to the unique individual each of us is. Accessibility to the unknown and anonymity are not to be underrated, or taken for granted. Renaissance is omnipresent with the rejected individual.
Two years ago the Social Commentary project started as an installation of more then 400 pieces by unknown artists, and the artwork was not for sale; it was only to invite the experience and presence of anonymity in an art gallery setting. The presence of anonymity transformed the gallery's mission, mindful of the visitor's anonymity.
Constant touching and asking about the prices of these artworks turned us off gatekeeping - stopping individuals and telling them these works were not for sale. Eventually we opened the project to sales, and named it Salon des Refusés. To this point in time, it has grown to over 4000 works and artists anonymous or unknown to us. Artworks rejected by the maker, or owner, the gallery as well, have become an invitation to the visitor. The visitor becomes selective, the gallery's saying or guiding is minimal, in this installation of inclusivity and inclusion.
A narrow path barely wide enough for one individual to pass at a time, slows the walk through the overwhelming presence of object-artworks which surround the visitor. The installation can be seen from the sidewalk or across the street, especially when the garage door is open and artworks are set outside.The installation functions as a garage sale or a flea market; a deliberate decision, either to come in or not, is made.
The installation is maximalist, inviting touch and sale, permitting visitors to brave their way through the gallery in single file. Information overflows across the board within the disorderly art-objects; the order rises from the visitor's point of view.
This setting encourages one's experience of casual alertness, similar to walking down the streets of a city - at that same pace. The visitor becomes the minimal intake of the installation, allowing anonymity for things to pop at whatever level of experience.
The simple message for both, gallery and visitor, is getting a break from telling or guiding. A pause from being told what to do by any one including oneself, is created by the uniqueness of the experience. Subjectivity - exclusive or inclusive at once - makes us thrive, each at our own pace and place. Social refusal is anchored to the gatekeeper of our own individual Renaissance des Refusés.