Exhibition Room no. 13 in the ISSP Gallery
Brief description of the project
The idea of the exhibition's scenography uses the archaeology of the gallery space — the peculiarities of the existing partition walls, adjacent external spaces and shop windows — to reinforce the concept of the artist's work. The transformation of the space stems from a series of works by the photographer Reinis Hofmanis, who has captured public interiors transformed by ordinary people. The scenographic solutions take over Hofmanis' visual observations of the relationship between humans and the environment — about how interiors' aesthetic and functional transformation and adaptation have created a strangely illogical yet heartfelt outcome.
Originality and creativity of the idea
To strengthen the concept of the artist’s photography series, the space of the ISSP gallery was transformed by building an additional wall, repeating and continuing the interior situations revealed in Hofmanis' photographs. For example, non-functional corners, niches or passages resulting from repairs. Rooms that are too narrow or too low. The originality of the exhibition's layout reveals itself by expanding the idea of the artwork outside of the photographic medium and in its scenographic continuation, imitating what is seen in the photographs in the gallery environment.
Definition of the problem and the relevance of the applied solutions
The task was to transfer the interior situations seen in Hofmanis' photographs into a real gallery space. By constructing the partition wall, an additional, hidden room was created — it held two works of art, which the viewers could only discover by going outside the gallery. This secret space not only met the criteria of non-functionality and absurdity but also referred to the interiors shown in the photographs, which, although located in public spaces, are hidden from the everyday visitor.
Co-creation, stakeholder involvement and cooperation during the realisation process
The space's scenographic solution was created due to the collaboration between artists Reinis Hofmanis, Aleksejs Beļeckis and the curator Iveta Gabaliņa.
Functionality and technological solutions
The white colour used in the design of the exhibition is the same colour previously used to paint the walls and many other elements in the gallery, making them neutral and unobtrusive. The colour covers all aspects of the exhibition, making the viewer question which of the visible elements are real and which are elements of the scenography. A peephole in the wall, through which one of the exhibited works is visible, is another viewing experience and a reference to the "eye" of the photographer's camera.
Aesthetics and other experiential dimensions
The architecture and spatial solutions of the exhibition create a mask for the gallery, but with easily noticeable deviations, such as cracked connections points or the view from outside, showing that the perfect interior wall is only a prop which covers the actual walls and hides the communications — referencing the peculiarities of repairs in the post-Soviet space.
Economic significance, sustainability and circularity
After the end of the exhibition, the wooden parts used in the construction of the wall were reused to construct the next exhibition.
Social relevance, inclusion, availability and accessibility
The architectural elements of the exhibition are fully recyclable. The spatial solutions are designed to be equally accessible to people with mobility impairments.
ISSP Gallery and educational space is located in Riga, Berga Bazārs, Marijas Street 13.k.3, ground floor. Entry with a wheelchair is possible via a ramp, and the doors are wide enough for a person in a wheelchair to enter and exit. The restrooms are suited for people with functional disabilities.
