The Joy Of What We Do #35 Exhibtion Assessment

I am interested in the curatorial concept: how key moments shaped an art movement; the development of an artists’ vocation with their impact and influence in the art historical canon along how the narratives weave through the gallery spaces.  Furthermore, I examine the project from as many different viewpoints, ranging from visitor flow, demographics,  support materials, graphics, illumination,  environmental conditions, technical and display requirements and the logistics involved.
Naturally, when I  visited the exhibition Jean Dubuffet Brutal Art,  a thoughtfully curated and well-presented major survey of his work at the Barbican Art Gallery, showcasing four decades of his career,  l  followed my professional interests and curiosity. Whilst walking around enjoying and assessing the show, I learnt how his freestanding theatrical props or “practicables” as  Dubuffet called them were supported. He created a series of one-hundred-seventy-five polyurethane cut-out figures, referring to elements of his earlier work L’Hourloupe.  In an ideal situation, I  would have liked to walk on the raised platform to examine the metal supports and electronic mechanism in detail,  but of course, that was impossible.  And when I was leaning over for closer inspection I set off the motion detector a few times, oops …..not the best behaviour of an art professional, but I gained an understanding of how some of these props worked. 
Image: ©Theatrical props of Jean Dubuffet Practicables, Renée Pfister Art & Gallery Consultancy, 2021.


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