GALLERY GILLIAN MORRIS
Brunnenstraße. 3, Berlin Mitte
Grand Opening : April 27, 2007
Jeongmoon Choi, Philipp Graf, Frankie Kobain and Susanne Schuricht, and a temporary video lounge
28.04.07 – 03.06.07
GALLERIST GILLIAN MORRIS IN DISCUSSION WITH CARRIE ROSELAND
Because the street has a dynamic feel, and there is a community spirit among the galleries there, rather than a competitive one. I like that.
What can you bring to that scene?
The gallery focus is on installation and video, also drawing. And site-specific works in temporary spaces. Not many young spaces are doing that so I can add something new to the range of galleries. In the first year it will be important to make a statement, show a strong programme.
What is that statement, or programme?
There are a lot of young artists in the programme and I’d like to give them a chance to experiment, while emphasizing the high quality of their work. I’m working closely with a small team of professors and curators who have been making recommendations and may even curate a show in the gallery space. Site-specific installations and video will definitely be a main feature. I'm very interested in exploring the limitations of perception. I want to find out what is behind the surface, what happens when there is a shift in that perception. I'm also interested in spatial concepts, architecture, in exploring new spaces. Actually, my first idea was to have a completely mobile gallery, but it soon became clear that I needed a permanent space.
Is there a space in Berlin that you greatly respect?
Giti Nourbaksch, and Esther Schipper.
Also Olaf Stüber. He has a very interesting programme and has curated exhibitions with strong themes. He’s not afraid to take risks. I admire that.
What about aesthetics?
Aesthetics means different things to different people. But having an aesthetic appeal makes some work more accessible. Especially for people who don’t have a background in art history or theory.
I had a professor who said once it doesn't matter how great the ideas are. The work has to be attractive, otherwise no one will look at it. But we all know how complicated attraction can be. So maybe it does come down to something like body odor and people...It might be like asking yourself if you're going to go to bed with someone?
Yes, attraction is a complex thing. And becoming interested in an artist or their work can be like starting an intense relationship. Between a collector and the artwork, or in my case also a working relationship with the artist.
What has been your experience so far with collectors?
I find them fascinating. They're passionate about art and so am I, so we are usually on the same wavelength. Especially if they're interested in the art I am showing. Their way of being involved with art is through buying it, collecting it. And building up a collection with a concept or strategy behind it, that is something very creative.
So you have a good relationship with collectors?
Yes, I love talking to them. I find the art scene frustrating sometimes. All those people standing around drinking and no one is really interested in the art. But when I get chatting to a collector, or to a journalist or curator, then there’s usually an interesting discussion. I enjoy that dialogue.
GILLIAN MORRIS was born in Cyprus and grew up on the south coast of England. Her first contact with art was working as a figure model while studying in Newcastle. After living in Hamburg for 12 years, and working as a freelance translator for museums and curators, she moved to Berlin in early 2006 and began field research in the art scene as preparation for opening her own gallery
CARRIE ROSELAND is a multi-lingual con-artist and left wing spy. She likes non-competitive sports which do not involve running, as well as reading books and infrequently published journals whose circulation is less than 5,000.view all articles from this author