Chambres d’amis

The show placed art in 58 houses belonging to everyday townspeople, carrying the work outside the separate universe, the total institution, of the museum, to bring it within the private zone of the private home, an asocial place insofar as it is removed from the public arena. Not only –-as some sceptics might remark-– in the homes of extremely rich art collectors of people in the design trade nor in meeting-rooms of so-called ‘progressive’’ associations, nor in empty studios of obscure artists, but in all sorts of homes. The artists’ self-imposed task is to transform these spaces –-within the limits imposed by the owners or occupiers-– into something which can be dentified as ‘art’. (…)