For his first solo exhibition in London Henry Woller has been invited to exhibit works thoughts and questions on the significance and functions of the exhibition space as location of view and as a receptor of concepts. According to it, the gallery has been reconceptualised in its actual narrow dimensions, and converted in a grandiouse HALL OF THE PEOPLE.
The epitome of petty action and retreat, turned into something beyond its actual destination, a place where people join together for celebrating the greatness despite the measurement of the location. All might be discussed and evaluated but contradictions are still firmly part of Woller project, referring to the nature of the artwork and and its institutionalised reception towards the modernity of its discontents. Woller deals between and within the synchronicity of escapism and the critique of the real as imaginary. The latter has to spin his position through the aporia of the involvement in the economic and political power games that art inhabits unconsciously well. It remains firmly as a demonstration of the synchronicity of inclusion and exclusion both in the social and the aesthetic sense. An art crowd is never a good crowd and yet, despite all this, there is still the open question of the utopian potential of the art and of every artwork in a material speculation, often in between an undisclosed future that cracks possibilities of the human condition. The title of the exhibition plays with the false idea of the community of the people that appears as a regime imposed to overthrown and turn everything into an idea of openness.
Thus, the associations triggered by the exhibitions pretentious title holds the tension between the idea of togetherness and peacefulness it implies, either a deliverance as a tool of ideological seduction. This inherent contradiction finds its equivalent in a series of portraits of Grace Kelly, part of the ongoing long-time-series Shooting Grace.They show her in different moods and appearances referring to the diverse states of the human mind in the experience of the aesthetic moment. Captioned in fracture font with names of german painters from the age of romance, this portraits are not immune of a an art epoch which stands both for the aim of the union of all artistic and scientific disciplines and, on the other hand, for the anti-enlightenment, hence the anti-modern.It is a hall of fame, that does not comply its duty, as the space isn’t that Great Hall Of The People, that the title falsely declare to be.
Henry Woller is an artist who lives and works in Berlin.