lodibet When Your Living Room Is Also a Gallery

hilo789 slot

Located on a quiet residential street in North London, the Victorian-era townhouse that was, until his death in 2012, the home and studio of the activist, writer and potter Emmanuel Cooper still bears the name of his business, Fonthill Pottery, above the first-floor windows. Over the course of its 153-year history, the building has also been a butcher shop and a supplier of valves and transistors. Now it’s taking on a new identity: live-in art gallery. On a warm October night during the city’s Frieze Art Fair, the curator Rajan Bijlani, 40 — who has owned the property since 2014 — invited 150 guests to his home for the opening of an exhibition showcasing work from South Asian diaspora artists, including Harminder Judge and Vipeksha Gupta, alongside rare furniture pieces by Pierre Jeanneret and Le Corbusier collected from Chandigarh, the Modernist city in India conceived in 1947 by the country’s first prime minister, Jawaharlal Nehru. “I wanted to share the house and honor the fact that it was an artist’s studio,” says Bijlani of his motivation for turning his residence into a by-appointment exhibition.

ImageAt Tony Cox’s Club Rhubarb on New York’s Lower East Side, Lola Montes’s “Artichoke Candleholders Italy” (2023) sit on her “36. Amphibian” table from 2022. On the walls, from left, Brock Enright’s “Dragon Skin” (2016-23); Abdolreza Aminlari’s “Untitled (23,003)” (2023); Gerald Wartovsky’s “Karen and the Carousel V” (1981); Scott Calhoun’s “Night Air” (2023); and Kiyoshi Tsuchiya’s “Untitled” (2020). In the corner is a Mesa chair by Vonnegut/Kraft.Credit...Brian W. Ferry

Since the early 20th century, coinciding with the rise of abstraction, the art world has adhered to the notion that works should be displayed in deliberately featureless, generally white-walled spaces, the better to elevate and isolate them from the context of daily life. Now, however, a growing number of gallerists and curators are, like Bijlani, taking the opposite approach, exhibiting in the very places where daily life dominates: their own homes. In Manhattan’s Financial District, the dealer Michael Bargo, 41, sells rare furniture out of his one-bedroom apartment. In Los Angeles’s Frogtown, the collector Jonathan Pessin, 54, has converted his residence into a veritable bazaar of vintage design objects. And on New York’s Lower East Side, the pro skater turned artist and gallerist Tony Cox, 49, runs Club Rhubarb — a tiny, deliberately hard-to-find contemporary art gallery — out of his sixth-floor abode. There is some precedent for the idea: The Parisian antiques dealer Florence Lopez, 65, for example, has used her Paris home — a former sculpture studio in the Sixth Arrondissement — as a showroom for clients like Charlotte Gainsbourg since 1995. But now, whether driven by skyrocketing rents, a collective urge to experiment or a longing to encourage active participation with the art, the concept is taking hold.

ImageFlorence Lopez’s home and showroom in Paris, where the offerings include a Charlotte Perriand bed and Mathieu Mategot mirrored coat rack, both from 1950.Credit...Philippe GarciaImageIn the entryway of Alex Tieghi-Walker’s apartment gallery in New York’s TriBeCa, Vince Skelly’s Seventh Street Chair and Leo Kaspar and Andrew Pierce Scott’s Standing Lamp.Credit...Ike Edeani

Finances were one motivation for the Welsh-born design dealer and curator Alex Tieghi-Walker, 37, to turn his fifth-floor loft in TriBeCa into Tiwa Select, an exhibition space where he’s mounted shows by the lighting designer Lindsey Adelman and the sculptor Vince Skelly, among others. But for Tieghi-Walker, running his business out of his home is also more comfortable. “I’ve always felt like an outsider in the gallery world,” he says. “For me, it makes sense putting [these works] in a domestic context.” The setup has allowed him to develop more meaningful relationships with clients, whom he often hosts for impromptu lunches or intimate dinner parties. “I get a lot of joy from having people come over, take books from shelves,” he says. “I love seeing how people interact with the art and the space in the course of a day.”

ImageAn installation view of Laëtitia Badaut Haussmann’s 2022-23 exhibition “Sec & Metallic” at Emanuela Campoli’s apartment in Milan. Behind the bed is Eileen Quinlan’s “Enduring Frustration” (2015), and on the rear wall is Laëtitia Badaut Haussmann’s “X (2)” (2017).

We are having trouble retrieving the article content.

Please enable JavaScript in your browser settings.

Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.

Thank you for your patience while we verify access.

Already a subscriber? Log in.

Want all of The Times? Subscribe.lodibet