Is Dalston House the worst piece of art ever?
Artworks are shit but they look great on pictures.
There’s been a lot of hype around this installation by Argentinian artist Leandro Erlich launched three weeks ago in Dalston, the beating heart of East London’s hipsterville. To much media frenzy, the artwork commissioned by Barbican Art Gallery was described as an “interactive, three-dimensional illusion" where thanks to an old mirror trick, you feel like you’re dangling off the windows of a Victorian terrace house.
But what is it really about? Time travel? Scaling? Twisted perspectives?
Yes, it’s great fun and also a wonderful pastime for mums and dads. It cracks you up and you can’t wait to show the pictures to your mates. But the exhibition is only supposedly interactive. You are lying on a piece of plaster and while snapping those images the best you can get is to feel like an extra on a clever film set.
People seem to have discovered mirror tricks some time ago, but nobody really bothered to call it art. Still, the Dalston House exhibition is not just a beautiful playground. It is important for highlighting something else. It shows how today’s art has been reduced to a gimmick. Art is funny. We don’t preoccupy ourselves with the concepts of representation anymore. Or the art’s supposedly subversive elements. It’s not about the artwork, but your image of the artwork.
Artworks are shit but they look great on pictures. In the ubiquitous media context it’s much better than the other way round. That’s why Dalston House doesn’t exist outside your Instagram photos. Lying on the plaster board you are not experiencing much. The only way you ‘participate’ is in the creation of an illusion that there is an experience. There isn’t one. And to remind you even further who is the real boss behind this installation, your camera will always be present in every picture you take. Say cheese.