Tiny Galleries
REJIG: Ginny on Fred
Ginny on Frederick, London
written Tagen Donovan
Traditional gallery settings have become even more unattainable than ever before. In its place is a burgeoning mecca of alternative-everyday spaces, seamlessly forging art integration into daily life, while expanding outreach and accessibility within its locale.
As we navigate the transition beyond the homogenised landscape of white walls, high ceilings and intimidating invigilators, a newly emerged resistance movement is taking a stance.
This movement spurs a community-based approach to showcasing art. In the last decade, artists and curators have hit the ground running in developing environments that situate themselves in active, working establishments ranging from supermarkets, pubs, salons - and even public toilets.
Presenting art in unconventional spaces is nothing new. Gallerist Gavin Brown notoriously staged his first exhibition in obscure locations such as his Upper West Side apartment. The exhibitions were then displayed in office cubicles in Manhattan and in a room at the Chelsea Hotel. In 1974, the curator Harald Szeemann created a small exhibition about his grandfather, who was a hairdresser, in his apartment in Bern. And for a brief time during the 1980s, Hans Ulrich Obrist ran a gallery in his kitchen, inviting artists such as Fischli and Weiss to show their work there.
Ginny on Frederick Gallery
seen by Stephen James
exhibition
Emily Pope, Poison Pen
Ginny on Frederick Gallery
seen by Stephen James
exhibition
Eva Gold, The Last Cowboys
Adapting to change is an innate quality within art communities, and it’s often where innovation occurs. 2023 has seen the entire world adapt after COVID-19 engulfed our lives for three years. Leaving in its wake the aftermath of an economic downturn onset by the transition of Brexit and the emergence of a war in Eastern Europe. As we weathered through a temporal loop, the once 24/7 energy of the cultural industry evaporated. However, hope rose from the ashes.
Unified by a sense of urgency to reinvigorate the artistic landscape and ultimately interrupt the migration of cultural practices to the internet, a rebirth pioneered by a DIY spirit would see the championing of philanthropic initiatives with a deep sense of community unfold. Amid this defining moment, independent galleries were once again able to flourish - albeit with a twist of unconventionality.
The audacity to stray from convention is radical in itself. As independent galleries populate non-traditional spaces, an overdue revision of principles has gripped cities across the globe. Navigating the landscape unbound by formal institutional structures Recent adversity has created space for the underrepresented and in turn, this has steered the contemporary art world into fresh territory far removed from stale bureaucracy. In this exciting leap, contemporary gallerists are afforded shape-shifting ability as they re- establish the core nurture between the artist, curator and audience.
Freddie Powell, a London-based gallerist has embraced this newly developed approach. Following his graduation in 2016 from the Rhode Island School of Design, Powell's first curatorial venture came to fruition in the form of a medieval- themed motel in Massachusetts. Unknowingly paving the way for future liaisons in non-traditional locales. While in New York's LES, Freddie frequented shop-turned-gallery spaces such as Derosia, JTT and Chapter. Engineering an artistic sensibility inspired by such galleries. Powell later returned to London with the intention of creating a similar environment that embraced curatorial challenges. In 2020, Powell reached a pivotal moment in his career.
Ginny on Frederick Gallery
seen by Stephen James
exhibition
Eva Gold, The Last Cowboys
Ginny on Frederick Gallery
seen by Stephen James
exhibition Racheal Crowther, Qualified to Care
Ginny on Frederick Gallery
seen by Stephen James
exterior view
This was when the opportunity arose to repurpose a site adjacent to a disused Hackney railway arch on Frederick Terrace. In the unforeseen advent of COVID-19, the space shuttered due to mandatory restrictions. Lockdown provided an abundance of time to think, and the occasional jaunt out of the house. Stumbling across a vacant sandwich shop with signage above the doorway still intact: ‘Sunset Sandwich Bar II: Hot & Cold Food to Take Away’. This would be a defining moment for Powell. He knew then and there that this pocket-sized space would be the making of Ginny on Frederick. Kicking off his first show with Jack O'Brien in September 2021.
Offering a sense of promise and support remains the core principle of Ginny on Frederick. With less elbow room for young artists to thrive due to art council cuts and an industry largely run on nepotistic connections, the door of opportunity remains small for most. Powell has recognised this issue and has devised a programme that offers a platform for early- career artists to showcase experimental bodies of work, all while operating in a prime London location, a move simply unheard of in today's runnings of bluechip galleries. In bridging the gap for a new wave of practitioners to organically build up their trade, it’s safe to say that alongside Powell and his contemporaries - a renewed sense of hope has emerged within the underground art scene. Formulating a collective ecosystem that works on symbiosis rather than competition. Powell's mentorship provides value to artists outside of monetary promise. By co-creating environments beyond the mega-gallery trap, Ginny on Frederick ensures longevity in an ever-changing landscape.
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