What is the most bizarre thing you have ever had to deal with during an exhibition installation?
VALÉRIE HORVÁTH (Magnus Art Gallery curator): I have been working in the art and collecting world for quite a long time, so naturally, I have experienced some interesting stories. Once, a collector accidentally handed over a different artwork than intended; another time, we tactlessly celebrated a quick installation, only to spend several hours deep into the night working on the very last piece; and one of our exhibitions was accompanied by armed guards during transport and setup.
However, the clear winner for me is a visitor who contacted me claiming that one of the exhibited works was stolen. He introduced himself as a retired investigator who tracks down lost artwork in his retirement, claiming he could clearly tell just by looking at it. It very quickly turned out that the investigator’s eye had missed the mark after all, and that the registry of stolen art merely contained a work by the same artist with a similar motif. We would certainly not exhibit a stolen piece in a bank’s gallery, which is legally obligated to verify the origin of assets. But I must admit that despite all the due diligence that our exhibitions require, the gentleman threw me off for a moment.
What does it usually look like 20 minutes before an opening reception?
VH: We might be a bit of an exception to the rule here, but at our gallery, it actually looks quite similar to how it looks during the opening itself. Our opening receptions are always prepared by our event team, who would absolutely never allow everything not to be ready well in advance. Plus, some true enthusiasts show up a few minutes early, so the lights are definitely bright, the horns are honking, the DJ is playing, and the bubbles are fizzing.
How do you know that an exhibition has been a true success?
VH: Reliably by the guided tours. For every exhibition, we organize at least two guided tours for the public, and when we start receiving emails asking if we could add more dates, I know we’ve done a good job. I also have one less exact metric: how satisfied the collectors are whose collections we are presenting at the exhibitions.
Which exhibition will you never forget and why?
I hope I won’t forget any of them! However, in many respects, The Player exhibition from the collection of Leon Tsoukernik was extraordinary, consisting of hands down the most expensive artworks we have ever had in the gallery. This naturally came with many specific requirements, from security and artwork care to a massive turnout. It was a great experience for me, one I certainly won’t forget anytime soon.
I also hold a special place in my heart (and memory) for the exhibition of Janja Prokić’s collection, titled To Close One’s Eyes and Yet See. It was a very personal, sensitive, and incredibly fulfilling project for me. I believe we managed to imprint all those emotions into the exhibition itself.
