"Where better to be in the midst of Belgium's biting winter but in the warmth of Lee Shulman's creation, The House. Cloaked in cosy mid-century nostalgia, the staging of this flagship exhibition at Hangar Gallery sets a fitting scene for Shulman's collection of found photography, The Anonymous Project. The playful curation features all manner of family snaps from holidays to birthday parties, and sees characters peeping out of kitchen cupboards or lounging on the beach, photographed through the window of a caravan."
"All the furniture used in the staging of The House has been sourced from online websites An image from the Anonymous Project, a collection of found photography All the furniture used in staging the exhibition has been sourced from secondhand websites. The 1950s caravan, for example, cost only 200 euros and has now travelled further around the world than it did in its heyday, exhibiting at museums and shows. A peep inside a 1950s caravan positioned in the exhibition reveals families holidaying at the beach"
"Shulman began collecting in 2017 when he bought a random box of vintage transparency slides and found himself drawn to the wonder of the people he discovered and the window into their lives, often funny, surprising or tender. Cataloguing and then exhibiting the pictures has become an artistic endeavour to give meaning to something once forgotten and breath new life into old memories."
The House at Hangar Gallery recreates cosy mid-century domestic spaces to display The Anonymous Project, a collection of found family photography. The curation stages family snaps from holidays, parties and mundane moments, with figures peeking from cupboards or framed through caravan windows. All furniture and props were sourced from secondhand online sites, including a 1950s caravan bought for 200 euros that now tours museums and exhibitions. The collection began in 2017 from a random box of vintage transparency slides and grew rapidly, reaching hundreds of thousands of slides. Intensive cataloguing and exhibition work treats each slide as a miniature painting and breathes new life into forgotten memories, evoking comfort, boredom, tension and routine.
Read at www.theguardian.com
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