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'''Chambres d'aAmis is een''' was een spraakmakende kunsttentoonstelling die plaatsvond in de stad. ze [[Gent]] in [[1986]]. De tentoonstelling werd gecrueëerd door j[[Jan hHoet en vond plaats in 1986]].⏎


== Opzet en concept ==
=== een reactie op de bestaande context ===
The Chambre d’Amis exhibition took place in 1986 in the city of Ghent. It could be seen as an unusual exhibition as it broke out of the museum, taking place in the houses of the inhabitants of the city. This event came up reacting against the typical setting of exhibitions in the Modern age: the so-called “white cube”.1 The most known image of the white cube is the important exhibition about modern art and architecture that took place in 1929, at MOMA in New York. The place where to expose the pieces of arts was characterized by no windows, white walls, uniform lights, and no noise: a general sobriety, neutrality and pureness. The main aim was to extract the viewer from the world as the minimal frame of white was thought
to be neutral and pure, in order to not distract from reflection on the art. The white cube was a tremendously successful western export, that was brought basically everywhere through the so-called “large-scale exhibitions”. Artworks were simply brought into existing museum spaces without altering their white cubes. They are supposed to be globally replicated, always the same despite their location nor context. 2

Gradually, the loss of ability to generate surprise, the radicalization of the isolation of the work and the catalysis of authorship - typical of Modern art - were questioned.

Thus, in the late 1960s and early 1970s the site-specific art emerged.3 This fact forced a dramatic reversal of the modernism paradigm. Site-specific art took the site as an actual location, a tangible reality as it is strictly related to the physical elements of the site. While modernism sculptures were more autonomous and self-referential, transportable, placeless and nomadic; the main features of site-specific work are establishing an indivisible relationship between the work and the site and the necessity of the physical presence of the viewer for the work`s completion. Moreover, site-specificity had the aspiration of exceeding
the traditional media - like painting and sculpture - and the desire to resist the forces of the capitalism market economy, in which artworks circulate as transportable and exchangeable commodity goods.

=== concept van Jan Hoet ===
Jan Hoet (Leuven, 23 juni 1936) not only was the curator of SMAK (Stedelijk Museum voor Actuele Kunst) in Ghent, but also of some large scale exhibitions such as Chambres D'Amis (1986) and Documenta IX (1992) in Cassel. In an interview he put forward the idea for Chambres d' Amis after a discussion he had in at a symposium in Bari:

“I was at a symposium in Bari with other international curators. (…) The Americans
proposed to break down an old part of the city, and build a new museum for art. Then I reacted with a counter proposition: let’s renovate the old houses of the city and do this with architects and artists. They can work together to bring new life to the old city.

== De tentoonstelling ==
Het zwaartepunt van de eerste documenta lag evenwel niet zozeer bij de hedendaagse kunst, dat wil zeggen de na 1945 ontstane kunst, als wel tonen van het werk van die kunstenaars, die gedurende de nazi-tijd werden geassocieerd met [[Entartete Kunst]].
Hierdoor stond de Abstracte Kunst en in het bijzonder de Abstracte Schilderkunst van de jaren twintig en dertig van de 20e eeuw centraal. Vele stromingen uit die periode waren vertegenwoordigd, zoals: [[Fauvisme]], [[Kubisme]], [[Expressionisme]], [[Futurisme]], [[Der Blaue Reiter]], enzovoort.
Pas in latere afleveringen van de documenta verschoof het artistieke zwaartepunt naar hedendaagse kunst en in het bijzonder naar de nieuwste stromingen. Was de eerste documenta nog vrijwel geheel gericht op kunstenaars uit Europa, later verbreedde
dat ook naar werken van kunstenaars uit Amerika, Afrika en Azië.

==WERKEN==
*Fridericianum
*Neue Galerie
*documenta-Halle
*Friedrichsplatz
*Park Karlsaue, met in 1992 de [[Aue Paviljoens]] (tijdelijke constructie voor Documenta IX)
*Vanaf 2007: Schloß [[Wilhelmshöhe]] in Park Wilhelmshöhe (met confrontatie hedendaagse kunst en de bestaande historische kunstcollectie waaronder de befaamde [[Rembrandt van Rijn|Rembrandtverzameling]])
*Kulturzentrum Schlachthof

==REACTIES==
VEEL TEGENREACTIES

=== Iniatief ‘86 ===
Iniatief ’86 consisted of three exhibitions, created by different art organizations and art galleries from Ghent. The first exhibition that took place in the Sint-Pietersabbey was set up by three international organizers - Jean-Hubert Martin, Kasper König and Gosse W.Oosterhof – and showed the work of Belgian artists. The goal was to sharpen the connection between the Belgian and the international art. Furthermore, the Museum of Contemporary Art exhibited its own collection and fourteen art associations and galleries organized their own exhibitions.

=== Iniatief d’Amis ===
The works of 45 contemporary Belgian artists were selected by seven artists and exhibited in de Vooruit in Ghent. The goal was as well to make the Belgian art more known.

=== Antichambre ===
For this exhibition, there was no specific selection of artists. The exhibition took place in a former textile factory. The goal was to use the ruin as a spatial metaphor, and that way provoke protest against the art of Chambres d’Amis.

==NAVOLGING==

Chambres d’Amis has had critiques that wonder whether the exhibition achieved all the aims that Jan Hoed underlined in the catalogue. First of them, Wouter Davidts questioned who took the initiative, was it really something coming from the museum or was the decision forced by site-specificity?: “The museum does not want to be suspected of legging behind the new forms of art. (…) With these manifestations, the strategy of site-specificity is recycled by the museum, appropriated and formalized in the question to the artists to leave the museum building together´.” 12

Art critic Benjamin Buchloh has pointed out how the main purpose of site-specificity was differed because of the necessity of organization. “The exhibition anticipates the site-specificity of the work and thus shortcuts the critical potential of the artistic production. Site-specificity, (…) transformed to a `curatorial concept´ that can be formulated as a commission.” 13 This fact made the museum reappear in each place as Victorian Noorthorn affirmed: “Chambre d’Amis tested the ability of the museum to dissolve itself, and its authority, into the fabric of the city. It also allowed for the institution to reinvent tself, to look at itself anew from a shifted perspective. (…). Despite its fundamental expansiveness and mobility, the exhibition as a whole never fully escaped the territory of the exhibition format.” 14

However there is one theme that is considered achieved by Michael Newman: the fact the art has been transformed into a product of consumption in the museum to a wider scope where participation of citizens is what makes the exhibition works. “The idea has the potential to challenge the enclosure of the museum, the separation of public and private space, and the relation of domestic space to street and workplace, as well as to turn culture from
consumption to participation.”