HAMBURG, GERMANY.- Artfinder Galerie will feature Gala a Green Masterpiece, on view March 24 through April 7, 2007. The artist Boran Burchhardt carries out two interventions in order to change completely the situation of the exhibition. The first intervention took place in Pakistan in the country that holds the monopoly on the production of footballs. A large number of footballs were chosen, dissected, sorted, sewn. In manufacturing, the pentagonal panels were left out, the panels that after all allow a football its geometrical form. The left over hexagonal panels were sewn together to build large planes. The ball becomes flat. These planes of hexagons were named carpets by the Pakistani assistants. The synapses begin to work: from traditional carpet manufacturing to industrialized production of footballs to football-carpets to paintings that integrate easily in the western tradition of abstract art. The ball becomes a work of art.
The second intervention lets grass grow on walls, floor and ceiling of the gallery. The white cube changes its color. Now grass is growing where formerly art was displayed. The works are displayed in their natural habitat: a gallery, overgrown with grass. The roles of ball and playing field are exchanged; the view is on the works of art and the used material. The exhibition Gala - a green master piece is the public part of three staged situations in the gallery artfinder. Both the other parts are shown via photography. The photographed scenarios are carried out earlier. 1st situation: A grass feeding animal is brought to the gallery artfinder. The art dealer is going to sit on the animal facing the opposite office fronts outside the window, whereas the artist is going to crouch on the floor, lighting a fireplace for a branding iron. (The branding iron is needed for the invitation cards.) 2nd situation: The gallery is covered with grass, on which the flat footballs are displayed. This is the public part of the exhibition. 3rd situation: A goal is standing on the dried out grass-covered floor of the gallery. There is a horseshoe nailed to each corner of the goal and an object of football-panels in its middle. The three parts are put together to one whole from the same perspective. They are equal parts of the exhibition, and they are shown side by side. An aloof triptych, staged to refuse any automatism of comparison in the last instance.