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Exhibitions can try to replace 'presence' but at the same time they separate the spectators from life by offering organised knowledge in place of the totality of real experience.
Altshuler, B. (2009) “A Manual: [For the 21st Century Art Institution]”, Walther Konig, p.56
The purpose of exhibitions is to be experienced.
All exhibitions are temporary acts. An exhibition is a transient state of things brought together in the equally transient presence of spectator, rather than a permanent collection of artfully arranged objects.
Altshuler, B. (2009) “A Manual: [For the 21st Century Art Institution]”, Walther Konig, p.56
A neutral space everywhere pretending to be placeless.
Altshuler, B. (2009) “A Manual: [For the 21st Century Art Institution]”, Walther Konig, p.27
A very simple, yet thought provoking quote in relation to the space within a gallery.
Brushed off, pampered, re-painted, it resumes its blankness. Its still potent powers, like those of the blank canvas, should not be underestimated.
Altshuler, B. (2009) “A Manual: [For the 21st Century Art Institution]”, Walther Konig, p.27
The quote I feel truly represents the current stage of the degree show preparation, as I have now painted the whole of the space which will be holding my work and I have now cleaned and scrubbed the floor. Although this is not within a conventional gallery space, this act of reversing and taking the space back to a blank canvas is very familiar with the art world, as all traces and events which have taken place within this space is taken away and hidden. All elements of distraction and manipulation are destroyed.
Space is shapeless so we continually box it, delivering quotas of voids. Box is easier to understand than space, so we ask it questions we used to ask of space. [...] Every installation is engaged in reciprocal definition with its box, asking the (sometimes bewildered) question 'Where am I?', the answer being of course, you're boxed.
Altshuler, B. (2009) "A Manual: [For the 21st Century Art Institution]", Walther Konig, p.26
In relation to O'Doherty's White Cube theory, the theorist himself expresses the theory of the space within a gallery space and how as both artists and viewers, we approach and work with the embedded space. When in the space of a gallery, we can often feel cut off from the world and transported into a new enclosed space. There is great power within this space, and art exhibited within it either utilises and works with this power or attempts to reverse, manipulate and avoid the power it holds over artwork.
"They have rarely addressed the fact that a work of art, when publicly displayed, almost never stands alone: it is always an element within a permanent or temporary exhibition created in accordance with historically determined and self-consciously staged installation conventions... Exhibitions, like the artworks themselves, represent what can be described as conscious and unconscious subjects, issues and ideological agendas."
Altshuler, B. (2009) "A Manual: [For the 21st Century Art Institution]", Walther König, p.21
This piece of writing expresses a variety of issues within gallery exhibitions. Firstly, it could be argued that exhibitions themselves can be acknowledged and seen as Archives. They work together in order to address specific issues of similarity, and they are also viewed together and linked through the exhibition. This is an area within my current artist practice that I am focusing of in order to represent this year's body of work within the degree show. As my artist practice has unfolded through the act of reconstructing each piece through the process of production, I feel that my body of work could also be considered as a collective Archive. This is the reason behind my thoughts on presenting a collection of images from my work in a book, which is infact named 'The Archive".
I also feel that this piece of writing raises the issue of the curator, and the power they have over an exhibition. The cluster of artworks which are chosen and gathered for exhibitions have relations and elements in comman, yet they also become manipulated and squeezed into one overall comman theme. This theme may not be the most specific area within a certain piece of work yet when placed within an exhibition focusing on this area, the artwork is them forced to focus on this specific area.
Hans Ulrich Obrist | Do it. The compendium (Independent Curators International, New York / D.A.P., 2013)
Curated by Hans Ulrich Obrist, do it began in Paris in 1993 as a conversation between Obrist and the artists Christian Boltanski and Bertrand Lavier. Obrist was concerned with how exhibition formats could be rendered more flexible and open-ended. This…
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To designate artworks as museum-worthy is to mark them as objects that would deserve a particular place in what Philip Fisher has called "the future's past." (...) Contemporary works valorized by entering museum collections - and, to a lesser extent, by being exhibited in museums - are in a sense projected into the future, identified as playing a role in an anticipated history.
Bruce Altshuler, Collecting the New: Museums and Contemporary Art, 2007
