What would be the best space to show your work ?
The ideal gallery slowly became the one that subtracts from the artwork all cues that interfere with the fact that it is “art”. The work became isolated from everything that could detract from its own evaluation through the growing of abstraction in modernism.
Insistence on colours and shapes in their work made groups like the Bauhaus prefer to exhibit in a white environment in order to diminish distraction. This revolutionary method rapidly became authoritarian to trace the art-historical narrative of each subsequent movement and finally gave the space a presence possessed by other spaces where rigid conventions are preserved through the repetition of a closed system of values.
In 1976 Brian O’Doherty wrote a book called Inside the White Cube, in which he confronted the modernist obsession with this sealed environment, saying that every object became almost sacred inside of it, making the reading of art problematic.
“Unshadowed, white, clean, artificial – the space is devoted to the technology of aesthetics. Works of art are mounted, hung, scattered for study. Their ungrubby surfaces are untouched by time and its vicissitudes. Art exists in a kind of eternity of display, and though there is lots of “period” (late modern), there is no time. This eternity gives the gallery a limbo like status; one has to have died already to be there.”BRIAN O DOHERTY
Since this time, our society and culture have changed, yet art museum displays have largely remained in stasis. This installation challenges the physical experience of being out of? the white cube andinterrogates the “validity” of the piece as a work of art; museums as institutions and structural vessels are challenged and interrogated regarding their apathetic position.
Blue Brian merges the tangible changes brought by the Internet in contemporary and Digital art and its influence on art criticism and curatorial authority. The blue light propagatedby the LED screen explores the aesthetic possibilities of computer-generated spaces as sites of production and inquiry, marking the increasing elision between the virtual and the real in the everyday life through a depravation of senses.
