March 28, 2024

Curating outside the gallery

Art, existing where? And why there? And with what? Expanding the audience of an exhibition is often about not restricting it to a certain group of people which can often occur when venues have a target culture.
Think about the space
The walls of a gallery outline the confinements of the space but extending this and somehow ‘inventing the walls’ as such, can redefine the content of the exhibition. The space leading up to the works describes a walk which can be experimented with. Using a space which is an environment in itself will include aspects of its environment which will then add to the experience of the artwork. This idea can develop in so many ways, even continuing to use the gallery space. Stretching the exhibition out of the windows, doors and rediscovering g the floorboards.

The negative space

Weathering and erosion can produce beautiful natural forms, so what would happen if we purposely eroded a manmade object in its native setting? The art itself being a negative space within an established space.

Lying to your audience
Authenticity within the artwork can be retained while using external contributors to give the illusion of an alternative meaning or ‘lie’. What is the advantage of deceiving the audience? Is it possible that a lie can enhance the strength of the original meaning and piece? Consider, removing something from where it is accommodated, like with a character, we get a fuller impression when dropped in unsettling territory.

The printed exhibition
Portable, extensive and more accessible, the printed exhibition in the past has relied of the quality of print afforded but technology has made printing more available.

Museum Correlation
The traditional gallery building and museum building model has been distanced in contemporary art, especially in the ‘alternative’ cultures emerging untraditional settings and have become quite standard. Creating new settings can be discovered through discovering truly unique artwork which inspires the curator.