Shown in Pieces
According to modernism’s idea of the “white cube,” surroundings should be shut out, walls should be painted white, the ceiling should be the only source of light in the room. Through this format it is assumed that the art is free to live its own life and exist in a kind of eternity of display.
Formats in general can be regarded as unspoken agreements underlying conversation, as well as support structures for communication, that which makes interpersonal exchange possible. Through standardization different conventions are continuously being created. Be it standardized paper or newspaper formats, TV or film formats, or for example architectural formats, such as the gallery, or city space. The format can be understood through its frequency—a common structure that becomes recognizable through repetition and labeling.
Contrary to the norms of the white cube, Sinne’s premises have large windows vetting out onto shopping streets, bearing witness to its history as a store. The viewer moves around seamlessly in the rooms where desire and escapism unite; just as easily, the gallery visitor and the consumers of commercial wares move through the city space. Just like a shop, a gallery space is traditionally a place of consumption and trade. At the same time, however, a critical kind of art also offers a non-normative countermovement. The gallery space shares common ground with the public space in its function of containing potentially divergent, diagonal movements.
The exhibition Shown in Pieces comments on the internal logic of space. Using the premises of Galleri Sinne and the question of the rhetoric of the format as points of departure, we have worked with associative, at times historical references. Inscribed in the history of the gallery space we find illusion and imitation to be central terms. With their origins in the representational traditions of classical art, the terms are used in the different parts of the exhibition to show the power of our common conceptual contract.
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