arte povera outside the gallery (2017)
       
     
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arte povera outside the gallery (2017)
       
     
arte povera outside the gallery (2017)

Arte Povera outside the Gallery: A Spatial Experiment

画廊外的贫穷艺术:一场空间试验

During an exhibition in gallery, the white cube enables the maximum performativity of the artwork since the work of art has been stripped off from its creating environment, the viewing context and the perceived experience. Once the show ends, the functional and instrumental spatial signifier (e.g. plinths and staircases)will also be peeled off from the original context and be put to an abandoned place.

What I try to do is to reverse the relationship between the two places, to question the quality of the performative space. How could an artwork deprived with experience process a value of art? Or can a trash that full of memory be a piece of artwork? Do spatial instruments contain any content or memory in a wider open space?

It is a contest between the trashes of artworks and the trashes as artworks, between the gallery context and the garbage context, and between solidarity and chaos.

一场画廊的展览中,艺术品的展演价值在白盒子空间中得以最大程度的体现,因其中性的空间将艺术品剥离开它被创作的环境、被观察的情境与被感知的经验。而展览结束,曾在白盒子中扮演工具性的、功能性的建筑符号(如展台,如台阶),也会被剥离开它从属的环境,被投入到毫无价值的废弃空间之中。

我试图倒置这样一种关系,质问这样一种展演空间的本质——被剥夺了经验的艺术何以具有艺术的价值?而富含经验的废弃品是否本身就是一种艺术?被投入在广阔经验空间中的空间工具,又是否承载着内容与回忆?

这是一种较量——

成为垃圾的艺术与成为艺术的垃圾的较量

画廊情境与弃置空间的较量

纯净与混乱的较量

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