- Curator, authors of theme, designers- architects of exposition:
Ewa Machnio, Agata Skwarczyńska
Coordinator and Producer:
The theme of the exhibition is the broadly understood notion of “space.” Space: between people, memory, history, emotions, cultural codes. It is not about space enclosed by walls and floors, or defined in metres. It is about space with a recognized identity. Recognized by history, by the people in it, and by the way these people fill the space. The true image of a place is shaped by the sum of all those factors. Sometimes, the authenticity of a space is revealed only after it is deprived of its outer layers, its artificial epidermis, its coincidentality.
Each time, it is about getting to the core of a place. It is about recognizing the structure of the place, the mechanisms governing and controlling our co-existence in it. It is about regaining the right to influence the state of affairs, not only from the position of a passive participant of an event, but also from the position of a legitimate creator of situations. It is about attentive and vigilant existence. An exhibition must be coherent with the presented phenomena. In principle, the Polish exhibition aim’s to provide a platform for a meeting between recipients and works, an excuse for creating social relations. It should take on the form of an event that breaks down established structures. In our view, in its essence the white cube – which is, in principle, a neutral exhibition space – not only conditions works of art but also dominates them, turning the content into the content itself instead of presenting the content within a context. It vacuum-packs the artwork, and blocks the natural, spontaneous reactions of recipients. The white cube in the Veletržni Palace gallery is a reflection of a system of rules concerning our behaviour towards of works of art and the way they are perceived within an art institution. The appearance, within the space of the white cube, of a commentary on everyday life stands in opposition to the conventionalization of a gallery and thus demolishes the system of rules applicable within it. With regard to an object that is not a work of art, a recipient must develop a completely different, individual reaction. His commentary becomes the most adequate way of presenting the artwork. The entire presentation takes place from the spectator’s perspective. Now spectators may question (if they wish) the rules and actively influence the shape of the presentation space. They may make a hole in a wall, break through the cultural and social shell conditioning the reception and a definition of art, and open their eyes to the possibilities.
In our view, in its essence the white cube – which is, in principle, a neutral exhibition space – not only conditions works of art but also dominates them, turning the content into the content itself instead of presenting the content within a context. It vacuum-packs the artwork, and blocks the natural, spontaneous reactions of recipients.