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the blackholes of white cubes – the turn to the blackholes

In this paper I will try to explore contemporary art blackholes where white places used to be, and perhaps the art not lives.
The paper will be divided into 2:
* Concepts and ideas.
* A report about “How to imagine the Art gallery as an art blackhole?” – (HtItAGaaAB)

Ideas and Concepts
Internet networking, has affected how we can imagine the gallery because the culture of artefact exchanges is changing and challenging the significance of reference-­points/contexts. These changes, by relying on negative ­ rather than anti ­network based affirmation & allowing an abundance of times, places and frequencies to experience artistic “fruits-­of-­practice”, alters the nature of the traditional art gallery from a place that focuses on art to that where art is Not at. Therefore, perhaps the gallery can now be imagined as art blackhole, where art is in fact rejected via its existence and function as a display ritual inside a network node.

The black holes that we normally call art galleries and appear as white. pure & very welcoming – is a positive statement. It is the Duchampian positive in the sense that it the anti-art is a negative that requires a positive, to be, as Anti is a part of binary relationships. Debt and Anti-Debt. Vision and anti-vision, listening and anti-listening, etc. – the anti can not be without the Context of the positive..
However a black hole, unlike the contextual negative or the anti-art, is a negative without a binary relation. The area where, for example, timespace is in fact Not – rather that not timespace, or anti-timespace.

I will argue that via networking, and networking culture, where links, while being acknowledged by each node, and yet actualised by rejection of links less likely to follow – are infact creating a network based on an ingrained culture of rejection. A culture of dis-positive rather than of absolute negative – rather than of a negative that is just anti/against.
If the whiteness of gallery spaces in the 20th century were to allow a focus on objects, and a sense of “out-of-life”, that could assist in bestowing a unique aura and status for the display by the art establishment – then in times when daily activities are, via digital technologies, in a unique and autonomous place – perhaps the white places should be considered as black holes.
Places where perhaps objects are collected, to save them from becoming art. Or that they just will never be art. As we live in a process of being more and more netwroked, he value of the gallery space – a traditional art networking space – is becoming that of a blackhole that Hides rather than shows stuff.

“How to imagine the Art gallery as an art blackhole?” – (HtItAGaaAB) – a report
During Brighton Digital Festival 2013, between the 2nd and the 5th of September, the works, projects, activities, people, and objects inside the Fabrica Gallery in Brighton – http://fabrica.org.uk – will be art nots. They will be where art is not via a research process just outside the gallery space which aims at doing stuff with art nots via investigating negatives. This way, everything and every element inside – but not linked – the fabrica gallery, will be inside a sort of art blackhole.
This part of the presentation will focus on the HtItAGaaAB investigation and deliver a report detailing how the research might be taken further.

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