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.

initial notes re blackholes art critics do in september

* The interest began when I realised that am going to do the Brighton fabrica gallery as an art blackhole.

* The proposition:

Talk at Blackholes art crit re the 3 days in Fabrica as an art/practice/question example of:

no art – Do stuff/activity does not link or unlinks with art. either through intent or ignorance. e.g. writing here has a No link with the the recently new born leaf on a tree in Cameroon. Except ofcourse that it can be said now that mentioned, the link is not No any longer. However by re-stating the intent to illustrate a No activity, we are back to being No – now by intent.

none art – This is when X activity has nothing to do with a Y. Both can Be independently, might have been linked, or even come from one another. e.g. I know you are upset, but my singing has nothing to do with you.

anti-art – This is when stuff is done against. I am doing X against Y, in the opposite direction and intention.

———

All these are explained wrongly, I think.. Perhaps there are:
– Conflations. Specially between No and None.
– Different meanings if X comes b4 or after Art.

Also the explaining through context/link rather than thekmselves has someything to be desired.

———

More work needs to be done for above + references of the Negative in art and critique..

gallery as an art blackhole – the practice (with brighton’s fabrica testbed in mind)

How to imagine the Art gallery as an art blackhole? (HtItAGaaAB)

The following attempts to describe the concepts, backgrounds and possible way to investigate & test how Fabrica’s existence as an art related space, can be used and imagined at times of mass internet-based networking.

Internet networking, has affected how we can imagine the gallery because the culture of artefact exchanges is changes 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. In other words, the gallery can now be imagined as art blackholes, where art can not live.

The HtItAGaaAB investigation imagines and attempts to question How to do art visa-vie this negative of the No. Instead of anti-art based practices, with a blackhole we can imagine two negatives the non-art, (practices that do not rely on their artefacts to Be) & a blackhole of art-no (practices that consume & disintegrate art). The investigation imagines the gallery and its space as the location where art no is at. Through focusing shows on objects, projects, processes, materials and other exhibited outcomes in the gallery are being disintegrated from art, exhibits become art-no. Hence exhibiting the effects, the ripples of practices rather than a space critical sharing of the practices themselves.

In that sense, the art practice is left right outside the gallery, turning galleries into art blackholes. Therefore HtItAGaaAB will use the geographical location of fabrica as well as it’s socio-cultural one.

To begin with the investigation’s set up will be of me situated just outside the gallery, in a cafe, a pub and perhaps at times on a bench, or sitting on a pavement, etc.. (..as a critical practice, I will question the location through the research itself..) This will allow another person/artist(?) to testbed another element/stuff in the gallery, stuff that will, through not linking to this investigation, be visible as an art not.

Outside the gallery building, I will attempt to imagine and investigate, through talking with people, how to enhance the showing/visibility of the art not which will occur in the gallery. This process will be done via network based chatting to friends, colleagues and attempts to link to & with people physically and digitally based on this practice.

Background concepts, ideas, thoughts and related musings

Galleries (as well as museums) serve as social places where people can focus & network in relation to art. The galleries are, in a sense, a sort epitome of art’s autonomy in their traditional role. In that sense, galleries have evolved through the 20th century into sort of cultural telescopes where people come to examine closely art objects, projects, and effects of related concepts, ideas, activities & processes.

As a cultural space where, the very attempt to focus on exclusively on art as exhibit and show, art increasingly remains outside. Precisely because such a focus breaks the link between practice & outcomes. It fetishises the outcome despite practices being the para cultural links between people.

With the increasing usage of internet networking, where connectivity is done across a wide variety of unrelated, and disinterested reference points, all of which allow people to share activities, projects (p2p etc), and objects, the role & practice of art is evolving as well. Through the vast abundance of art artifacts and the speed of getting them via networks, perhaps the notion of gallery has changed a bit? Can it be that high octane media rich networking, where old-school art, that is based on spectacle showing, telling & sharing of encapsulated, context-based processes, enclosed by time and the exchange mode of numerical trade, are the very focus of networking exchanges, turn galleries into blackholes? Spaces where art is not? (maybe even where art can not?)

In mass networks, connections are made based upon extractions of basic human traits from their daily, physical and geo-cultural contexts. This is done through rejection of the complex and embracing the lowest common, e.g. LOLcats. Miscommunication through quick information sharing that gives rise to public outrages which, arguably, comes through missing the context, e.g. twitter.

Indeed, networking in sites like facebook is possible through actively exclude, filter out, information & people. Such networking related activities are based on negative actions. (eg exclude, miscommunicate, misunderstand, etc.) Based on such affirmative negativity, the practice of imagining non art investigation can develop its language, if there is one.

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