gagat international

Blurring borders

In addition to Schuncks idea of a “Newseum” we offer a concept, that forces art to explore borders by blurring them.

Instead of a building we propose a unitised system, which allows the curator, to create customised interventions on different locations. The system plays a serving role. It defines the balance between the distinction of art from and the fusion of art with the context. Invited artists and the curator need to accept the rules of the system but in between these rules they can explore infinite possibilities.
The system isn’t limited to visual or plastic arts but integrates performing arts, the visitor and the infrastructure necessary for the presentation as well. The visitor, the guard, an actor or a musician becomes exhibit.

Our temporary exhibition space forces the experiment. That means, that we don’t present the one and only alternative for existing exhibiting concepts like the white cube, but that we search for exceptions. The system is an offer, not a restriction. Who doesn’t want to use the system should exhibit in the “Glaspaleis”. The temporary exhibition space aims to find alternatives for the idea of the autonomous artist, that is connected with the idea of the white cube. We replace the minimised context of the white wall by a maximum of references. The artist gets plenty starting points for a context based art. Hating our infrastructure could also be a starting point.

The concept of the “Newseum” blurs the border between high art and pop, but it is still essential to find a definition of art. Our proposal is at the same time based on presentation modes that are used in advertisement and pop culture as it uses classical presentation concepts, like the cabinet of curiosities, museums like the Louvre or equestrian statues. Art needs to define its relationship to the past as well as its relationship to the contemporary.

By linking the system directly to the piece of art we create a fragmented museum. The conditions for the conservation of art are restricted to the artwork it selves or ignored, accepting decay during the period of the presentation. The conservation of the artworks can be optimized by creating a perfect micro climate inside of our glass cases but we prefer the acceptance of the danger of pollution as a part of the context, that allows to leave the glass away. The price of the presentation models falls with the reduction of technical claims on conservation and insurance.

The fragments of our museum can be arranged in different ways, allowing specific “mise-en-scènes”. They are based on the golden ratio linked to the measurements of the human body. They allow the use of standard printing and paper formats. The detail follows the same rules as the whole. Every piece can be used horizontally end vertically. The result of these combinations can resemble the Louvre or be fragmented and totally integrated in the daily context of the Limburgian citizans. The possibility of fragmentation allows the optimization of the effect with a minimum of costs.

The amount of elements can grow during the time. Schunck could start with the realisation of a few frames and pedestals and produce more of them during the time, to allow a broader range of alternatives.

The borders to be blurred are the ones between:
High art - Pop culture
Art - Frame / base, plinth, pedestal - Architecture
Image - Relief - Sculpture
Art – Advertisement - Entertainment
Performing arts – plastic arts / visual arts
Art – visitor / spectator / audience – staff
Art – context
Establishment – underground
Permanent - improvisation
Refinement – sketch
Art - architecture