my curatorial statement for all objects:
Even though we are not always aware of what surround us, we will always find ourselves in some kind of space. ‘Strange spaces’ may remind us to look around from time to time, stepping away from the ordinary. In the case of a work of art, space is always a key component. The objects, whether they are two dimensional or three
dimensional, try to either represent a space or be represented in a space. In this exhibition the objects are using or creating strange spaces that go beyond the canvas, which allows the use of diverse materials since they are not confined by a limited space.
The variety of artworks in this exhibition goes from architectural buildings, to installations and even musical compositions. These objects were chosen by thinking of ‘strange spaces’ were someone could actually be in, physically or emotionally, which are real outside our imagination or dreams. The artists and architects have taken an
ordinary place and transformed it into something unique and extraordinary. All the objects show to be product of revolutionary thinking and are challenging to assumptions about the connection between art and space.These artworks are breaking the traditional rules by changing the art surfaces, materials and forms to either create a strange space or create a piece in a strange space. These
pieces are all beyond the tradition and beyond the canvas. For instance, Katharina Grosse often paints directly on the walls, floors and facades using a spray gun instead of a brush. She marks between thought and visibility, altering between logic and scale
of architecture itself. Therefore, it is possible to see how a variety of mediums in the works of art can generate a new idea that could appear anywhere in our environment and not only in a museum or gallery.
A combination between the hand of the maker approach regarding materials and crafting, and a Marxist approach, prove to be the most useful methods to analyze the objects of this exhibition. On one hand, the objects carry a great emphasis on the physical part of art because as they are revolutionary and tend to use uncommon
materials that are manipulated in different ways. It is possible to identify the transformation from matter of nature to the work of art. Which raises questions regarding the moment of production, processes, consumption, etc.
On the other hand the Marxist ideas indicate interest in the notion of production and labour. So if the work of art is considered an object of production, what value do we give to labour? This approach will be useful to identify the reality behind the production of these objects, the amount of people involve and the work they performed. Because
without the labour force, none of these artworks would have been made. Consequently, as the relation between the workers and their knowledge about the materials used has proven to be highly relevant, it will also encourage questions regarding the hand of the
artist on the particular objects.
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