Issue | 44
Text & Visuals | Dua Abbas Rizvi
Too many of us have become accustomed to readying ourselves to view art – as one readies oneself to interact with a hallowed space or an official one. The exhibiting and viewing of art, as we largely know them today, are acts of purpose and preparation, ritualism and method. Works are displayed in a certain way inside spaces that have come to be known as white cubes. These spaces may not always be white, or cubical, but the term has become synonymous with a modern gallery aesthetic that prescribes a selective and orderly display of artworks on, or within, unblemished and even walls. These walls contain no orifices, like windows, and are lit by artificial lighting that can be tempered into consistency. What these spaces aspire to is neutrality, de-contextualisation, and a distancing of art from the heterogeneity, temporality, and complexity of life.