As Europe emerges, and the rest of the world settles into the new normal, the facets of our lives are evolving. While tactile sports, crowded clubs and subways come to mind when we think about what is now confined to the realms of prehistory. In covid’s world, months later, other less anticipated life adjustments are taking place, one of which is the delight of the gallery.
Across the region, galleries and museums have done their best to adapt to a non-contact, travel-free world, implementing a set of more permanent regulations as the stage has become more predictable. Like the maximum galleries, the Warsaw Museum of Modern Art has opened its doors. their doors, but with stricter measures, such as non-organizational meetings and mandatory mask and temperature readings. .
Setting this distance to comply with Covid-19 rules and regulations can have a global effect on how art is consumed. Curators across the region will now have to make sure that art is not only for art, but also for safety.
Distance, hollowed-out galleries and designated routes can have an effect on the customer’s delight and can degrade belief in art. However, what he has suffered to the fullest is interactive and immersive art, a medium that, even the pandemic, was experiencing a golden age.
Playing art paintings, interacting with artists, putting on headphones and resting on furniture provided a more powerful relationship between the viewer, art and the artist, fostering a replacement in the way art looks. It has become something lively and utilitarian, where the viewer can become the painting of art, which into an untouchable piece perched on a white wall.
Now that galleries are regulations to adapt to the new normality, it turns out that the region’s galleries, especially those that provide or specialize in fresh and fashionable art, are feeling the full force of the pandemic.
Rebecca Lamarche-Vadel, curator of the Latvian Biennial RibOCA 2, recounts how the pandemic required significant reimagination of exposure. and the dive had to be completely reviewed. This, of course, has had an effect not only on logistics, but also on artistic delight as a whole.
“Reinventing the format has forced us to be flexible, open and united, qualities that can become crucial, highly valued and even demanded of all of us in the future; or, more precisely, in our new collective reality, they can now be replaced forever,” says Agniya Mirgorodskaya, founding director of the Riga Biennial, Emerging Europe: “Participatory works are no longer safe from Covid, participatory works will have to be adapted. In RIBOCA2, the COVID-19 signature is provided in the no end, reconfigured and redesigned. The works in the demonstration are under discussion that we may not send, finish or even start creating due to the sudden pause in global dynamics and production systems.
For example, a painting by Polish sculptor Pawel Althamer, called the Congress of Cartoonists through one, visualized a collective organization drawing in which participants percentage equipment and ladders and scribble and scribble everywhere in a designated space. Of course, this is no longer imaginable now.
Instead, the curators left the 43,000-square-foot area that was meant to keep their paintings empty. “It was incredibly vital to keep the ghosts of what it was meant to be. I think ghosts are as noisy as the paintings themselves,” says Lamarche-Vadel.
The delight of the gallery has also been greatly affected by the lack of travel, restricting viewers’ accessibility to art and artists to galleries. To readjust, RIBOCA 2 organizers filmed the project, and as Ms. Lamarche-Vadel explains: “Anyone in the biennial can be an actor. “
In this sense, while tangible art is no longer an option for many curators, art is flexible and artists reflect and adapt to their time.
“[The galleries], being anthropocentric institutions, basically seek to save and human now. Like never before, museums offer a wealth of remote conferences, online collections, workshops and recommendations on how to meet today’s challenges,” says Yulia. Vaganova, deputy director of Activities and Exhibitions of the Museum at the Arsenal Mystetsky in Kiev.
While this can be tricky when the virtual area is overloaded with news and information, galleries adapt.
The National Museum of Art of Romania now offers virtual tours on its website, as do many other galleries, where art can now be viewed on a display. The gallery has also introduced an app called ARTmobile to keep art accessible.
Forty works are detailed with written and oral descriptions, as well as 15 theatrical performances and 17 short films, which has allowed the gallery to ensure that art is fed and breathed, especially when needed to the fullest.
However, conservatives recognize the difference this can make in the customer experience. Zooming in on a screen doesn’t have the same intimacy as seeing a close-up portrait, to mention the difficulties of interactive displays.
However, as Ms. Vaganov explains, “not all real-life reports can be copied and cannot be copied. We face the challenge of creating other formats of wisdom about the museum. We will have to invent a new language and communicate about the price and uniqueness of the old, without imitating it ».
She points out that this was true in a recent exhibition of Japanese art in which she painted. Instead of artists looking to stimulate calligraphy with a pill or computer, they created art using algorithmic design. An art painting in its own right, that an imitation.
On the contrary, the retracement of the galleries in the distance and the virtual can be perceived as an opportunity. “This internal resistance opposes online museum systems, but only a call to ask if all formats can be renamed and transferred to the Internet. keep doing all our systems online, but let’s call them for what they are,” Vaganov continues.
In Riga, the Biennial had to be completely redesigned and moved to a partially deserted outdoor peninsula, which in its same old multi-site format. “The domain lies somewhere between a ruin and a renovation site, reflecting the existing state of the world,” mirgorodskaya says, as the pandemic has provided an unprecedented opportunity to reconsider existing exhibition design formats.
“Our chief curator Rebecca Lamarche-Vadel has redesigned the curatorship as a four- to five-hour walk: the exhibition’s adventure was seen as an encounter with other rhythms, a walk through fresh ruins, and an invitation to a new and developing world. them, ” he continues.
After all, while interactive art forms might have to go to the fore for a while, the era of social estating has allowed a new form of virtual art to take center place with new legitimacy. artists now have the ability to adapt and shape the online form in their own environment, which as a replacement for another.
Like the empty area of 43,000 square meters now in RIBOCA 2, the art that was distorted through the pandemic is now an art painting in itself.
“While traditional tactics of creating, thinking and experimenting are deeply challenged, the desire to reinvent formats and exhibitions is more urgent than ever,” concludes Mirgorodskaya.
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Main photo: Simple rights, unfulfilled targets (gods of space (Aspazija)) through Oliver Beer at RIBOCA. Photo via Hedi Jaansoo.
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