Galerist presents Arslan Sükan exhibit
Galerist presents Arslan Sukan’s second solo exhibition “INtheVISIBLE” from Sept. 11th to Oct.12. Sukan’s new photographic works explores the conventions of the modern white cube as both an architectural context and as a content subject in and of itself. By addressing the notions of spatial memory, presentation and representation, this exhibition enhances the confrontation between visibility and invisibility in social and phenomenological terms. Arslan Sukan appropriates images from the internet of “installation shots,” white cube spaces within museums, galleries and art institutions around the world. His first step is returning them to their original state by digitally removing the artworks inside. He then manipulates the remaining image, “the original condition of the gallery,” by digitally painting some of the parts, like walls, ceilings or floors. Sukan’s layered approach embraces the disputed characteristics of the white cube “as a sacred space undisturbed by time;” at the same time it expands the potential of artistic intervention in a gallery by transforming the space itself on a plane surface. The artist’s reconceived images of uninterrupted spaces, composed of heightened geometrical shapes, touch base with the minimalist aesthetic and its emphasis on the viewer’s perception, while the flatness of the picture calls to mind the infinite possibilities in abstract paintings.
Galerist presents Arslan Sukan’s second solo exhibition “INtheVISIBLE” from Sept. 11th to Oct.12. Sukan’s new photographic works explores the conventions of the modern white cube as both an architectural context and as a content subject in and of itself. By addressing the notions of spatial memory, presentation and representation, this exhibition enhances the confrontation between visibility and invisibility in social and phenomenological terms. Arslan Sukan appropriates images from the internet of “installation shots,” white cube spaces within museums, galleries and art institutions around the world. His first step is returning them to their original state by digitally removing the artworks inside. He then manipulates the remaining image, “the original condition of the gallery,” by digitally painting some of the parts, like walls, ceilings or floors. Sukan’s layered approach embraces the disputed characteristics of the white cube “as a sacred space undisturbed by time;” at the same time it expands the potential of artistic intervention in a gallery by transforming the space itself on a plane surface. The artist’s reconceived images of uninterrupted spaces, composed of heightened geometrical shapes, touch base with the minimalist aesthetic and its emphasis on the viewer’s perception, while the flatness of the picture calls to mind the infinite possibilities in abstract paintings.
