To White Wall or to not White Wall…
Philippe Perrano says in conversation with Hans Ulrich Obrist “Rather than walking through an exhibition, it is delivered to you” (Ways of Curating, Hans Ulrich Obrist, 2014). Even though this is in regards to them playing with the idea of time rather than physicality, the concept of not having art ‘forced’ upon you in a silent room with white walls makes the art more accessible to the visitors, perhaps if they are relaxed more they will find it easier to enjoy the work?
Obrist mentions in ‘Ways of Curating’ how placing Art in unusual spaces reaches a broader audience – it lessens the pressure on the viewer by taking them outside of the ‘White Cube’ and into a kitchen, hotel room or in our case community garden – a moment of tranquil from reality in the city center.
It could be argued that having so much distraction around the Art would mean the work is lost within it’s surroundings. However, Obrist also comments in regards to 18th and 19th century paintings that were hung closely together, almost touching that the images would stand out as a juxtaposition to its neighbour – for instance a portrait hung directly next to a landscape would contrast so much they would would emphasise each other just as much as hanging the metres apart on a white wall (so our work for the exhibition would not only juxtapose each other but also stand out against the backdrop of the garden).