- Part I Notes on the Gallery
The projection of the film is extremely demanding on the exhibition space, and the professionalism of the projector assists the work at this time. The ground view of the film showing space gives us, to the concentration of the image, when the image closely attracts the viewer’s eyes.
We must accept that there are parts of the architectural space that we cannot get rid of, such as the elevator, which carries its own noise. From this we can recall that in the past galleries and museums were staircases connecting the exhibition halls needing an unobstructed access to this building group.
A good space is an artwork without too many light or temperature restrictions. But the cold confinement will lead us to not be able to go to place any confined temperature historical collections. And the curved walls would also cause quite a bit of trouble for the artist to set up the exhibit, an unnecessary hassle.
Although it is possible to use a 3D modeling program on the computer to view the exhibition, I still think that viewing in the physical space would give me a more intuitive understanding. Because the space is real, the work is real, and the feeling is real. In the physical space we can still use copies and stencils to understand the structure of the house, which has qualities that the model does not have. So it was possible to figure out what the layout and curatorial process felt like. Throughout the tour, I was very careful to note the details of each floor and each area.
When the gallery needed to host an exhibition, great attention was paid to the entrance, fire exits, and the height of the walls.
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Part 2 of the 90-minute workshop
My theme is emotion, and the artist mentioned is Urey and Marina’s break-up ritual represented by ‘the lovers’, looking at each other without words and feeling sad for the final goodbye
