In the last space where I presented Data Dating Desire, being a Baroque-era building, we could not use the walls in any way, because they are historical heritage. It is clear that the solutions we found to present certain works are not the same as in a more conventional space, from the white cube to the warehouse, where you can hang works, panels and whatever else on the wall, as was the case for my previous exhibitions. With museum spaces, as they are different from white cube spaces, you have to have more inventive skills and find ad hoc solutions to be able to highlight the works, but at the same time, create a coherent path with the storytelling of the exhibition. During the ten years that I worked in a contemporary art gallery in Paris, I had the advantage of knowing the space by heart, its merits and its shortcomings, so it was easy to choose where to hang the main work, where to make the public linger longer, or conversely, where I knew they would spend little time. Valentina Peri: Space is definitely the starting point in the reflection of the narrative given by the path of the works and their fruition. In Interview with Erka Shalari.Įrka Shalari: How important is space, and what kind of spaces/architectures are you drawn to as a curator? How is a museum exhibition, for example, different from that of a gallery? A dose of sensuality while experiencing the technological realm. Peri’s exhibitions are strong critical formats embedded in gentle frames with carefully considered lights, cushions, and curtains. She researches, publishes, scouts (numerous positions also in Instagram), and invites eclectic artists to think individually and collectively about questions like: What does it mean to love in the Internet age? What do new technologies mean for the future of the romantic sphere? How do screens affect our sexual intimacy? In her work, she predominantly works with digital art, a realm which has never been so popularized as today. SWIPE RIGHT!, iMAL, Brussels, 2021, Lancel/Maat, EEG Kiss, participative performance.
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