"An exhibition space is not only a
display of objects, but also a space for negotiation, a place where it is
possible to practice a whole series of games.
Assuming the exhibition as a space for the
construction of discourses, as opposed to conceiving it as a space for
contemplation, makes it possible for new narratives and fictions to emerge. In
this way, Yornel J. Martínez has been thinking about his exhibitions for some
exhibition Un día cualquiera de 2030 plays intentionally with the conventions
of the exhibition display, understanding this as a device in itself; a gesture
in keeping with the pioneering practices of unmasking the so-called white cube* ideology. The artist conceives this site specific as a place of no
concealment; a nod to subversive minimalism.
He uses the noises of a building halfway
between colonial architecture and the exhibition hall. He reflects on the
symbolic construction of the exhibition spaces. He resorts to the enviroment as
an operative to alter the established orders (both in the framework of ideas
and in that of the institutional structures that legitimize them). Consciously
he decides to remove the limits, to stage them, to put them in evidence and to
push them to the edge of an abyss.
In the gallery, any element that interferes with
"art" is eliminated, situating the works in a hypothetical neutral
space in which they exist detached from the real. The creation of the modern
exhibition space was a consequence of the technical and aesthetic advances of
avant-garde art and architecture; a collective project influenced by modernist
ideas that advocated the autonomy of art.
In: Brian O. Doherty, Beyond the Ideology of the White Cube.