Lift to Release (white cube)
White wooden box, white pedestal and bouncing balls
My work in the show “Painting in Time Part 2” at the Sullivan Galleries is a minimalistic white cube filled with thousands of colored bouncing balls which are then to be released at some point by members of the crew during the performance. After this first “explosion of color”, the balls spread freely through the gallery and the visitors were welcome to kick them, throw them against the walls, play with them or take them home. Here, the colored balls do not belong to the traditional white space, they are thousands, they are cheap, colorful, kitsch, they move freely, jump walls, can’t be contained or sold. They are literally small in size, while the “white cube” is large, as the official discourse says.
The installation is all white. The institutional frame is what determines the project. A context like this has a clear tendency to the “white”, where white is not a color but a “totalitarian imaginary”, and “art” is something that serves to “wash” the image. I think that every art is a scheme of the dominant whiteness, the very notion of “Art” is Eurocentric, it is the aesthetic representation of the dominant groups.
To participate in a “high cultural” exchange is a ritual that has been mechanized in our societies as a path of segregation. I am “invading” the gallery with something fun, not related with values as intellectuality and beauty, and that everybody loves from their childhood. The participation of people inside and outside the art world, is generated through a playful environment which is also one of the primordial ways of community building.
As a Latin American artist, everything I do is validated within a larger system of production that I am part of. The circumstance I am setting up facilitates a discussion about “othering” by telling immigrant stories, through ideas such as displacement, moving, forms of being categorized and even disappearance. I see this white context of the white gallery as a perfect place for that.