Stepping into the world of art exhibitions is akin to entering a realm where the harmonious blend of creative potential and human ingenuity takes centre stage. In this article, I embark on a curated exploration of ten exceptional concepts for art shows and artwork displays. These meticulously designed spaces transcend traditional norms, offering a glimpse into the ever-evolving landscape of creative expression. From immersive installations that challenge perception to exhibitions seamlessly integrating art into its surroundings, this compilation unveils the diverse ways in which artists and curators are redefining the very essence of presenting art.
These remarkable displays transcend the conventional boundaries of artistic exhibitions, presenting a fresh outlook on the interplay of aesthetics, ingenuity, intuition, and inventive thought. They invite us to contemplate the role artworks, their presentation, and the narratives they convey, play within our personal experiences, cultural contexts, and historical narratives. As we navigate through this compilation, we delve into the intricate interplay between art and its environment, gaining insights into how these displays transform our perceptions and deepen the connection between the viewer and the artistic creation.
Desert X AlUla
Following the success of the inaugural 2020 exhibition, Desert X AlUla returned for a second edition in March of 2022. Incorporating contemporary artworks by 15 international and Saudi artists into the natural heritage of the AlUla landscape. The exhibition is set in the ancient desert valley oasis of AlUla, home to Saudi Arabia’s first inscribed world heritage property, the Hegra Archaeological Site, amidst the Hijaz Mountains, narrow canyons, volcanic plains, and mesmerising rock formations. The area’s unique terrain through years of erosion has created nature’s own sculpted artwork.
Under the theme of “Sarab” the 2022 exhibition explored notions of mirage and oasis, resonating with both the desert’s history and culture as well as its global significance. Responding to the rich cultural and natural tapestry of the region, participating artists Dana Awartani, Jim Denevan, Alicia Kwade, Abdullah AlOthman, Zeinab Alashemi, among others, responded with works addressing notions of dreams, camouflage, fiction, dis/appearance, extraction, illusion and myth, while navigating the interplay between natural and human-made realms.
In AlUla’s wilderness, art and nature unite, echoing our enduring bond with the environment, spanning across ages. This region acts as a stage where heritage, art, and nature converge through an open-air museum approach, fostering a contemporary connection to the past. Artworks blend seamlessly with the surroundings, responding to the environment’s sensory shifts. The Desert X AlUla exhibition embodies this interaction, revealing how art enriches our perception of heritage and nature’s significance.
The Desert X AlUla exhibition demonstrates the potential of interaction and participation with heritage, incorporating art as means of expanding perspective on the region’s significance by appealing to the exploratory and creative side of humanity. Adding to the historical layers of human interaction and coexistence with nature in the region, the exhibition shows us that the lineage of cross-cultural transfer is not bound by time.
Roden Crater
Bridging the Earth and Sky Through Light
In Arizona’s Painted Desert we find the Roden Crater, captivating us with the natural curves and contours of its form; the site engages us in a visual meditation. In 1975 James Turrell took this a step further, reincarnating the site through a Land Art project. The artist acquired the 400,000-year-old, 3-mile-wide site of the crater and situated a naked-eye observatory at the crater’s inner cone. The site is designed for viewing and experiencing sky-light, solar and celestial phenomena.
Artists turning to ancient traditions of art and architecture which employ the physical universe on its own natural scale, is a common feature of Land Art, exploring fundamental relationships between the earth, sky, light, space, and time. The Roden Crater participates in a tradition of monumental structures designed to be above-ground observatories for specific celestial events such as Maeshowe in Scotland, Newgrange in Ireland, or Jantar Mantar in Jaipur.
The essence of the artwork however, goes beyond its materiality and location. Although highly dependent on form and location, the primary material is light. The artist uses a physical framework to achieve the observatory function, however this is deeply reliant on the foundational scientific understanding of celestial phenomena. This dialogue between art and science is in turn compounded by the landscape in which the artwork is situated. The Roden Crater monumentalises the human experience of light, exemplifying a unique chain of relationships between the tangible and intangible.
What James Turrell monumentalizes in terrestrial form is our connection to that which exists beyond the earthly sphere, yet is accessible. The Roden Crater is a site-specific form of land art therefore, the site also becomes art. The architecture is fundamentally tied to the crater as a natural entity extending the environment itself, blurring the boundaries and limits of where the artwork begins and ends.
World Press Photo, Groningen
Capturing Humanity at Groningen’s Synagogue
An annual return of the World Press Photo exhibition will once again be hosted in November 2023 at the Synagogue in Groningen, a town in the north of The Netherlands. Organised by Non-Fiction Photo, a non-profit organisation, the exhibition is part of the organisation’s photography festival. The spiritual context of the synagogue in which the interaction takes place, facilitates the intimacy of mind and space to listen to what the photographs are communicating and reflect. Presenting outstanding photojournalism and documentary photography of the year, the exhibition confronts its viewers with a full spectrum of humanity, ranging from truly devastating realities to beauty and human compassion. The realities presented in the exhibition are products of conflict, political or ideological affiliations, and neglect. We see how various institutions may become spaces to disclose a particular discourse, particularly when aspects of history are deeply debated and translated into polarised frameworks. The noise of these notions is reduced in the context of a sacred space, bringing the viewers back to the humanity of things. Social matters, conflict, and progress are all presented in a space which anchors the mind, leaving us with reflections on human compassion, perseverance, and community.
More: https://www.worldpressphoto.org/calendar/2023/groningen-the-netherlands
Mmuseumm, NYC
Unveiling Untold Narratives Inside a Historic New York Freight Elevator Shaft
If you ever wondered what happened to the shoe thrown at George W. Bush during a 2008 press conference, you may find an answer at the Mmuseumm. Run by Alex Kalman, the museum is a 36 square feet space of an old freight elevator shaft on Cortlandt Alley in New York. Kalman’s curatorial approach allows and encourages visitors to engage with small objects which tend to be overlooked in large museum settings, highlighting their role in telling compelling stories, providing any visitor with a strong, thought-provoking dose of an exhibition.
Conceptually situated somewhere between a cultural institution and a non-conformist instrument, it carries the essence of both. Its collections echo a modern-day cabinet of curiosities, cabinets in which individuals collected diverse, intriguing objects and artefacts in attempts to categorise and narrate the wonders and oddities of the natural world. Through the curatorial lens of Alex Kalman these seemingly mundane objects transpire into stories encapsulating and translating the human experience of the past and present, encouraging its visitors to question, wonder and learn.
The space carries a contemporary consciousness, with past exhibitions including ‘Modern Religion, Fitting In’ showcasing gluten free communion wafers, ‘Last Meal Receipts’ – the receipts from last meals of inmates on death row, or ‘Objects of Collapse’ which presented counterfeit objects of popular brands, which emerged among the economic, social, and political instability faced by Venezuela, brands such as ‘Head and Shoulders’ in the entrepreneurial spirit become ‘Hoed and Shouders’, a ‘Colgate’ box in appearance, with ‘Colcote’ as the brand’s name.
These exhibition examples are a testament to the Mmuseumm’s commitment to showcasing meaningful, diverse narratives that challenge our perspectives and deepen our appreciation for the profound connections between objects and the human experience.
Fkj In Front Of Raoul Dufy’s Painting “La Fée Electricité”, Musée d’art Moderne De Paris
A Live Performance and Fusion of Electric Artistry
FKJ, widely recognised as French Kiwi Juice, is a highly skilled musician and producer known for his iconic fusion of electronic, soul, and jazz-infused music. During a remarkable performance in 2017, he stood in front of the monumental 600 m2 masterpiece by Raoul Dufy, titled “La Fée Electricité.”
Much like renowned artists such as Fernand Léger and Robert Delaunay, Raoul Dufy was commissioned to create vast frescoes for the 1937 International Exposition in Paris. Dufy’s specific assignment was to adorn the slightly curved entrance wall of the Pavillon de la Lumière et de l’Électricité (“Pavilion of Light and Electricity”), designed by Robert Mallet-Stevens on the Champ de Mars.
Dufy’s composition skillfully blends mythology, allegorical elements, historical accuracy, and technological descriptions, creating a canvas that contrasts opposites while addressing two primary themes: the history of electricity and its applications, spanning from initial observations to the most cutting-edge technical uses. The upper portion of the artwork features a dynamic landscape with subjects such as sailing boats, flocks of birds, a threshing machine, and a festive Bastille Day celebration. The lower half showcases portraits of 110 scientists and inventors who contributed significantly to the advancement of electricity.
The painting exudes vibrant colours, swirling forms, and a sense of movement, effectively capturing the very essence of electricity in a visual symphony. As FKJ’s harmonious sounds enveloped the Musée d’Art Moderne de Paris, a profound sense of awe and inspiration complemented the artwork. The light and energy portrayed in Dufy’s masterpiece resonates deeply with FKJ’s approach to music, sharing a narrative, sensual composition that offers diverse flavours of sound, creating a truly multisensory experience.
FKJ’s presence bridges the gap between the artwork and its spectators, emphasising the parallels between the creative energy he transmits through his music and the electrical energy vividly depicted in the painting. This connection underscores the innovative and artistic explorations shared by both FKJ and Dufy within their respective mediums. In this transformative moment, FKJ’s profound appreciation for art, music, and the limitless potential of human expression takes centre stage, showcasing the powerful synergy between auditory and visual creativity.
Kara Walker’s installation, “A Subtlety or The Marvelous Sugar Baby”, Brooklyn, New York
Engaging the Past Inside the Domino Sugar Refinery
Situated within the walls of the former Domino Sugar Refinery is the evocative installation, “A Subtlety or The Marvelous Sugar Baby.” Crafted by the renowned contemporary artist Kara Walker, this awe-inspiring creation emerged as a commission from Creative Time, gracing the historical confines of the Brooklyn, New York, factory in 2014.
The central focal point of this exhibit is a towering sphinx-like sculpture, entirely composed of sugar, standing at an impressive 35 feet in length, 26 feet in height, and 15 feet in width. This monumental artwork is encircled by thirteen ‘attendants,’ molasses boys bearing baskets filled with fragments of their own bodies—a visual metaphor that leaves a profound impact. The scale of this masterpiece is both humbling and mesmerising, as the air carries a caramelised aroma, a testament to years of sugar refinement.
“A Subtlety or The Marvelous Sugar Baby” engages our senses, compelling us to bear witness to the moving tribute paid to forgotten bodies, those written out of history but now made visible and undeniably present. The sphinx-like sculpture masterfully navigates seemingly contradictory concepts. It is vulnerable in its nudity, yet simultaneously serves as an ancient emblem of power, wisdom, and protection.
Walker’s execution of this installation plunges deep into the intricate tapestry of race, power, and identity, weaving historical, cultural, and mythological threads into the narrative. The use of sugar as the primary material is laden with symbolism, invoking labour, race, exploitation, and the enduring legacy of the sugar industry in the Americas. Viewers are prompted to confront these unsettling facets of history, a powerful reminder of their ongoing impact, inviting profound reflections on the past and its reverberations in the present.
NXT Museum, Amsterdam
Reimagining Art Through The Immersive Realm of New Media Art
Amsterdam’s Nxt Museum, opened in 2021 with the vision of presenting captivating immersive installations crafted by pioneering artists, designers, technologists, and scientists, focusing on the presentation of New Media art. The museum’s location, within a 2,100 sq. m former recording studio in the post-industrial creative district of Amsterdam Noord, creates a unique setting for Dutch and international artists to showcase their works. The founders, Merel van Helsdingen and Natasha Greenhalgh view the Nxt Museum as a response to a distinct gap in the cultural realm.
The museum’s immersive experience, coupled with the expansive exhibition rooms, effectively transports visitors from their original reality. Illumination is solely provided by the artworks themselves, and the rooms are distinct and separate. This interactive approach turns visitors into essential participants, giving the exhibition a necessary consciousness, revealing digital articulations of traces from the mind’s reality rather than the physical realm. It offers a meditative exploration of our relationship with the digital.
The founders channelled their shared passion for technology and new media art, leveraging their diverse backgrounds to engage visitors in both the physical and digital dimensions, steering away from the conventional white cube layout.
The Nxt Museum serves as a communal space, embracing people from diverse backgrounds, allowing them to express, experience, and explore naturally. The artworks, with their substantial size and multisensory nature, forge emotional connections. Prioritising this emotional engagement, whether invoking excitement, fear, or adrenaline, tends to encourage active intellectual involvement, rather than starting with academic content that might be alienating.
The essence of art at the Nxt Museum lies in its capability to adapt to cultural urgency and societal shifts, a principle that it truly embodies. The thoughtful design, accommodating challenging artworks due to high ceilings, ample electricity, thick floors, and acoustically finished ceilings, transforms the space into a realm of limitless artistic possibilities, thematically oriented at explorations of the complex fabric of the present and the playful exploration of the future.
Joe McShea and Edgar Mosa Installation, Tennis Club de Paris- Loewe AW22 Fall 2022 Men’s Show
McShea And Mosa’s Emblematic Innovation At The Intersection Of Art And Fashion Of The Loewe Fall 2022 Menswear Show
At the Tennis Club de Paris, Joe McShea and Edgar Mosa’s unique artistic perspective came to life through an immersive flag installation. Their collaboration with Loewe for the Fall 2022 menswear show led to “Flags, Paris 2022,” where 87 flags composed of thousands of colourful ribbons adorned the space.
Joe McShea and Edgar Mosa’s artistic ethos appears to be rooted in the concepts of decontextualization and recontextualization. Their innovative interpretation of flag installations goes beyond traditional symbolism, offering a renewed perspective on this timeless emblem. Recognizing the uniqueness of their creations, Jonathan Anderson, Creative Director of Loewe, saw potential for a harmonious partnership. This collaboration culminated in an immersive site-specific installation for the Loewe Fall 2022 menswear show at Tennis Club de Paris.
The location became a canvas for an extraordinary metamorphosis. Amid the arena, models imprinted their footsteps on sand, traversing the realm of “Flags, Paris 2022,” a visionary installation crafted by McShea and Mosa. This dynamic presentation featured 87 flags, meticulously composed of over 4,000 individually cut ribbons spanning a vivid spectrum of colours. These lively ribbons harmoniously converged, adorning 6.5 metre aluminium flagpoles in an ensemble of striking flags.
“Flags, Paris 2022” epitomised a novel evolution of McShea and Mosa’s ongoing exploration of flags as artistic mediums. This journey had previously led them to Ibiza and locales throughout New York, such as the picturesque Fire Island Pines in the summers of 2020 and 2021. Their inspiration derived from the dynamic energy captured in Baroque frescoes and hyper-geometry. Despite being bereft of specific symbolism, their installations held a transfixing allure, gesturing towards contemplation.
The intentional randomness in arranging the flags within the installation created a captivating mosaic, akin to a kaleidoscope of colours that represented the entire spectrum of visible light, utilising fabric, light, and air to foster captivating and hypnotic interactions that extend beyond semantics. The artists contemplated the essence of stripped-down flags, posing the question of how these symbols transform when devoid of their conventional meanings.
The creative synergy achieved by Joe McShea and Edgar Mosa’s echoes the essence of art and fashion as forms of visual communication and self-expression as well as their capacity to reshape environments, evoke emotions and spark contemplation. The Loewe Fall 2022 men’s show showcases the dynamic exchange of ideas, the interconnectedness of these creative realms, and the power of collaboration to redefine conventional boundaries.
Wants / Needs, Ventura, California
Going Beyond Art, Towards Connection At Ventura’s Oasis Of Creativity
Nestled discreetly within the charming streets of Ventura lies an art space that embodies the essence of its community and entices inquisitiveness. Ventura, renowned for its vintage allure and longstanding inhabitants, might initially appear as a quaint town. However, it beats the pulse of a vibrant creative spirit.
Wants/Needs, a collaborative effort led by Ben Pecorari and Sarah Dildine, debuted in December 2022 with a mission to reshape Ventura’s art scene. This coastal enclave, home to a population of just over 100,000, boasts numerous murals, yet public access to art remains constrained. Guided by Ben Pecorari’s artistic acumen, this establishment endeavours to bridge that gap, seamlessly weaving contemporary art into the tapestry of daily life.
Pecorari’s connections with tattoo artists, many of whom explore artistic avenues beyond their tattooing expertise, acted as the catalyst for this endeavour. Tattoo artists aiming to make their mark in the realm of contemporary art, bring a unique perspective shaped by their social and intimate interactions. Wants/Needs provides a distinctive platform for these artists, offering an intimate stage to establish themselves within the contemporary art landscape.
The space transcends the conventional confines of a gallery, transforming into an interactive living room where conversations flow naturally, boundaries are challenged, and conventional definitions are questioned. Accessibility and community engagement lie at its core. Visitors are not mere passive observers; they actively engage, contemplate, and experience a profound sense of belonging. The team encourages a dialogue that encompasses diverse viewpoints, creating an ambiance akin to a warm and inviting gathering.
The relationship between the curator and artist mirrors the intimate rapport that characterises the interactions between a tattoo artist and their client. Trust, understanding, and shared artistic journeys flourish before exhibitions come to life, cultivating an authenticity that resonates throughout the space.
The inaugural exhibition commenced with a podcast recording hosted by Love Is The Author, featuring artist Robert Ryan and Vajrayana Buddhist Master Lama Lhanang Rinpoche. This initiation set the tone for Wants/Needs—a space that profoundly resonates with the community, a sanctuary that not only exhibits art but also nurtures a profound connection with its surroundings, striving to foster a culture of artistic engagement and dialogue.
Wants/Needs stands as an exemplary model of a space infused with creative vitality, proficient at adapting to each artist’s unique voice. Its foundation is deeply rooted in a culture of community and healing, where art transcends the visual realm, sparking conversations, stirring emotions, and enriching the human experience.
The Weather Project, Olafur Eliasson, 2003
Art And Atmosphere Presented Through Olafur Eliasson’s Reflections Of Nature
In 2003, Olafur Eliasson introduced “The Weather Project” at London’s Tate Modern, transforming the museum’s Turbine Hall. Eliasson employed humidifiers to diffuse a mist complemented by an arrangement of monochromatic lamps emitting yellow light. A ceiling mirror contributed to this mesmerising effect, casting visitors as shadowy figures amidst an orange luminescence.
Eliasson’s installation seamlessly merges the realms of art and nature, leading observers on a contemplative journey within a confined space. Initially, the exhibit captures the essence of the sun and sky, yet introspection is evoked as visitors interact with the mist and radiant sun. Eliasson encourages viewers to ponder their ties to the magnificence of nature, while the ever-changing mist parallels the fluidity of the atmosphere.
Distinguished by its active engagement of the audience, “The Weather Project” transforms spectators into active participants. This immersive approach stands in contrast to conventional art experiences, fostering a stronger link between viewers, artwork, and environment.
The artwork guides the viewer in acknowledging and comprehending mediated environments, with a specific focus on museum spaces as orchestrated encounters between subject and object. This disclosure, empowers viewers to perceive the experience as a construct, prompting them to question the impact it holds. By directing attention to “The Weather Project’s” materials, Eliasson endeavours to engage spectators in a phenomenological realm that involves them in the act of observation.
