In 1964, Lucas Samaras transferred his studio-bedroom to a gallery and in this new context his room became the artwork itself. This aspect inserted the space where art is made into the space where art is displayed. Similar to this approach "space in another space", Unhide aims to redefine emptiness by the architectural elements that actually build the same exact emptiness. But this time the initial space is deconstructed, pulled away from its original context and is being exhibited as a direct signifier of possible continuities and/or discrepancies between these two versions. In a way the emptiness, tries to occupy itself. Unhide reveals this tension of ‘space’ and its ‘content’ by using primary spatial modules of that initial space.
With the physical act of duplicating Museum of Contemporary Cuts’ space within itself, the premise becomes the promise, but also neglects the promise by making it lose its function. Promise is in a way an alternative reality for and in the premises. The result is evocative of ruins, but within the divine whiteness of typical exhibition spaces.
*Proposal for Museum of Contemporary Cuts.