In the essay Studio and Cube, Brian O’Doherty analyses the relationship between the place where art is produced and the place where art is shown, indicating a moment where the two coincide. O’Doherty describes how, in 1964, Lucas Samaras reconstructed
part of his studio in the Green Gallery
in New York, observing that in Samaras’ work the art gallery space is inundated by the mythologies of the atelier that historically precede those of the white cube. By placing his studio in the gallery, he deliberately makes both spaces coincide, subverting their dialogue. The overlay of Samaras leads us to think that the origin of the exhibition space is the atelier and it is the artist who determines the place that becomes the model for galleries and museums. In fact, observing how the production of art has evolved until today can help to understand the logic and forms of contemporary art. The transfer of this hypothesis to architecture and the superposition of the logic of production and that of the exhibition in a representative group of practices would lead us to shed light on the scenarios in which architecture is truly represented
today. The typological question, the communicative one or the strategic approach, serve as lenses through which galleries are read as contemporary places of architectural production.
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