Un día cualquiera de 2030

By El Apartamento Staff, 17 December 2018

"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.                                                                                                            Philippe Parreno    

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 time now.   The 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.