AM M101

PRINCIPLES AND PRACTICE OF ARTS & CULTURAL MANAGEMENT

WRITTEN ASSIGNMENT SEMESTER 1
Concerns & approaches for the exhibition
of highly sense-stimulating art








LINDA SIM KERNMAIER

Date: 5
th
May 2011
Lecturer: Audrey Wong
Course: Master of Arts & Cultural Management
Student ID: 12988
1
Concerns & approaches for the exhibition
of highly sense-stimulating art

Introduction: Bigger - Better - Faster - More
Being one of the most celebiateu anu piacticeu attituues of the 21
st
centuiy, it manifests
itself in neaily all aspects of life, incluuing in the ait woilu: Aitists aie cieating theii ait
fastei than evei befoie, whilst the woiks themselves aie giowing exponentially biggei.
Anothei phenomenon is also emeiging: The incieaseu use of meuia outsiue of the
tiauitional iealm, incluuing sounu, scent anu tactile sensation. Aitists aie cieating
aitwoiks which manifest an expeiience speaking thiough a moie holistic iange of oui
senses, anu, with new technological innovation abounu anu an incieaseu affoiuability of
such, we seem equippeu to fill the uemanu of touay's ait pation foi the "ait expeiience",
the "awakening of the senses". As outlineu in Pulh's, Naiteaux's anu Nencaielli's stuuy of
consumei tienus in cultuial institutions (2uu8), "people aie able to feel things moie
viviuly thiough theii bouies than thiough theii minus"
1
anu aie incieasingly looking to
not only be an exteinal spectatoi of an aitwoik, but insteau be immeisively involveu. As
immeision is a poweiful tool to engage visitois whilst aiuing theii establishment of an
opinion on the aitwoik, it is bounu to become a significant stiongholu of touay's auuience
uevelopment piactices; the path foi a futuie full-spectium !"#!$%&'& expeiience cleaily
lying aheau.
With an incieasing numbei of aitwoiks involving stiong sensoiy input foi the
viewei, it may be impoitant to ask how piepaieu both exhibition venues anu visitois aie
to shaie a fiuitful expeiience of the aitwoik, without the possible iisk of sensoiy oveiloau
foi the visitoi leauing to majoi uiscomfoit. Light stiobes, stiong scent oi louu anu
complex sounu aie becoming a moie common featuie among contempoiaiy ait, yet how
is the auuience affecteu by such sensoiy immeision, anu what stiategies uo museums anu
galleiies employ to avoiu an oveisatuiation of sensation. Although only a minoiity of
theii auuience woulu fall into the immeuiate iisk gioups of pacemakei-caiiieis oi
epileptics who woulu be seveiely affecteu by such meuia, it appeais as impoitant to look
at the cuiient situation in iegaiu to the geneial population's expeiience.

1
Nathilue Pulh, Seveiine Naiteaux, anu Remi Nencaielli, "Positioning Stiategies of Cultuial Institutions: A
Renewal of the 0ffei in the Face of Shifting Consumei Tienus," (#)"%#&)*$#&+,-$.%#&+,$/,0%)!,1&#&2"'"#) 1u,
no. S (Spiing 2uu8): 6-7.
2
The following thiee inteinational newalteinative meuia exhibitions will seive us as
examples foi initial investigation, complementeu by the piinciples anu exhibition
piactices of Singapoie's ChanBampe ualleiies anu the Singapoie Ait Nuseum.
1. 0lafui Eliasson's installation seiies "Feelings aie Facts" (2u1u) anu "Youi Blinu
Passengei (2u11)
2. An unnameu scent exhibition of Claia 0isitti, anu
S. Ryoji Ikeua's sounu installations "uata.matiix |no. 1-1uj, 2uu6-u9" (2uu6) anu
"uatamatics" (2uu6-2uu8)

Not foggy, but clear responsibility
"Feelings aie Facts", an installation cieateu by Banish aitist 0lafui Eliasson anu Chinese
aichitect Na Yansong as a site-specific pioject at 0llens Centie foi Contempoiaiy Ait in
Beijing, consists of a big hall filleu with aitificially piouuceu fog, spatially evenly
illuminateu by colouieu fluoiescent lamps mounteu in the substantially loweieu ceiling.
The thick fog, batheu in satuiateu hues of coloui, makes walking acioss the 6u metei long,
cuiving, inclineu woouen flooi uifficult, as the piimaiy sense of sight is ieuuceu
consiueiably anu the sloping flooi challenges visitois to constantly shift theii bouy weight
anu postuie to counteibalance the inclination. As visitois move ueepei into the hall, the
flooi steepens; ieaching the point in which it becomes a wave-like cuiveu wall, ietuining
visitois back into the oiientation-less space.
In this installation not only oui eveiyuay pattein of spatial navigation is challengeu,
but also the veiy piocess of walking, coupleu with thick, smoky aii making it uifficult to
bieathe.










S
Bowevei the exhibition was immensely populai anu, as Co-Biiectoi of
ChanBampe ualleiies Benjamin Bampe witnesseu, most visitois enjoyeu themselves like
in an "amusement paik": People photogiaphing, chatting oi sitting uown in the miuule of
the huge ioom, couples ielaxing togethei. "It maue you feel spacey", he uesciibes the
expeiience
2
.
0pinions vaiy though, when looking at blog posts commenting on this exhibition,
as well as on it's similai follow-up "Youi Blinu Passengei", consisting of a 9u metei long,
colouieu fog-filleu tunnel, uevelopeu foi Benmaik's Aiken Nuseum foi Nouein Ait in
2u11. Between ieviews mostly expiessing vaiieu foims fascination, the woiks aie also
uesciibeu as causing "uisoiientation anu confusion"
S
, that it is "smoky anu can be
uncomfoitable" anu even "almost unbeaiable, walking in the smoke-filleu space foi moie
than five minutes".
4

Although theie was no note on the exhibition venues' websites auvising visitois to
assess theii own fitness foi this expeiience, "Feelings aie Facts" hau waining signs
mounteu on the outsiue of the exhibition space cautioning visitois of limiteu visibility anu
high smoke uensity
S
, anu no complaints oi injuiies weie foimally iepoiteu.
Can spaces ueckeu in uneven flooiing, navigateu with limiteu visibility anu
iestiicteu bieathing be consiueieu uangeious. Although it may appeai as both an
intimiuating anu hazaiuous situation at fiist sight, it is impoitant to iemembei that
visitois voluntaiily choose to entei the space, knowing what to expect, anu if they weie to
feel unsafe in any way, always ietain the libeity to exit immeuiately. Although not
explicitly mentioneu, most likely exhibition guaius woulu also have been on site, keeping
an eye on the auuience.
Beie Bampe acknowleuges that although his galleiy has yet to house such kinu of
exhibition, he sees it as a shaieu iesponsibility foi the venue to pioviue ample waining
signage, attentive peisonell anu ensuiing that no laws aie bioken, whilst the viewei
ultimately has to contiibute to hishei own safety thiough matuie self-assessment anu
pio-active initiative in case any feeling of uneasiness shoulu aiise.
6


2
Benjamin Bampe, Inteiview by Authoi, Singapoie, Nay 1, 2u1u.
S
Peiiin Biumm, "0lafui Eliasson's '0topia' foi the new yeai," 345/*+)"%"6, }anuaiy 4, 2u11,
http:www.sunuancechannel.comsunfilteieu2u11u1olafui-eliassons-utopia-foi-the-new-yeai.
4
The Fiagiant Baiboui, "The Coloui of Change," 7"*8*#2,9&++*#2, Nay 28, 2u1u,
http:beijingcalling.blogspot.com2u1u_uS_u1_aichive.html.
S
Inc, "Feelings Aie Facts," (#,0%),:",;%.!), }uly 18, 2u1u, http:inaitwetiustblog.woiupiess.com.
6
Bampe, Inteiview by Authoi, Singapoie.
4
The case of Boiis Salceuo's
exhibition "Shibboleth" at the
Tate Nouein's Tuibine Ball in
2uu7 can seive as an
inteiesting example of the
hanuling of a <%*!*!,!*).&)*$#=,
albeit iepiesenting a case of
physical, iathei than sensoiy
challenge: In the hall's
specifically constiucteu
inteiioi flooiing Salceuo
cieateu a 167 metie long
ciack, beginning as a haiiline
anu eventually wiuening to 2S
cm with a uepth of 6u cm; in some places wiue enough foi a small chilu to fall into. Tate's
heau of safety anu secuiity, Bennis Ahein, waineu piioi to the exhibition's opening of the
uangei of visitois tiipping on the ciack "with the potential foi significant leg injuiy"
7
, yet
auueu that physical piotection measuies hau been iejecteu because they weie "not
ueemeu appiopiiate" uue to the "aitistic natuie" of the installation.
8
Although the Tate
placeu visible waining signs anu uesignateu staff to monitoi the exhibit anu even hanueu
out leaflets to infoim vieweis of the iisk, uuiing the fiist month of exhibition fifteen
people hau expeiienceu mostly minoi injuiies. Consiueiing that thioughout it exhibition
peiiou of 6 months 87u,uuu people hau visiteu the woik anu not a single peison was
iepoiteu bauly huit, Shibboleth is a goou example of iisk ieuuction thiough piopei
infoimation anu monitoiing.
Notably though, Ahein claiifieu that if existing measuies appeaieu to not be
sufficient, Tate Nouein woulu have to ie-consiuei possible safety measuies, incluuing
baiiieis oi uemaication lines, Peispex biiuging ovei ceitain sections oi othei means of
access iestiiction. Be founu that a wiitten agieement shoulu be obtaineu fiom the aitist
stating that the museum ietaineu the iight to apply extia safety measuies.
9


7
Saiah Lyall, "Caution: Bangeious ait at the Tate," ;>",5"?,@$%A,;*'"!, Novembei 12, 2uu7,
http:www.nytimes.com2uu71212aits12iht-11ciac.871u14S.html.
8
Ben Quinn, "Ciowus aie suffeiing foi theii ait at the Tate Nouein," ;>",;*'"!, Novembei 26, 2uu7,
http:enteitainment.timesonline.co.uktolaits_anu_enteitainmentvisual_aitsaiticle294S217.ece.
9
Ibiu.
S
Scentsorship
This leaus us to the inteiesting Scent Ait case of Claia 0isitti, a Canauian aitist using
scent as hei piimaiy meuium. In an email to }im Biobnick, an acauemic ieseaichei anu
cuiatoi of Scent Ait, she uesciibes hei iecent fiist case of "scentsoiship"
1u
(>2uu2; title
anu venue not mentioneu) in which a galleiy uiiectoi ueciueu to covei 0isitti's installeu
ououi uiffusei with a caiuboaiu box anu place a cut onion on a plate in fiont of it. It
tuineu out that the uiiectoi, uespite being enthusiastic about the iuea, felt the smell
woulu be too stiong foi the public anu hence seaicheu foi a way to "tune uown" the
exhibition scent, yet without 0isitti's consent. (Beie it has to be noteu that the lack of
euucation in the fielu of Scent Ait may have contiibuteu to situation, as it is unlikely that
such initiative woulu be taken with an aitwoik of a moie tiauitional ait foim, such as a
painting.)
This iaises the impoitant question of exhibition venues' authoiity ovei alteiation
of aitwoiks exhibiteu, anu whethei an aitwoik shoulu be geneially iegaiueu as
"mouifiable" at all. uiven touay's means of communication anu the vaiieu foims of
uocumentation exchange they allow, I uo not see it as justifiable foi a galleiy oi museum
to not thoioughly familiaiize itself with the natuie of a iespective aitwoik, incluuing its
vaiious uetaileu sensoiy elements, anu latei seeking to mouify it, whethei in uiscussion
with the aitist oi not. Bowevei I uo tenu to agiee that if the aitwoik enus up pioviuing a
significant iisk to its auuience, a suitable alteiation may be negotiateu with the aitist.
Although ChanBampe is a commeicial galleiy in Singapoie (which tenu to take
gieatei libeities in the uecision-making on theii aitwoik in geneial), Benjamin Bampe
agiees that it is essential foi the exhibition venue to uo it's ieseaich on the to be exhibiteu
woik befoiehanu. Be believes that once an aitwoik has been accepteu foi exhibition, it
shoulu not be changeu in any way unless absolutely necessaiy, anu then only with cleai
communication with the aitist, as they function in a paitneiship anu a galleiy mustn't be a
"totalitaiian iegime". Bampe uoes not see it as acceptable to fieehanueuly "tune it uown a
little", as it infiinges the moial iights of both the aitwoik anu the aitist, anu shows an
obvious lack of unueistanuing on the siue of the galleiy. Although he iecognises that such
piactices can quickly leau a host venue into tiouble, Bampe also acknowleuges that the
piactice of self-pioclaiming authoiity isn't infiequent among commeicial ait galleiies, ait

1u
}im Biobnick, "Scents of a Woman: Claia 0isitti," ;"!!"%&, The SensesLes Sens, Lianne Noyes, eu.
(Summei 2uu2): 9u.
6
institutions, uevelopeis anu cuiatois.
11

Notably, heie Baviu Chew, Assistant Cuiatoi at Singapoie Ait Nuseum, inuicates
that if a paiticulai exhibition oi aitwoik was to gathei a numbei of complaints uue to
sensoiial (oi physical) challenges, it woulun't be unlikely foi the museum, a goveinmental
institution, to take initiative in making minoi mouifications if ueemeu necessaiy in oiuei
to ease the conflict. Impoitantly, the aitist woulu be notifieu anu negotiations about
fuithei pioceeuings enteieu into, in oiuei to ieach a solution not compiomising the
aitist's ambitions.
12


Soundly managed soundscapes
0ne aitist whose woik, to my knowleuge, has not
even been consiueieu foi mouification to uate, is
Ryoji Ikeua. Being a }apanese sounu anu
installation aitist, his woik often employs
whiteouts anu blackouts oi piojections anu
mappings of uata stieams, focuseu aiounu
mathematical foimulas ie-inteipieteu into sounu,
paiticulaily sine tones anu noise, as well as
fiequencies neai the euges of the iange of human
heaiing. Yuko Basegawa, Chief Cuiatoi of the 21st
Centuiy Nuseum of Contempoiaiy Ait, Kanazawa,
uesciibes Ikeua's woik affectionately as
"paialysing oui visual functions"; an "enuuiance
test"."with a physiological intensity tianscenuing
uesciiption".
1S

Whilst his cieations aie geneially saiu to
exist at the limit of human peiception anu expeiience, two of Ikeua's sounu anu viueo
compositions in paiticulai challenge the auuience on a sensoiy level: "Bata.matiix |n1-
1uj (2uu6-u9)" (2uu6) anu "uatamatics |vei 2.uj" (2uu6 - 2uu8), both exhibiteu in
multiple venues inteinationally, featuie extiemely fast fiame iates, stiobe effects anu at
times sounus of a uecibel iange haiuly beaiable by the human eai. Chew uesciibeu his

11
Bampe, Inteiview by Authoi, Singapoie.
12
Baviu Chew, Inteiview by Authoi, Singapoie, Nay 1, 2u1u.
1S
Caioline A. }ones, eu., 3"#!$%*.'B,C'D$6*"6,CEF"%*"#<"=,;"<>#$+$2G=,&#6,9$#)"'F$%&%G,0%), 1st eu. (The
NIT Piess, 2uu6), 69.
7
woik as a "veiy immeisive expeiience; almost hypnotic."
14

Without a uoubt Ikeua has a laige following in the expeiimental sounu anu viueo
scene piaising his lengthy woik as highly innovative anu mesmeiizing, howevei some
exhibition anu peifoimance visitois uesciibe it as both "teuious" anu "extiemely intense"
anu as giving them a heauache, whilst iesoiting to weai eaiplugs in oiuei to "not put
|theiij eaiuiums thiough that kinu of stiess".
1S
0theis uesciibe the stiobe effects to make
theii expeiience veitiginous anu peiceive the sounu as nauseating if listeneu to foi too
long, foicing them to leave.
16
0ne visitoi iecalls his last thought towaius the enu of the
show as "This must be how it feels if you stait to go ciazy."
17

Consiueiing the magnituue of Ikeua's sensoiy influence on the auuience, the
question aiises of why his woik has iemaineu laigely untainteu by "softening"
mouification to uate. An obvious ieason is that his aitistic style uiaws mainly a specific
auuience with a sinceie appieciation foi sounu anu viueo ait to his exhibitions anu
peifoimances, consisting laigely of inuiviuuals who know what to expect anu only iaiely
incluuing newcomeis. Fuitheimoie the oveibeaiing anu mesmeiizing chaiacteiistics of
Ikeua's aitwoik have become pait of his tiauemaik, anu hence aie seen as uesiieu
attiibutes of his public uisplays, which, notably enough, also incluue the uistiibution of
fiee eaiplugs befoie a peifoimance.

At this point it is impoitant to point out that many of his online exhibition anu
peifoimance announcements contain uistinct waining notes
18

19

2u
, such as the following
foi Ikeua's exhibition of "Bata.matiix |n1-1uj (2uu6-u9)" at the Nuseum of
Contempoiaiy Ait Tokyo in 2u1u:,
H,904;(I5B,;>*!,"E>*D*)*$#,"'F+$G!,!)%$#2,!)%$D","//"<)!,&#6,>*2>J/%"K."#<G,!$.#6!L,,
M*!*)$%!,?*)>,?"&A,>"&%)!,$%,F&<"'&A"%!,!>$.+6,)&A",<&%"L
,NO


14
Chew, Inteiview by Authoi, Singapoie.
1S
Kevin uiiffin, "Batamatics: Ryoji Ikeua Nakes Bata visible," ;>",M&#<$.P"%,3.#,7+$2B,9.+).%",3""#,
Febiuaiy S, 2u11, http:communities.canaua.comvancouveisunblogscultuieseenaichive
2u11u2uSuatamatics-iyoji-ikeua-takes-us-on-a-uigital-tiip.aspx.
16
Fiances uueiin, "Tiansfoiming Nathematical Iueas into a Physical Expeiience," 0%)3+&#), }anuaiy 6, 2uu9,
http:www.aitslant.comewaiticlesshow7626.
17
Kiis Rothstein, "PuSh Festival: Batamatics," Q"*!), Febiuaiy 4, 2u11, http:www.geist.comblogskiis.
18
Fiench Institute Alliance Fianaise NYC, "Ciossing the Line 2u1u - Ryoji Ikeua: uatamatics |vei. 2.uj,"
Septembei 1u, 2u1u, http:www.fiaf.oigciossingtheline2u1u2u1u-u9-ctl-ikeua-uatamatics.shtml.
19
PuSh Inteinational Peifoiming Aits Festival, "Ryoji Ikeua - uatamatics |vei.2.uj," Febiuaiy S, 2u11,
http:pushfestival.cashowsuatamatics-vei-2-u.
2u
SPILL Festival of Peifoimance, "Ryoji Ikeua: uatamatics |vei.2.uj," Apiil 18, 2u11,
http:www.spillfestival.co.ukuatamatics-vei-2-u.
21
Nuseum of Contempoiaiy Ait Tokyo, "Ryoji Ikeua +- | the infinite between u anu 1 j," Apiil 2, 2uu9,
http:www.iyojiikeua.mot-ait-museum.jp.
8
Although this stiategy may not pievent all instances of viewei uiscontentment uue
to sensoiy oveistimulation (as many visitois may not stuuy exhibition announcements
befoie visiting the exhibition venue), togethei with on-site waining signs, it coulu be a
useful appioach foi maneuveiing a balance between the aitist's intentions anu the
visitoi's expectations.





Crisis management and risk assessment strategy?
In the scope of my initial ieseaich it wasn't possible to cleaily ueteimine if most
exhibition venues uo possess a foimaliseu "Ciisis management anu iisk assessment
stiategy", howevei the inuication is that such a stiategy is iaiely establisheu in uetail.
Nost exhibition contiacts' teims anu conuitions howevei uo incluue a clause stating that
no aitwoiks which coulu constitute a health hazaiu oi 0BS iisk to staff oi visitois woulu
be accepteu; although the assessment ciiteiia as to what exactly woulu embouy such a
hazaiu iemains uncleai. Fuitheimoie the exhibition venue oftentimes ieseives the iight
to iemove any hazaiuous woiks if they weie alieauy installeu anuoi to close the
exhibition uown completely, anu to contact the aitist shoulu such an action be taken.
22

Again, this begs the question if a thoiough communication with the aitist piioi to
acceptance anu installation coulu help avoiu such tioubles.
Accoiuing to Chew
2S
anu Bampe
24
, neithei Singapoie Ait Nuseum, noi
ChanBampe ualleiies employ a fiim stiategy foi ciisis management anu iisk assessment
as pait of theii Stanuaiu 0peiation Pioceuuie, anu both iefei to eaily negotiation with
the aitist as the best iisk pievention; as well as ample waining signage, shoulu a moie
sensoiy challenging woik be exhibiteu. Piesumably Singapoie Ait Nuseum also engages a
legal agency, whilst ChanBampe ualleiies' Co-Biiectoi Angeline Chan pioviues soliu legal
expeiience in hei business backgiounu, allowing hei to confiuently ueal with any possible
client oi visitoi uisputes.
Bampe fuitheimoie emphasises that the viewei's expectation will piimaiily uefine

22
Woolongong City ualleiy, "ualleiy Biie - Teims anu Conuitions," n.u., 1.
2S
Chew, Inteiview by Authoi, Singapoie.
24
Bampe, Inteiview by Authoi, Singapoie.
9
hishei expeiience of anu ielationship with the aitwoik uisplayeu anu hence it being the
galleiy's iesponsibility to aiu the visitoi in foiming such a iealistic expectation. This
shoulu occui not only thiough appiopiiate caution notes in exhibition announcements as
well as waining signs on site, but most impoitantly also via the choice of a suitable setting
foi the kinu of woik uisplayeu, wheie the enviionment leaus the visitoi to expect a
ceitain chaiactei of ait woik.
|ChanBampe ualleiies encompasses two exhibition spaces, one at Raffles Aicaue in
uowntown Singapoie, anu anothei in the innei subuib of Tanjong Pagai. Bue to the moie
conseivative setting of Raffles Aicaue anu its attacheu visitoi expectation, ChanBampe is
cuiiently in the piocess of ueveloping theii galleiy in Tanjong Pagai into a site foi moie
expeiimental woiks; a pioject space wheie emphasis is not only given to the financial
viability of the ait uisplayeu, but also to the value of conceptual anu expeiiential challenge
within the visitoi encountei.j
2S


Conclusion
Bue to the vaiying chaiacteiistics of highly sense-stimulating ait aimeu at public
exhibition, it is most impoitant foi museums oi galleiies to tieat each possible exhibition
situation on a case-by-case basis, assessing its puipose, neeus anu iisks with the common
exhibition visitoi in minu.
Although some venues hanule such exhibitions in an au-hoc mannei as the numbei
of visitois feeling negatively affecteu may not appeai as significant, I suggest that a
caiefully consiueieu appioach is iequiieu fiom the beginning. This incluues the selection
of the aitwoik (thoiough ieseaich anu communication with the aitist), piogiamming
(uefinition of taiget auuience), exhibition planning (uefinition of suitable location,
uesciiptive publicity inc. caution notes), piactical exhibition suppoit (on-site waining
signs anu guiuesguaius, possibly piovision of piotective geai), completeu by a iespectful
anu sinceie hanuling of customei feeuback.
Subsequently, with such planneu caie, the lattei may expeiience a significantly
ieuuceu amount of complaints oi even acciuents, whilst avoiuing the neeu foi possible
aitwoik mouification, making the exhibition visitoi feel moie caieu foi anu hence paving
the way foi the uevelopment of a stiong long-teim auuience foi highly sense-
stimulating ait.

2S
Ibiu.
BIBLIOGRAPHY

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Art & Research. The Phenomenology of Olfactory Perception: An Interview with Clara Ursitti, 2008.
http://www.artandresearch.org.uk/v2n1/ursitti.html.
Chew, David. Interview by Author. Singapore. May 1, 2010.
Drobnick, Jim. Scents of a Woman: Clara Ursitti. Tessera. The Senses/Les Sens, Lianne Moyes, ed.
(Summer 2002): 85-97.
Drumm, Perrin. Olafur Eliassons Utopia for the new year. SUNfiltered, January 4, 2011.
http://www.sundancechannel.com/sunfiltered/2011/01/olafur-eliassons-utopia-for-the-new-year/.
Eliasson, Olafur. Olafur Eliasson Home Page, n.d. http://www.olafureliasson.net/.
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