ABSTRACT

In this paper I will examine the relationship between an artwork and place through my personal experience' process in the 'art space'. Within that frame, I will question how to identify the process of placing the artworks in a way so that they become space works and how space and the artwork respond to each other.  Is it possible to call a space an exhibition space without having placed an artwork in it? Is it possible to redefine a completed artwork when it is in its exhibition space? Exhibition spaces as a result of their natural aspects need artwork(s) to become art spaces. Conversely, the perception of an artwork takes form according to its particular art space. In that context when space and artworks collide a new visual language may emerge and both of them may complete each other. Can artworks have been produced in a non-exhibition space alter when they start to exist in the space in which they are supposed to be exhibited? Where does the integrity of the artworks that I have been producing starts and/or ends within such queries? As a conclusion, I will try to find out a way how do place and the artwork 'work' together and how my works/artworks can change their meaning through the way of process-exhibiting.

Keywords: artist as curator, collaboration, display as a practice, exhibition making, memories of a place, place, process, production of space

INTRODUCTION

The aim of this paper is to discuss the relationship between place and artwork through my experiments and the process of production in the space that the artworks will exist in. Firstly, - I will start by examining the relation of an artwork and the space in the terms of the "artist as curator" concept the first example within such a context is Duchamp's studio which was a place that is used as an exhibition space. Then I will focus on the concept “artist as curator” in contemporary art world.