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"...the ubiquity of installation views today (over the very obsolete taste for images of the paintings cropped of which here there are presented none) merely today's fashion, or is it a use of its authority. ..the empty whiteness surrounding paintings today is the latent frame replacing yesteryear gilt. Instead white walls wreathing its images in the symbolic wealth of hundreds of dollars per square foot of galleries, or museums. Gold leaf is redundant to white walls..."
"[but] in fact sited documentation seems to be on the rise, and emphasized to dramatic effect, highlighting the gallery’s architectural ticks, absurdly so. That Berlin’s Tanya Leighton gallery, of which Sanchez highlights, despite performing the neutral painted grey floors and glowing white walls, is one of the more architecturally memorable galleries. All around images of the object’s site, the installation shot, generally outnumber if not replace entirely the image of the object, even to the detriment of understanding the object. The site as the producer of the art object’s “aura” was established in different way by Boris Groys take on Benjaminian aura in “Art in the Age of Biopolitics” in referring to documentations (in terms of artifacts of conceptual art) need for the site.
" The surrealist vernacular of most contemporary is predicated on this aura for its totems, its mysterioizing, its unknowability, this distance between the object and the viewer. Sontag: "Distance seems built into the very experience of looking at photographs..."
"a fear of vertigo of a white space sent into hyperspace the gallery-space will need to self-locate, architecture will appear as a watermark to keep one foot on the ground avoiding the spins tumbling through non-space."
See too: Brian Calvin at Le Consortium, Sophie Nys at Crac Alsace, Zoe Nelson at JDJ, CAD