NARRATOR OF UNSHOWED ART

Abstract

While the 20th century avant-garde criticizes the sanctification of productivity in art, it also reopens the boundaries between the work-gallery, artist-audience with the revolution it created in the art object. Art, which has settled into a provocative attitude with the historical avant-garde, opposes all accepted methods. The practice of making art from ready-made objects, which started with Dada, turned into a process-based idea of art without a work, in the public area, in life, through the body, after the 1960s. Thus, artists approaching commodified art with a critical attitude argue that art is possible without producing an art object to be consumed. The world of show directly shapes the images and objects of art dominated by modern production conditions. In this context, the art placed in the white cube opens a new field for the gallery understanding that shows matter and commodity with the influence of the avant-garde. Yves Klein's 'Void' exhibition and Fernandez Arman's 'Fullness' exhibition can be given as examples. This research presents a critical approach to the occupation of the commodity in social life in the world of the show and includes a historical perspective towards the undisplayed art, which criticizes the idea of the finished work. This research, which was prepared by scanning the literature, opens the art understanding of commodified art, which is based on not showing, to discussion with artist productions.