The moved cube

The cube is often associated with the modern exhibition space: neutral, white, silent. But this neutrality is constructed. The ‘white cube’ produces a specific mode of perception (O’Doherty).

In my research, the cube becomes a condition rather than architecture.

The constrained format — often square — establishes an equivalence of axes. It neutralises the directional hierarchy and intensifies internal forces.

The cube is also temporal. The fixed duration of three minutes acts as a unit of volume. A delimited space-time. This shift transforms the cube from an external frame into an integrated structure.

The work contains its own condition. It no longer depends solely on the exhibition space. It carries within it a micro-regime of perception.

The cube is no longer a place. It becomes a principle.

Bibliographical references

O’Doherty, Brian. *Inside the White Cube*. 1976. Krauss, Rosalind. ‘Sculpture in the Expanded Field’, 1979. Foucault, Michel. ‘Other Spaces’, 1967. Sloterdijk, Peter. *Spheres I: Bubbles*. 1998.