Lose Yourself – Editorial

A logical sequence of bright-lit, white-walled spaces has become the dominant architectural model of presenting modern and contemporary art and design around the globe. However, since its first appearance in the early decades of the twentieth century, the introduction of this “white cube” model has been paired with its disruption: artists and curators have created chaotic structures in which the art breaks out of its increasingly sanitized cage and visitors are asked to engage physically, getting lost in what can best be described as labyrinthine exhibitions that often meander, both inside and outside the vicinity of the museum territory. Multiple layers instead of optical clarity, immersion instead of spectatorship, proximity as opposed to distance, chance versus rationality; these are some of the dichotic terms that come to mind when considering the relationship between the labyrinthine exhibition and its white cube alter ego. The theme of this issue of Stedelijk Studies digs deeper into both the history and topicality of labyrinthine exhibitions as curatorial model. Renewed interest in this topic arose in conjunction with the large-scale retrospective of Jean Tinguely organized in 2015–2016 by the Kunstpalast in Düsseldorf and the Stedelijk Museum Amsterdam. In the Stedelijk’s version of the exhibition several rooms were dedicated to the exhibitions Tinguely had (co-)curated at the Stedelijk and the Moderna Museet, Stockholm, in close collaboration with museum directors Willem Sandberg (Dylaby) and Pontus Hultén (HON), as well as artists such as Martial Raysse, Robert Rauschenberg, Niki de Saint Phalle, Daniel Spoerri, and Per Olof Ultvedt. The first exhibition, Bewogen Beweging (Rorelse Konsten), the lively overview of kinetic art which traveled from the Stedelijk to Moderna Museet and the Louisiana Museum in Humlebaek in 1961/1962, was overwhelming, chaotic, and participatory. The two following exhibitions, Dylaby (1962) in the Stedelijk Museum and HON – en katedral (1966) in the Moderna Museet, have become truly remarkable exhibitions in the history of curating. Walking into a large vagina, shooting paint, gazing at the stars in a planetarium, dancing the twist, plowing a path through a room filled with balloons… the exhibitions might easily be considered more as theme park attractions than serious art shows, comprising theatrical props instead of works of art.