Clouds in the Cave

Since the emergence and development of mass communication technologies in the 1950s, the media have become the main conduit for the public’s reception of art. Reliance on this mode of transmission is even more pronounced today due to the highly networked world of new media, which allows users to simultaneously adopt the role of recipient, producer and disseminator of information. In short, anyone can now become a media operator.

Taking this observation to its logical extreme, Clouds in the Cave re-assesses the situation by positing, somewhat provocatively, that exhibitions are simply a pretext for producing images. A position which differs from the rationale of the industrial age, to which museums continue to adhere through the “sanctification” of objects.