The display case, also called vitrine, is a piece of furniture which shelters, protects and shows objects or artworks. It disable degradation or stealing and, most of all, it showcases and highlights what it contains. A vitrine is clearly an exhibition space.
Then, considering it like this, a vitrine in a museum means that we have an exhibition space in an exhibition space. Or, said different, a « Super »-space of exhibition.
So now, we imagine a vitrine in a museum which contains another vitrine. It’s an exhibition space in an exhibition space in an exhibition space, then, said different, an « Hyperspace » of exhibition.
What if this one was containing another vitrine ? And so on?
As semioticians describe about the object vitrine, since you put something inside, even the most trivial object, it turns into something « to look at ». The separation introduced by the vitrine between the viewer and the object makes it « sacred ». It’s like if it was no longer belonging to the same space-time environnement as the viewer one’s. It’s belonging to another dimension.
What’s about an object displayed in a vitrine which is herself displayed in another vitrine in a museum ? In which dimension would the object belong?
These are the ideas I am playing with throughout the artwork MULTIVERRES, a Russian doll game of vitrines and glass domes displayed in the glass exhibition space The Contemporary Garage in Örebro. A “Multiverse”, the other name of Hyperspace, made of glass (in French the word for glass is “verre”)…
The installation Multiverres is conceptualised as constellations of sculptures that are combined in multiple levels of understanding. Some constellations are dissociable and could be re-installed differently depending of the context of exhibition, some other are autonomic sculptures that have specific titles and meanings.