Alanna Fallis
Contributor
Nuit Blanche hit the streets of Toronto for its fifth year Oct. 2 with outrageous works of pretentious art most audiences can only dare understand. Theoretically, a night of artists showing off their latest creations on the streets of Toronto is a fascinating introduction to art and creativity to the general public.
The concept of Nuit Blanche, however, remains flawed. Instead of reading the published explanations provided at each artist’s site, I think an environment where audiences roam the streets seeking an unattainable enlightenment may be the best way to experience art. Beauty must be found in the eye of the beholder.
The whole idea of an outdoor art exhibit confuses me: I can’t see the purity and authenticity of a work when I’m distracted by ubiquitous cop cars surrounding masses of people.
The constant police presence is a reminder that Nuit Blanche is not a magical escape to a foreign land where art eliminates crime. In fact, this type of all-night event called for more police patrol than a normal Saturday night would. I question the artists’ integrity for choosing to reveal their hard work in such an environment.
Nuit Blanche attracts a wide- ranging audience: millions hit the streets, but only few understand – I mean really understand. The perceptions and purposes behind art are interpreted subjectively, which is why art is so beautiful and significant. Why, then, does Nuit Blanche encourage a dictatorship of tri-paragraph descriptions forcing audiences to interpret the composition a certain way? This not only takes away any critical thought and personal opinion, it also takes away from the viewers the satisfaction of coming up with their own comprehension. Art is meant to reveal emotion, reflection and personal connection. Nuit Blanche’s current structure, however, limits the span of interpretation by forcing a narrow reading upon its audience. Ignorance is bliss in the reception of art.
Nuit Blanche’s omnipresent exhibits and outdoor atmosphere make it open-ended in proximity but closed-minded in translation. It becomes little more than an opportunity for artists who feel their work is best received by a wide range of sleep-deprived Torontonians to participate in an innovative but – in terms of artistic integrity – questionable event.
Many feel that Nuit Blanche would be well-received and better-endorsed if it were held during the day. The overnight ordeal alludes to drinking, teenage foul play and drug use.
The innovation and unique idea behind Nuit Blanche is evident, though the so-called “art-viewing process” is what I question in regards to the way the public consume it and interact with it throughout the night.
Nuit Blanche does positively reinforce the changing dynamics of Toronto’s contemporary art culture: it definitely shouldn’t just go away. However, a re-evaluation of the execution of next year’s event might be a good idea.
