100 Years Of Now And The Temporality Of Curatorial Research
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| Author | : Olga von Schubert |
| Publisher | : |
| Total Pages | : 0 |
| Release | : 2018 |
| Genre | : Art |
| ISBN | : 9783956793998 |
Curatorial projects are increasingly understood as research projects with extended time frames and complex interactions across diverse sectors. This book presents "100 Years of Now," a research project taking place at Haus der Kulturen der Welt in Berlin from 2015 to 2019, as a critical investigation into the temporality of contemporaneity--both in terms of its structure and content. To address the expanding temporality of the now, the book argues for the need to include other forms of knowledge in curatorial process, and for contemporary cultural institutions to facilitate the development of collective curatorial processes and research practices. The Contemporary Condition series edited by Geoff Cox and Jacob Lund, Volume 11 Copublished with Aarhus University and ARoS Art Museum
| Author | : Jen A. Walklate |
| Publisher | : Taylor & Francis |
| Total Pages | : 202 |
| Release | : 2022-07-25 |
| Genre | : Art |
| ISBN | : 1000624196 |
Time and the Museum: Literature, Phenomenology, and the Production of Radical Temporality, is the first explicit in-depth study of the nature of museum temporality. It argues as its departure point that the way in which museums have hitherto been understood as temporal in the scholarship - as spaces of death, othering, memory, and history – is too simplistic, and has resulted in museum temporality being reduced to a strange heterotopia (Foucault) – something peculiar, and thus black boxed. However, to understand the ways in which museum temporalities and timescapes are produced, and the consequences that these have upon display and visitor response, is crucial, because time is itself a political entity, with ethical consequence. Time and the Museum highlights something we all experience in some way – time – as a key ethical and political feature of the museum space. Utilizing the fields of literature and phenomenology, the book examines how time is experienced and performed in the public areas of three museum spaces within Oxford – the Ashmolean, Pitt Rivers, and Oxford University Museum of Natural History. Using concepts such as shape, structure, form, presence, absence, authenticity, and aura, the book argues for a reconsideration of museum time as something with radical potential and political weight. It will appeal to academics and postgraduate students, especially those engaged in the study of museums, culture, literature, and design.
| Author | : Franck Hofmann |
| Publisher | : Walter de Gruyter GmbH & Co KG |
| Total Pages | : 254 |
| Release | : 2020-11-23 |
| Genre | : Literary Criticism |
| ISBN | : 3110691612 |
2019 witnessed the 30th anniversary of the German reunification. But the remembrance of the fall of the Berlin Wall coincided with another event of global importance that caught much less attention: the 250th anniversary of Napoleon Bonaparte’s birth. There is an undeniable historical and philosophical dimension to this coincidence. Napoleon’s appearance on the scene of world history seems to embody European universalism (soon thereafter in the form of a ‘modern’ imperial project); whilst scholars such as Francis Fukuyama saw in the events of 1989 its historical fulfilment. Today, we see more clearly that the fall of the Berlin Wall stands for an epistemic earthquake, which generated a world that can no longer be grasped through universal concepts. Here, we deal with the idea of Europe and of its relation to the world itself. Picking up on this contingency of world history with an ironic wink, the volume analyses in retrospect the epoch of European universalism. It focusses on its dialectics, polemically addressing and remembering both 1769 and 1989. L’année 2019 a été marquée par le 30e anniversaire de la réunification de l’Allemagne, éclipsant un autre événement d’envergure mondiale : le 250e anniversaire de Napoléon Bonaparte. La dimension philosophico-historique de cette coïncidence ne peut pourtant pas être négligée : si l’arrivée de Bonaparte sur la scène de l’histoire mondiale semble incarner l’avènement de l’universalisme européen (bientôt amené à prendre sa forme « moderne » et impériale), certains penseurs ont suggéré, avec Francis Fukuyama, que « 1989 » marquait son accomplissement historique. Aujourd’hui, il apparaît au contraire que la chute du mur de Berlin a été un véritable tremblement de terre épistémique, et rendu inopérants les concepts universels. Dans le monde d’après, c’est à l’idée d’Europe et à sa relation au monde que nous avons affaire. Revenant par un geste ironique sur cette contingence historique, le présent volume se veut une analyse rétrospective de l’époque de l’universalisme, dans toute la dialectique que les commémorations de 1769/1989 ont fait surgir.
| Author | : Geoff Cox |
| Publisher | : |
| Total Pages | : 0 |
| Release | : 2016 |
| Genre | : Aesthetics, Modern |
| ISBN | : 9783956792816 |
What do we mean when we say that something is contemporary? And what should the designator contemporary art refer to? What constitutes the present present or the contemporary contemporary? Introductory Thoughts on Contemporaneity and Contemporary Art, the first book in the Contemporary Condition series, introduces key issues concerning contemporaneity as a defining condition of our historical present and calls for a deep rethinking of the structures of temporalization.
| Author | : Carolina Rito |
| Publisher | : Sternberg Press |
| Total Pages | : 272 |
| Release | : 2021-02-02 |
| Genre | : |
| ISBN | : 9783956795060 |
| Author | : Maria Lind |
| Publisher | : |
| Total Pages | : 166 |
| Release | : 2012 |
| Genre | : Art |
| ISBN | : |
The curatorial includes the post production artistic practices that bring together within a particular time and space related framework disparate images, objects, as well as other material and immaterial phenomena. In its performative aspects that seek to challenge the status quo, the curatorial also includes elements of choreography, orchestration and administrative logistics. Edited by director and writer Maria Lind, this book brings together a diverse group of curators, artists, art historians, educators and thinkers, all of whom reflect on the curatorial motives, tendencies and tactics, pitfalls and exegeses in translating and thus performing cultural heritage. Contributors include Doug Ashford, Beatrice von Bismarck and Eungie Joo.
| Author | : Verina Gfader |
| Publisher | : National Geographic Books |
| Total Pages | : 0 |
| Release | : 2019-09-17 |
| Genre | : Art |
| ISBN | : 3956794680 |
A bunch of residents cruising the seas of nine temporary realities. From the sun-drenchedness of the Dubaian atmosphere to a feathery encounter in a secret printing workshop, words and materials are discreetly—spectrally, outspokenly—put forward: a bunch of residents cruising the seas of nine temporary realities, the result of an ongoing swapping of facts and speculations from the earthly realm. At one end of the spectrum, players, voyagers, entering the machinery (cacophony) of thought processing. At the other, the anchoring point, The Last Resident, the one who opens a possible scene. Contributors Verina Gfader, with Victoria Browne, Rebecca Carson, William Forsythe, Claire Hsu, William Kentridge, Mochu, Monica Narula, Pallavi Paul, Lea Porsager, Gerald Raunig, Sif, Lantian Xie
| Author | : Judith Rugg |
| Publisher | : Intellect (UK) |
| Total Pages | : 0 |
| Release | : 2007 |
| Genre | : Art |
| ISBN | : 9781841505367 |
To stay relevant, art curators must keep up with the rapid pace of technological innovation as well as the aesthetic tastes of fickle critics and an ever-expanding circle of cultural arbiters. Issues in Curating Contemporary Art and Performance argues that, despite these daily pressures, good curating work also requires more theoretical attention. In four thematic sections, a distinguished group of contributors consider curation in light of interdisciplinary and emerging practices, examine conceptions of curation as intervention and contestation, and explore curation's potential to act as a reconsideration of conventional museum spaces. Against the backdrop of cutting-edge developments in electronic art, art/science collaboration, nongallery spaces, and virtual fields, contributors propose new approaches to curating and new ways of fostering critical inquiry. Now in paperback, this volume is an essential read for scholars, curators, and art enthusiasts alike.
| Author | : Anna-Sophie Springer |
| Publisher | : MIT Press |
| Total Pages | : 161 |
| Release | : 2018-08-28 |
| Genre | : Language Arts & Disciplines |
| ISBN | : 026253617X |
A book that acts both as library and exhibition space, selecting, arranging, and housing texts and images, aligning itself with printed matter in the process. Fantasies of the Library lets readers experience the library anew. The book imagines, and enacts, the library as both keeper of books and curator of ideas—as a platform of the future. One essay occupies the right-hand page of a two-page spread while interviews scrolls independently on the left. Bibliophilic artworks intersect both throughout the book-as-exhibition. A photo essay, “Reading Rooms Reading Machines” further interrupts the book in order to display images of libraries (old and new, real and imagined), and readers (human and machine) and features work by artists including Kader Atta, Wafaa Bilal, Mark Dion, Rodney Graham, Katie Paterson, Veronika Spierenburg, and others. The book includes an essay on the institutional ordering principles of book collections; a conversation with the proprietors of the Prelinger Library in San Francisco; reflections on the role of cultural memory and the archive; and a dialogue with a new media theorist about experiments at the intersection of curatorial practice and open source ebooks. The reader emerges from this book-as-exhibition with the growing conviction that the library is not only a curatorial space but a bibliological imaginary, ripe for the exploration of consequential paginated affairs. The physicality of the book—and this book—“resists the digital,” argues coeditor Etienne Turpin, “but not in a nostalgic way.” Contributors Erin Kissane, Hammad Nasar, Megan Shaw Prelinger, Rick Prelinger, Anna-Sophie Springer, Charles Stankievech, Katharina Tauer, Etienne Turpin, Andrew Norman Wilson, Joanna Zylinska
| Author | : Miwon Kwon |
| Publisher | : MIT Press |
| Total Pages | : 236 |
| Release | : 2004-02-27 |
| Genre | : Architecture |
| ISBN | : 9780262612029 |
A critical history of site-specific art since the late 1960s. Site-specific art emerged in the late 1960s in reaction to the growing commodification of art and the prevailing ideals of art's autonomy and universality. Throughout the 1970s and 1980s, as site-specific art intersected with land art, process art, performance art, conceptual art, installation art, institutional critique, community-based art, and public art, its creators insisted on the inseparability of the work and its context. In recent years, however, the presumption of unrepeatability and immobility encapsulated in Richard Serra's famous dictum "to remove the work is to destroy the work" is being challenged by new models of site specificity and changes in institutional and market forces. One Place after Another offers a critical history of site-specific art since the late 1960s and a theoretical framework for examining the rhetoric of aesthetic vanguardism and political progressivism associated with its many permutations. Informed by urban theory, postmodernist criticism in art and architecture, and debates concerning identity politics and the public sphere, the book addresses the siting of art as more than an artistic problem. It examines site specificity as a complex cipher of the unstable relationship between location and identity in the era of late capitalism. The book addresses the work of, among others, John Ahearn, Mark Dion, Andrea Fraser, Donald Judd, Renee Green, Suzanne Lacy, Inigo Manglano-Ovalle, Richard Serra, Mierle Laderman Ukeles, and Fred Wilson.
