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The Exhibition: Histories, Practices, Policies

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The Exhibition: Histories, Practices, Policies The Exhibition: Histories, Practices, Policies N. 1 4 2019 issn 1646-1762 issn faculdade de ciências sociais e humanas – nova Revista de História da Arte N. 14 2019 The Exhibition: Histories, Practices and Politics BOARD (NOVA/FCSH) Margarida Medeiros (ICNOVA/NOVA/FCSH) Joana Cunha Leal Nuno Faleiro Rodrigues (CEAA, ESAP) Alexandra Curvelo Pedro Flor (IHA/NOVA/FCSH) Margarida Brito Alves Pedro Lapa (FLUL) Pedro Flor Raquel Henriques da Silva (IHA/NOVA/FCSH) SCIENTIFIC COORDINATION – RHA 14 Sandra Leandro (IHA/NOVA/FCSH; UE) Joana Baião (IHA/NOVA/FCSH; CIMO/IPB) Sandra Vieira Jürgens (IHA/NOVA/FCSH) Leonor de Oliveira (IHA/NOVA/FCSH; Courtauld Institute Sarah Catenacci (Independent art historian, Rome) of Art) Sofia Ponte (FBAUP) Susana S. Martins (IHA/NOVA/FCSH) Susana Lourenço Marques (FBAUP; IHA/NOVA/FCSH) Tamara Díaz Bringas (Independent researcher and curator, Cuba) EDITORIAL COORDINATION Victor Flores (CICANT/ULHT) Ana Paula Louro Joana Baião ENGLISH PROOFREADING Leonor de Oliveira KennisTranslations Lda. Susana S. Martins Thomas Williams REVIEWERS (IN ALPHABETICAL ORDER) PUBLISHER Alda Costa (Universidade Eduardo Mondlane, Maputo) Instituto de História da Arte (NOVA/FCSH) Ana Balona de Oliveira (IHA/NOVA/FCSH) DESIGN Ana Carvalho (CIDEHUS/UE) José Domingues Carlos Garrido Castellano (University College Cork) ISSN Giulia Lamoni (IHA/NOVA/FCSH) 1646-1762 Gregory Scholette (Queens College/City University of New York) Helena Barranha (IHA/NOVA/FCSH; IST/UL) © copyright 2019 Hélia Marçal (Tate Modern, London) The authors and the Instituto de História da Arte (NOVA/ João Carvalho Dias (Calouste Gulbenkian Foundation) FCSH) José Alberto Gomes Machado (CHAIA/UE) © cover photo Katarzyna Ruchel-Stockmans (Vrije Universiteit Brussel) View of Graciela Carnevale’s 1968 action Encierro Laura Castro (School of Arts/UCP) (Confinement), Rosario, Argentina. Courtesy of the artist. Acknowledgements We would like to thank all the authors and scientific referees whose contribution made this publication possible. The Exhibition: Histories, Practices and Politics N. 1 4 2019 Instituto de História da Arte Faculdade de Ciências Sociais e Humanas Universidade Nova de Lisboa Published by Instituto de História da Arte abbreviations CEAA Centro de Estudos Arnaldo Araújo CHAIA Centro de História de Arte e Investigação CientíficaCICANT Centro de Investigação em Comunicação Aplicada, Cultura e Novas Tecnologias CIDEHUS Centro Interdisciplinar de História, Culturas e Sociedades CIMO Centro de Investigação de Montanha ESAP Escola Superior Artística do Porto FBAUP Faculdade de Belas-Artes, Universidade do Porto FLUL Faculdade de Letras, Universidade de Lisboa FWO Fonds Wetenschappelijk Onderzoek - Vlaanderen ICNOVA Instituto de Comunicação da Universidade Nova de Lisboa IHA Instituto de História da Arte IPB Instituto Politécnico de Bragança IST Instituto Superior Técnico NOVA/FCSH Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa UCP Universidade Católica Portuguesa UE Universidade de Évora UL Universidade de Lisboa ULHT Universidade Lusófona de Humanidades e Tecnologia UNICAMP Universidade Estadual de Campinas · Editorial 7 Joana Baião, Leonor de Oliveira, Susana S. Martins Interview with Terry Smith 13 Carlos Garrido Castellano ESSAYS Remembering exhibitions online: microsites and catalogues raisonnés 35 Reesa Greenberg Exhibition view. The primary sources of exhibition history: the example of 49 the Catalogue Raisonné of the Centre Pompidou’s Exhibitions Rémi Parcollet ARTICLES Resistance to theory: the ideology of “the curatorial” 65 and the history of exhibitions Felix Vogel The publication as evocation: exhibition histories’ printed matter 79 Catalina Imizcoz Contents Exhibition views: towards a typology of the installation shot 93 Kathryn M. Floyd Biennials, there and here: thinking about the “Venetian formula” and the 111 São Paulo Biennial in the 1960s Maria de Fátima Morethy Couto The closed exhibition: when form needs a break 127 Ana Bilbao More for Less: art, language and the corporation in inn7o:Art and 145 Economics exhibition (1971-72) at the Hayward Gallery, London Katherine Jackson Peculiar relationships on display: Belgian art exhibitions in Philadelphia 159 and Buenos Aires in 1882 and 1887 Laurens Dhaenens “L’Immenso Seicento”. The 1922 Florence exhibition of 177 Italian Seicento art and the politics of Caravaggio studies Sandro Debono The past and the future display of the slide-based artwork. Slides de 187 Cavalete (1978-1979) by Ângelo de Sousa Joana Silva, Joana Lia Ferreira, Maria de Jesus Ávila, Ana Maria Ramos BOOK REVIEWS James Voorhies. Beyond Objecthood: 206 The Exhibition as a Critical Form since 1968 Emília Ferreira Amy Sodaro. Exhibiting Atrocity: Memorial Museums 208 and the Politics of Past Violence Patrícia Melo Foteini Vlachou. The Disappointed Writer: Selected Essays 212 Leonor de Oliveira NEWS 215 Editorial xhibitions have become, at least since the 1990s, particularly attractive case studies to museologists, art historians and cultural researchers. As the central- E ity of the two main figures of contemporary art – the artist and the curator – started to be questioned in various fields related to art and museums, the focus has significantly shifted towards the exhibition, a notion widely understood as both a physical space of display and a conceptual ground for reflection. The growing interest in the history and theory of exhibitions has not only increased our knowledge of specific past shows; it has also stimulated a relevant national and international discussion, fruitfully crossing academic, artistic and museological con- texts. Within the frame of museum studies, the specific field of exhibition histories is still expanding, and also challenging and reshaping important art historical frontiers and methodologies. At the same time, museums are critically re-evaluating their exhi- bitionary legacies in an unprecedented way, launching, amongst others, projects such as multimedia archives, catalogues raisonnés of exhibitions (Pompidou, MoMA, Gul- benkian, etc.), or virtual and physical restagings of exhibitions (a well-known example being the remake of Harald Szeemann’s Live in your Head. When Attitudes Become Form: Bern 1969/Venice 2013). Acknowledging the move from the past to the present, these different initiatives have been promoting refreshing forms of disseminating, documenting and recovering the histories and the memories of meaningful exhibi- tion events. Moreover, they configure perfect opportunities to update and rewrite institutional narratives and, at the same time, rescue an unstable and often forgotten heritage from oblivion. This ample movement of “remembering exhibitions”, to use Reesa Greenberg’s words, attests thus to the growing importance of the exhibition, as a rich and dynamic object of study, where different forces and agents converge. REVISTA DE HISTÓRIA DA ARTE N. 1 4 – 2 0 1 9 7 The publication of The Exhibition: Histories, Practices, Policies, issue n. 14 of Revista de História da Arte, aims to bring the “exhibition” to the fore in yet another way, ad- dressing it not just as an object of study, but mainly as a prolific problem. The term exhibition usually involves the idea of communicating and holding something out to the world. However, while the public dimension of the exhibition is an essential one, it is equally important to get hold of its invisible lines, exploring the tension between what is openly shared and what is meant to remain quietly unseen, even if crucially present. The different contributions here gathered do deal with this duality, also demonstrating how the exhibition is a broad and flexible notion, and how its impact largely exceeds the circumstances of a specific, time-limited event. This publication focuses, thus, on “the” exhibition as much as it focuses on exhibitions. Furthermore, it resorts to the exhibition as a springboard to think about several other questions revolving around the exhibitionary phenomena. In this sense, the theme of the exhi- bition is here covered through various lenses, including exhibition theory, diplomacy, materiality of exhibitions and influence of its printed and photographic productions, national identities, memory, international transfers, exhibition as a form of resistance, historiographic impact of exhibitions, or conservation-restoration. These different perspectives underline how the exhibition is a vital topic to many interdisciplinary and interrelated research fields focusing on museums, art, and culture. In their multiple forms – from biennials to art fairs, from creative interventions in public spaces to online revisiting of past exhibitions – , exhibitions also incorporate the complex experience of contemporaneity. This publication opens precisely with the interview with art historian Terry Smith, conducted by Carlos Garrido Castellano, in which the notion of contemporaneity or “the contemporary” is debated and stretched to include differentiated forms of “being in time”. Acknowledging that these forms may be variously shaped (by western modernism, colonialism, post-colonialism and today’s divisive issues like climate change, rise of authoritarianism, neo-liberal capitalism, etc.), Smith’s proposal of a “visual arts exhibitionary complex” articulates both the norma- tive and the more dynamic, disruptive forces that constitute contemporaneity, and can be situated either in the concrete museum spaces or in more experimental venues like kunsthallen. The focus on curatorial activity that frames Smith’s
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