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N.Paradoxa Online Issue 4, Aug 1997
n.paradoxa online, issue 4 August 1997 Editor: Katy Deepwell n.paradoxa online issue no.4 August 1997 ISSN: 1462-0426 1 Published in English as an online edition by KT press, www.ktpress.co.uk, as issue 4, n.paradoxa: international feminist art journal http://www.ktpress.co.uk/pdf/nparadoxaissue4.pdf August 1997, republished in this form: January 2010 ISSN: 1462-0426 All articles are copyright to the author All reproduction & distribution rights reserved to n.paradoxa and KT press. No part of this publication may be reprinted or reproduced or utilized in any form or by any electronic, mechanical or other means, including photocopying and recording, information storage or retrieval, without permission in writing from the editor of n.paradoxa. Views expressed in the online journal are those of the contributors and not necessarily those of the editor or publishers. Editor: [email protected] International Editorial Board: Hilary Robinson, Renee Baert, Janis Jefferies, Joanna Frueh, Hagiwara Hiroko, Olabisi Silva. www.ktpress.co.uk The following article was republished in Volume 1, n.paradoxa (print version) January 1998: N.Paradoxa Interview with Gisela Breitling, Berlin artist and art historian n.paradoxa online issue no.4 August 1997 ISSN: 1462-0426 2 List of Contents Editorial 4 VNS Matrix Bitch Mutant Manifesto 6 Katy Deepwell Documenta X : A Critique 9 Janis Jefferies Autobiographical Patterns 14 Ann Newdigate From Plants to Politics : The Particular History of A Saskatchewan Tapestry 22 Katy Deepwell Reading in Detail: Ndidi Dike Nnadiekwe (Nigeria) 27 N.Paradoxa Interview with Gisela Breitling, Berlin artist and art historian 35 Diary of an Ageing Art Slut 44 n.paradoxa online issue no.4 August 1997 ISSN: 1462-0426 3 Editorial, August 1997 The more things change, the more they stay the same or Plus ca change.. -
Stan Douglas Born 1960 in Vancouver
This document was updated February 25, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Stan Douglas Born 1960 in Vancouver. Lives and works in Vancouver. EDUCATION 1982 Emily Carr College of Art, Vancouver SOLO EXHIBITIONS 2020 Stan Douglas: Doppelgänger, David Zwirner, New York, concurrently on view at Victoria Miro, London 2019 Luanda-Kinshasa by Stan Douglas, Plug In Institute of Contemporary Art, Winnipeg, Canada Stan Douglas: Hors-champs, Western Front, Vancouver Stan Douglas: SPLICING BLOCK, Julia Stoschek Collection (JSC), Berlin [collection display] [catalogue] 2018 Stan Douglas: DCTs and Scenes from the Blackout, David Zwirner, New York Stan Douglas: Le Détroit, Musée d'Art Moderne Grand-Duc Jean (MUDAM), Luxembourg 2017 Stan Douglas, Victoria Miro, London Stan Douglas: Luanda-Kinshasa, Les Champs Libres, Rennes, France 2016 Stan Douglas: Photographs, David Zwirner, New York Stan Douglas: The Secret Agent, David Zwirner, New York Stan Douglas: The Secret Agent, Salzburger Kunstverein, Salzburg [catalogue] Stan Douglas: Luanda-Kinshasa, Pérez Art Museum Miami (PAMM) Stan Douglas: The Secret Agent, Victoria Miro, London Stan Douglas, Hasselblad Center, Gothenburg, Sweden [organized on occasion of the artist receiving the 2016 Hasselblad Foundation International Award in Photography] [catalogue] 2015 Stan Douglas: Interregnum, Museu Coleção Berardo, Lisbon [catalogue] Stan Douglas: Interregnum, Wiels Centre d’Art Contemporain, Brussels [catalogue] 2014 Stan Douglas: -
Transpositions Familiar to Artists, This Book Shows How Moves Can Be Made Between Established Positions and Completely New Ground
ORPHEUS New modes of epistemic relationships in artistic research ORPHEUS Research leads to new insights rupturing the existent fabric of knowledge. Situated in the still evolving field of artistic research, this book investigates a fundamental quality of this process. Building on the lessons of deconstruction, artistic research invents new modes of epistemic relationships that include aesthetic dimensions. Under the heading transposition, seventeen artists, musicians, and theorists explain how one thing may turn into another in a spatio- temporal play of identity and difference that has the power to expand into the unknown. By connecting materially concrete positions in a way Transpositions familiar to artists, this book shows how moves can be made between established positions and completely new ground. In doing so, research changes from a process that expands knowledge to one that creatively Aesthetico-Epistemic Operators reinvents it. in Artistic Research Michael Schwab is the founding editor-in-chief of the Journal for Artistic Research (JAR). He is senior researcher of MusicExperiment21 (Orpheus Institute, Ghent) and joint project leader of Transpositions: Artistic Data Exploration (University of Music and Performing Arts Graz; University of Applied Arts Vienna). Transpositions INSTITUTE Edited by Michael Schwab IN ISBN 9789462701410 S TIT U T 9 789462 701410 > E SERIES Transpositions cover final.indd 1 05/07/18 14:38 Transpositions: Aesthetico-Epistemic Operators in Artistic Research TRANSPOSITIONS: AESTHETICO- EPISTEMIC OPERATORS -
Erika Balsom Und Hila Peleg: “The Documentary Attitude”
Documentary Across Disciplines Edited by Erika Balsom and Hila Peleg Haus der Kulturen der Welt, Berlin The mit Press, Cambridge, ma and London, England Contents Introduction: The Documentary Attitude 10 Montage Against All Odds 192 Erika Balsom, Hila Peleg Antonia Majaca and Eyal Sivan in Conversation Bruises and Blushes: No Man’s Land, Every Man’s Home: Photography “Beyond” Anthropology 20 Clemens von Wedemeyer’s Documentary Aporia 214 Christopher Pinney Evgenia Giannouri “The Cruel Radiance of What Is” 40 Interviews in Perspective 2: Lucien Castaing-Taylor, Véréna Paravel, Dying Documented 236 and Ben Rivers in Conversation Sylvère Lotringer “A Cage of Information,” or, Narrative, “Evidence Vérité,” and the Different What is a Biometric Diagram? 80 Truths of the Modern Trial Documentary 252 Zach Blas Stella Bruzzi Interviews in Perspective 1: The Right to One’s Self-Image 280 The Man with a Tape Recorder 92 Sohrab Mohebbi Sylvère Lotringer Data Visualization and Documentary’s 294 Photography Is Not Served: (In)visible Frontiers “The Family of Man” and The Human Condition 110 Kris Fallon Ariella Azoulay “Now that’s Brecht at last!”: Harun Farocki’s Observational Films 142 Volker Pantenburg Didactic Elegy 164 Ben Lerner Reading Between the Images 172 Christa Blümlinger Introduction: The Documentary Attitude In 1936, in the heart of the Great Depression, James Agee and Erika Balsom, Hila Peleg Walker Evans accepted an assignment from Fortune magazine to travel through the southern United States and report on the situ- ation of sharecroppers in the midst of the Dust Bowl. The result of this undertaking was not a magazine article, but a book pub- lished in 1941, Let Us Now Praise Famous Men. -
Curating and the Educational Turn Open Editions 45 Handforth Road Curating and the London SW9 0LL United Kingdom
CURATING AND THE EDUCATIONAL TURN Open Editions 45 Handforth Road CURATING AND THE London SW9 0LL United Kingdom + 44 ( 0 )20 7820 9779 EDUCATIONAL TURN [email protected] www.openeditions.com Paul O’Neill & Mick Wilson ( Eds.) De Appel Arts Centre Post Box 10764 1001 ET Amsterdam Netherlands +31 ( 0 ) 20 6255651 [email protected] De Appel is supported by the Ministry of OC&W and the city of Amsterdam. Copyright © Open Editions 2010 Copyright © The Authors 2010 All rights reserved. Except for the purposes of review or criticism, no part of this publication may be reproduced or used in any form by electronic or mechanical means, including photocopying, recording and information storage or retrieval, without permission in writing from the publisher First published in London 2010 British Library Cataloguing in Publication Data : A catalogue record for this book is available from the British Library ISBN 978-0-949004-18-5 Printed and bound in Europe Open Editions / de Appel 16 Beaver Group Peio Aguirre Dave Beech David Blamey & Alex Coles Daniel Buren & Wouter Davidts Cornford & Cross Charles Esche Annie Fletcher & Sarah Pierce Liam Gillick Janna Graham Tom Holert William Kaizen Hassan Khan Annette Krauss, Emily Pethick & Marina Vishmidt Stewart Martin Ute Meta Bauer Marion von Osten & Eva Egermann Andrea Phillips Raqs Media Collective Irit Rogoff Edgar Schmitz Simon Sheikh Sally Tallant Jan Verwoert Anton Vidokle Tirdad Zolghadr Paul O’Neill & Mick Wilson ( Eds.) Table of Contents 118 – 123 A Simple Turn: Notes on an Argument Hassan Khan -
Catherine David (Centre Pompidou, Paris) • Magda Lipska (Muzeum Sztuki Nowoczesnej, Warschau) • Bernd M
Autoritäten der Kunstgeschichte: Die Museen und der Kalte Krieg Fragestellungen: • Wie werden heute europäische Sammlungen aus dem Kalten Krieg betrachtet? In welcher Form wird die Darstellung des Zeitraums vor 1989 mit dem Zeitraum danach verbunden? • Welche Erzählweisen werden dafür vorgeschlagen? • Welche Rolle spielen Konservierung und Aufwertung der erst in jüngster Vergangenheit entstandenen Sammlungen, deren Geschichte parallel zu ihrer Entstehung geschrieben wurde? • Welche Rolle spielt der Kalte Krieg in der heutigen Museumslandschaft? Inwiefern berücksichtigen zeitgenössische Museen ihn heute/ inwiefern blenden sie ihn aus, um unsere heutige Situation zu beschreiben? Teilnehmer: • Catherine David (Centre Pompidou, Paris) • Magda Lipska (Muzeum sztuki nowoczesnej, Warschau) • Bernd M. Scherer (Haus der Kulturen der Welt, Berlin) Auf Anfrage geben die Organisator/-innen gerne Zugang zum Reader, der mit den von den Teilnehmern empfohlenen bibliografischen Referenzen erstellt wurde. Dr. Mathilde Arnoux Wissenschaftliche Abteilungsleitung Telefon +33 (0)1 42 60 41 24 [email protected] Dr. Lena Bader Wissenschaftliche Abteilungsleitung Telefon +33 (0)1 42 60 41 22 [email protected] Dr. Clément Layet Wissenschaftlicher Mitarbeiter Telefon +33 (0)1 42 60 40 35 [email protected] Catherine David Centre Pompidou, Paris Biografie Catherine David est la Directrice adjointe du Musée national d'art moderne du Centre Pompidou et vit à Paris. De 1982 à 1994, elle a été conservateur au Musée national d'art moderne, Centre Pompidou et à la Galerie Nationale du Jeu de Paume, à Paris. Catherine David a occupé de 1994 à 1997 le poste de directrice artistique pour la documenta X de Kassel. Elle a ensuite dirigé le Witte de With Center for Contemporary Art, Rotterdam, où elle a initié le projet Représentations arabes contemporaines. -
Les Musées Et La Guerre Froide
Autorités de l'histoire de l'art : Les musées et la guerre froide Buts de la séance : • Apprécier les façons dont sont envisagées aujourd’hui les collections d’œuvre de la guerre froide en Europe, la façon dont la présentation de la période d’avant 1989 est liée à celle d’après 1989 • Comparer les modes de narration proposés • Analyser la conservation, la valorisation de collections très récemment constituées dont l’histoire s’écrit parallèlement à la formation même des collections • Examiner comment les musées d’art contemporain prennent ou non en compte la guerre froide pour caractériser la situation dans laquelle nous sommes aujourd’hui Participants : • Catherine David (Centre Pompidou, Paris) • Magda Lipska (Muzeum sztuki nowoczesnej, Warschau) • Bernd M. Scherer (Haus der Kulturen der Welt, Berlin) Pour accéder au reader établi à partir des références bibliographiques recommandées par les invités, veuillez contacter les organisateurs des rencontres. Dr. Mathilde Arnoux Wissenschaftliche Abteilungsleitung Telefon +33 (0)1 42 60 41 24 [email protected] Dr. Lena Bader Wissenschaftliche Abteilungsleitung Telefon +33 (0)1 42 60 41 22 [email protected] Dr. Clément Layet Wissenschaftlicher Mitarbeiter Telefon +33 (0)1 42 60 40 35 [email protected] Catherine David Centre Pompidou, Paris Biographie Catherine David est la Directrice adjointe du Musée national d'art moderne du Centre Pompidou et vit à Paris. De 1982 à 1994, elle a été conservateur au Musée national d'art moderne, Centre Pompidou et à la Galerie Nationale du Jeu de Paume, à Paris. Catherine David a occupé de 1994 à 1997 le poste de directrice artistique pour la documenta X de Kassel. -
D Documenta 3KRWRJUDSKHUXQNQRZQ Documenta (13) %HTXHVWRI$UQROG%RGH FRXUWHV\GRFXPHQWD$UFKLY
,QVWDOODWLRQYLHZRIGRFXPHQWD ZLWKZRUNVE\-XOLR*RQ]DOHV d documenta 3KRWRJUDSKHUXQNQRZQ dOCUMENTA (13) %HTXHVWRI$UQROG%RGH FRXUWHV\GRFXPHQWD$UFKLY The goal of the conference d documenta is to provide a forum for discussion and re- ÁHFWLRQRQWKHKLVWRU\RI documenta, its various incarnations and its future. 7KHÀUVWHGLWLRQRIdocumenta was held in Kassel in 1955 on the initiative of Ar- QROG%RGH6LQFHWKHQLWKDVFRPHWRGHÀQHDNH\SHULRGLFPRPHQWZKHQDWÀYH year intervals, contemporary art is generated, exhibited and elaborated. In Kassel, the people who are interested in art and in its relation to the world meet, assess the situa- tion and share their views. For those involved in the organization of the next documenta in 2012, dOCUMENTA (13), the journey begins with this conference. This conference brings together the Artistic Directors of the previous editions of documenta, who are present as representatives of the artists and the curatorial teams d who together conceived, imagined, witnessed and dreamed documenta. Each former 'LUHFWRUKDVEHHQDVNHGWRPDNHDSUHVHQWDWLRQDERXWWKHLUdocumentaE\ÀUVWGH- scribing their understanding, at the time of their project, of the sense of the present: how did they feel present to their time, what did this mean, and how did this inform WKHVWUDWHJLHVWKH\HPSOR\HGWKHGHFLVLRQVWKH\PDGH"6HFRQGO\WKHVSHDNHUVKDYH EHHQDVNHGWRRXWOLQHLQUHWURVSHFWZKDWWKH\PLJKWKDYHGRQHGLIIHUHQWO\²LQWKH documenta light of the changes occurred in the art world and the world at large subsequently to a conference towards dOCUMENTA (13) their documenta. Some of the participating artists in various editions of documenta una conferenza verso dOCUMENTA (13) KDYHDOVREHHQDVNHGWRVSHDNDWWKLVFRQIHUHQFH konferenz auf dem weg zur dOCUMENTA (13) In the early 1950s, documenta was conceived as a direct response to the Third Re- ich’s policies towards “degenerate art”; at the time, in Germany, only an art which September 18th and 19th, 2009 celebrated the regime was allowed, while all avant-gardes were banned. -
Press the Moment of Marcel Broodthaers?
marian goodman gallery The Moment of Marcel Broodthaers? A Conversation It will come as no surprise that October is publishing a special tribute to Marcel Broodthaers on the occasion of his first American exhibition in twenty-five years. The first retrospective in New York, at the Museum of Modern Art, coincides with what would have been the artist’s ninety-second birthday on January 28, which was also the day of his premature departure in 1976 at the age of fifty-two. Beyond paying homage to a great human being and an enigmatic giant among artists of the second half of the twentieth century (for many of his admir- ers, Broodthaers is simply the other Marcel), we were motivated by a gesture of gratitude toward the curators of the exhibition: Christophe Cherix, the Robert Lehman Foundation Chief Curator of Drawings and Prints at the Museum of Modern Art, and Manuel Borja-Villel, director of the Reina Sofia Museum in Madrid, have by now become outstanding scholars of the subject. The former, not just because of his enthusiastic knowledge but also thanks to his commitment to bringing the collection of Herman Daled and Nicole Daled-Verstraeten to MoMA in 2011, which now gives us access to the largest holdings of Broodthaers’s oeuvre in the United States. Among European curators, Manuel (along with Catherine David in Paris) has curated some of the most comprehensive exhibitions and edit- ed the best catalogues on Broodthaers over the past twenty years. But October has, of course, its own history of commitment to an oeuvre that has remained notoriously difficult for an American reception, beginning with three essays I wrote on the artist in 1980–83 and culminating in a special issue of October entirely devoted to Broodthaers that I edited in 1988. -
Kultur Und Politik Des Nahen Ostens Herausgeber
Di/Visions: Kultur und Politik des Nahen Ostens Herausgeber: Catherine David, Georges Khalil, Bernd M. Scherer Wallstein Verlag, Göttingen, 2009 ISBN-13: 978-3-8353-0445-1 Copyright Das Digitalisat wird Ihnen von perspectivia.net, der Online-Publikationsplattform der Max Weber Stiftung – Deutsche Geisteswissenschaftliche Institute im Ausland, zur Verfügung gestellt. Bitte beachten Sie, dass das Digitalisat urheberrechtlich geschützt ist. Erlaubt ist aber das Lesen, das Ausdrucken des Textes, das Herunterladen, das Speichern der Daten auf einem eigenen Datenträger soweit die vorgenannten Handlungen ausschließlich zu privaten und nicht-kommerziellen Zwecken erfolgen. Eine darüber hinausgehende unerlaubte Verwendung, Reproduktion oder Weitergabe einzelner Inhalte oder Bilder können sowohl zivil- als auch strafrechtlich verfolgt werden. Di/Visions 1 DiiVisions Kultur und Politik des Nahen Ostens Herausgegeben von Catherine David (Video-Gespräche und Filmprogramm), Georges Khalil und Bernd M. Scherer (Essays und Diskussionen) WALLSTEIN VERLAG Redaktion: Martin Hager Bibliografische Information der Deutschen Nationalbiliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. © Wallstein Verlag, Göttingen 2009 www.wallstein-verlag.de Vom Verlag gesetzt aus der Adobe Garamond und Frutiger Umschlaggestaltung: Susanne Gerhards, Düsseldorf Druck: Hubert & Co, Göttingen ISBN 978-3-8353-0445-1 Inhalt Samah Selim Di/Visions – eine Einführung . 9 Sami Zubaida Klasse, Religion, Ethnie: Bruchstücke einer Nation. 14 Exil und Rückkehr im israelischen und palästinensischen Diskurs Amnon Raz-Krakotzkin Die bi-nationale Option . 25 Sari Hanafi Die Flüchtlinge und das Problem des Nationalstaates. 35 Meron Benvenisti Es ist ein Land – Warum die Zweistaatenlösung nicht funktioniert 40 Nadim Rouhana Von der Notwendigkeit der Dekolonisierung Israels . -
Documenta (13)
UC Berkeley TRANSIT Title The New Diversity and the New Public: Impressions of dOCUMENTA (13) Permalink https://escholarship.org/uc/item/7xh9710d Journal TRANSIT, 9(2) Author Wolbert, Barbara Publication Date 2014 DOI 10.5070/T792025109 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The New Diversity and the New Public: Impressions of dOCUMENTA (13)1 Barbara Wolbert Figure 1: Waiting in line to see dOCUMENTA (13), Photo: Christos-Nikolas Vittoratos. When dOCUMENTA (13) closed on September 16, 2012, the German evening news show Tagesthemen reported that the exhibition had attracted around 860,000 visitors, a record for this Kassel-based quinquennial series. Among the visitors were 12,500 journalists whose reviews of the exhibition spurred even more visits both on- site and online. dOCUMENTA (13) also had a record number of first-time attendees, with almost one-third of the total visitors being under the age of thirty, another all- time high. The exhibition could also boast of 188 participating artists and art collectives, and—in addition to venues in Kabul and Bamiyan, in Alexandria and Cairo, and at The Banff Center in Alberta, Canada—of 36 sites in Kassel. 1 The formatting of official titles for the documenta series varies from event to event. In this article, simplified titles have been used for most of the previous documenta shows (e.g., Documenta 2, Documenta 3, Documenta 12), and the official titles, according to the original posters of the respective shows, have been listed in an appendix. There are two exceptions to this practice of simplifying titles: the thirteenth documenta is referred to by its official title “dOCUMENTA (13),” since it is the focus of this article; and the first documenta is referred to as “documenta,” since its title was originally unnumbered.—Ed. -
Travel Tips & General Information
MÜNSTER /KASSEL/BERLIN Travel Tips & General Information 1 From June 10 to October 1, the city of Münster will hold Skulptur Projekte Münster for the fifth time. Held every ten years (1977, 1987, 1997, 2007), Skulptur Projekte Münster presents the works of international artists in a wide variety of spaces around the city. The curatorial team, presently made up of Kasper König, Britta Peters, and Marianne Wagner, has invited artists from all over the world to investigate the relationship between art, the public realm, and the urban environment, and to develop new, site-specific works. Past editions have seen the work of artists such as Donald Judd, Bruce Nauman, Claes Oldenberg, Daniel Buren, Jorge Pardo, and Jeff Koons, to name a few. Additionally, from June 10 to September 17, the city of Kassel will hold Documenta 14 (held every five years). Alongside Venice’s Biennale, Documenta is seen as the most important, regularly occurring exhibition for modern and contemporary art in the world. Artistic Director Adam Szymczyk has been building up a team of curators that include Pierre Bal-Blanc, the director of Contemporary Art Center (CAC) Brétigny; Hendrik Folkerts, curator of performance, film, and discursive programs at the Stedelijk Museum in Amsterdam; Hila Peleg, the founder and artistic director of the Berlin Documentary Forum; Dieter Roelstraete, senior curator at the Museum of Contemporary Art Chicago; and, Monika Szewczyk, visual arts program curator at the Reva and David Logan Center for the Arts, University of Chicago, where she also lectures in the departments of Visual Arts and Art History. As usual, the list of artists is kept confidential until the opening of the show.