DOCSLIB.ORG

When Attitudes Become Form Presented by Yves Aupetitallot 16/11/2009 --- Auditorium MACBA ––– 7 Pm

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
When Attitudes Become Form Presented by Yves Aupetitallot 16/11/2009 --- Auditorium MACBA ––– 7 Pm The History of Exhibitions: Beyond the Ideology of the White Cube (part one) Course in art and contemporary culture 19/10/2009 --- 30/11/2009 When Attitudes Become Form Presented by Yves Aupetitallot 16/11/2009 --- Auditorium MACBA ––– 7 pm LIVE IN YOUR HEAD When Attitudes Become Form (Works, Processes, Concepts, Situations, Information) 22 March to 27 April 1969, Kunsthalle Bern An exhibition sponsored by Philip Morris Europe Attendance: 7001 Tour venues: Museum Haus Lange, Krefeld, 9 May to 15 June 1961961969196 999 The Institute of Contemporary Arts, London, 28 August to 27 September 1969 Artists: Carl Andre, Giovanni Anselmo, Richard Artschwager, Thomas Bang, Jared Bark, Robert Barry, Joseph Beuys, Alighiero Boetti, Mel Bochner, Marinus Boezem, Bill Bollinger, Michael Buthe, Pier Paolo Calzolari, Paul Cotton, Hanne Darboven, Jan Dibbets, Ger van Elk, Rafael Ferrer, Barry Flanagan, Ted Glass, Hans Haacke, Eva Hesse, Douglas Huebler, Paolo Icaro, Alain Jacquet, Neil Jenney, Stephen Kaltenbach, Jo Ann Kaplan, EdwaEdwardrd Kienholz,Kienholz, Yves Klein, Joseph Kosuth, Jannis Kounellis, Gary B. Kuehn, Sol LeWitt, Bernd Lohaus, Richard Long, Roelof Louw, Bruce McLean, Walter De Maria, David Medalla, Mario Merz, Robert Morris, Bruce Nauman, Claes Oldenburg, Dennis Oppenheim, PanamarPanamarenko,enko, Pino Pascali, Paul Pechter, Michelangelo PistPistoletto,oletto, Emilio Prini, Markus Raetz, Allen Ruppersberg, Reiner Ruthenbeck, Robert Ryman, Frederick Lane Sandback, Alan Saret, Sarkis, JeanJean----FrédéricFrédéric Schnyder, Richard Serra, Robert Smithson, Keith Sonnier, RRichardichard Tuttle, Frank Lincoln Viner, Aldo Walker, Franz Erhard Walther, William G. Wegman, Lawrence Weiner, William T. Wiley, Gilberto Zorio Curator: Harald Szeemann “When Attitudes Become Form (Works, Concepts, Processes, Situations, Information)” appears to lack unity, looks strangely complicated, like a compendium of stories told in the first person singular. We might ask the justifiable question: Are we here concerned with a new edition of Tachisme, with a subjective art, with a reaction against geometry which has reigned supreme in recent years? Certainly, the majority of artists exhibiting here might be seen as part of an artistic development to which the pre- experienced workprocess of Duchamp, the intensity of Pollock’s gesture, and the unity of material, physical exertion and time in the Happenings of the early ‘60s also belong. And yet for some of these artists the desire to create does not spring from purely visual experiences. It was inevitable that Hippie philosophy, the Rockers, and the use of drugs should eventually affect the position of a younger generation of artists. It is significant that some of the major exhibitors come from the West coast of America, an area particularly open to Eastern influences. Many anti-social ideas, on the one hand the tendency to contemplation, and on the other the celebration of the physical and creative self through action, can be seen at work in this new art. Additional parts of the pattern can be found in Europe: the lack of a real centre has persuaded increasing numbers of artists to remain in their home towns and to work against all the ideas and principles of the society in which they found themselves. Evident at the same time is the desire to break down the ‘triangle in which art operates’ – the studio, gallery, and museum. (...) Noticeable is the absolute freedom in the use of materials, as well as the concern for the physical and chemical properties of the work itself. (...) The major characteristic of today’s art is no longer the articulation of space but of human activity; the activity of the artist has become the dominant theme and content. It is in this way that the title of the present exhibition should be understood (it is a sentence rather than a slogan). Never before has the inner bearing of an artist been turned so directly into a work of art. Naturally enough it has always been the same. Mondrian and Pollock gave form to their inner bearing, but always in terms of the finished product, the autonomous object. The artists represented in this present exhibition are in no way object-makers. On the contrary, they aspire to freedom from the object, and in this way deepen the levels of meaning of the object, reveal the meaning of those levels beyond the object. They want the artistic process itself to remain visible in the end product and in the ‘exhibition’.” Harald Szeemann “About the exhibition” in the original catalogue of “When Attitudes Become Form” 1 *** “Step by step in accord with the artists of his generation [Szeemann] devised new forms of presentation, at the same time expanding the notion of art. The new art of the first twenty years after World War II focused on the question of presenting and experiencing space. One thinks of Pollock, Newman, Kaprow, Serra, Beuys, Nauman, De Maria, Flavin or Judd. The 1969 exhibition When Attitudes Become Form at the Kunsthalle Bern, which laid the ground for Szeemann’s renown as exhibition maker, was so important not least because, unlike other curators, he found a new way to display the new art shown at this exhibition. He endeavoured to reflect the experimental, 1 BEZZOLA Tobia; KURZMEYER Roman (ed.). Harald Szeemann with by through because towards despite, Catalogue of all Exhibitions 1957-2005 , Zürich: Voldemeer, 2007, pp.225-226. gestural attributes of the works in their presentation by getting the artists to work at the exhibition, opening up the display area to the town, and interpreting as a work situation not only the time of setting up the exhibition, but also the exhibition itself. Indeed, some pieces were not installed until after the opening. The works were closely packed. The photos by Balthasar Burkhard and Harry Shunk, taken with Harald Szeemann’s consent and filed in his archives, show that the exhibits were meant to be seen in juxtaposition. The exhibition emphasised the process of its own creation and the temporary nature of the items on show. The museum had been turned into a studio. The sculptures were no longer on white plinths lined up along the walls like beads on a string, but placed confronting each other out in the open, sometimes standing directly on the floor. Harald Szeemann saw the exhibition as a force field and not as a documentary record”. TobiaTobiass Bezzola and Roman Kurzmeyer 2 From the press “As a matter of fact, the human beings, the visitors to the Kunsthalle Bern are the only works of art to be seen in this exhibition.” Reinhardt Stumm, Basler Nachrichten , 1 April 1969 3 Yves Aupetitallot A historian of modern and contemporary art, curator of exhibitions, art critic, lecturer and author of publications on contemporary art, Yves Aupetitallot has been director of Le Magasin–Centre National d’Art Contemporain de Grenoble since 1996 and has taught at the École des Beaux-Arts de Lyon since 1994. From the mid 1980s to 1990 he directed the Centre d’Art Contemporain in Nevers, the Espace d’Art Contemporain in Saint-Etienne, and the Department of Contemporary Art of the Council of Europe in Antwerp. He conceived and organised the “Projet Unité” in Firminy (1993-94), an exhibition which had considerable impact on the international contemporary art scene. From 2001 to 2006 he worked at the Musée des Beaux-Arts in Lausanne on the construction of the project for a cantonal museum of modern art. He has organised and edited over a hundred exhibitions and publications. He regularly gives talks in France and abroad (Santiago de Chile, Madrid, Venice being among the most recent). He was made a Knight in the Order of Arts and Letters by Catherine Tasca, Minister of Culture and Communication, on 14 July 2000. 2 Op. Cit., p.7. 3 Op. Cit., p. 226. Selected bibliography “Neuf ans d’activité à la Kunsthalle de Berne” (interview), Gazette de Lausanne 160, 12/13 July 1969 “L’agence H. Szeemann: Une interview exclusive”, L’Art Vivant 10 , April 1970, pp. 17-20 “Austellungsmacher”, in Karin Thomas (ed.), Kunst Praxis heute , Köln: DuMont, 1972 “Harald Szeemann” (interview by Otto Hahn), Art Press 11 , May 1974, pp. 28-29 “ A Conversation with Harald Szeemann”, Domus 603 , February 1980, pp. 49-50 “Harald Szeemann: Fabricant d’Expositions” (interview by Serge Lemoine and François Grundbacher), Beaux Arts 5, September 1983, p.46 “Harald Szeemann” (interview by Bernard Blistène), Galeries Magazine 41, February/March 1991, pp. 104-111 “When Attitudes Become Form, Bern 1969,” in Bernd Klüser / Katharina Hegewisch (eds), Die Kunst der Ausstellung , Frankfurt am Main: Insel, 1991, pp. 212-220 “Mind over matter: Hans-Ulrich Obrist talks with Harald Szeemann,” Artforum , November 1996, pp. 74-79 http://findarticles.com/p/articles/mi_m0268/is_n3_v35/ai_18963443/ “Estamos saturados de arte occidental” (interview with Harald Szeemann), El País , 8 June 1999, p.64 “Ritorno al futuro” (interview with Harald Szeemann by Jens Hoffmann), Flash Art 228, June-July 2001, pp.120-122 BELLASI, Pietro; LONDEI, Danielle (eds). Harald Szeemann , Ravenna: Danielo Montanari, 1995 BEZZOLA, Tobia; KURZMEYER, Roman (ed.). Harald Szeemann with by through because towards despite, Catalogue of all Exhibitions 1957-2005 , Zürich: Voldemeer, 2007 BEZZOLA, Tobia. “Natürliches Pathos: Harald Szeemann (1933-2005), Parkett 73, 2005, pp. 173-175 DERIEUX, Florence (ed.). Harald Szeemann: Individual Methodology , Zürich: JRP Ringier, 2008 DOUROUX, Xavier; AUPETITALLOT, Yves, “A propos de Harald Szeemann: Tentative d’épuisement de l’autre,” Art Press 226, 1996, pp. 26-31 DURINI, Lucrezia De Domizio. Harald Szeemann: Il Pensatore Selvaggio , Milano: Silvana Editoriale, 2005 EICHENBERGER, Rolf. “Dr. Harald Szeemann: Kunstgigant oder Scharlatan?”, Schweizer Illustrierte , 21 August 1968 GRAMMEL, Soren . Ausstellungautorschaft: Die Konstruktion der auktorialen Position des Kurators bei Harald Szeemann , Frankfurt am Main: Revolver, 2005 GUASCH Anna Maria. “When Attitudes Become Form”, in Anna Maria Guasch (ed.), El arte del siglo XX en sus exposiciones: 1945-1995 , Barcelona: Ediciones del Serbal, 1997, pp.
Load more

Recommended publications
  • Hans Ulrich Obrist a Brief History of Curating
    Hans Ulrich Obrist A Brief History of Curating JRP | RINGIER & LES PRESSES DU REEL 2 To the memory of Anne d’Harnoncourt, Walter Hopps, Pontus Hultén, Jean Leering, Franz Meyer, and Harald Szeemann 3 Christophe Cherix When Hans Ulrich Obrist asked the former director of the Philadelphia Museum of Art, Anne d’Harnoncourt, what advice she would give to a young curator entering the world of today’s more popular but less experimental museums, in her response she recalled with admiration Gilbert & George’s famous ode to art: “I think my advice would probably not change very much; it is to look and look and look, and then to look again, because nothing replaces looking … I am not being in Duchamp’s words ‘only retinal,’ I don’t mean that. I mean to be with art—I always thought that was a wonderful phrase of Gilbert & George’s, ‘to be with art is all we ask.’” How can one be fully with art? In other words, can art be experienced directly in a society that has produced so much discourse and built so many structures to guide the spectator? Gilbert & George’s answer is to consider art as a deity: “Oh Art where did you come from, who mothered such a strange being. For what kind of people are you: are you for the feeble-of-mind, are you for the poor-at-heart, art for those with no soul. Are you a branch of nature’s fantastic network or are you an invention of some ambitious man? Do you come from a long line of arts? For every artist is born in the usual way and we have never seen a young artist.
    [Show full text]
  • Ingeborg Lüscher Biography
    Ingeborg Lüscher Biography 1936 Born as Ingeborg Löffler in Freiberg in Saxony (Germany) 1946 – 1949 Rudolf-Steiner-School in Dresden 1 1949 Relocation to West Berlin 1956 School-leaving examinations 1956 – 1958 Acting studies at drama school Marlise Ludwig, Berlin, state-approved graduation 1958 First film engagements, including the main female role of Madelon in “Cardillac”, the first b/w Ufa TV film after the end of World War II (story E. T. A. Hoffmann) Ensemble member at Vagantenbühne and Renaissance Theater Berlin, tour to Switzerland 1959 Meets the Swiss colour psychologist Max Lüscher, marriage Ensemble member at Komödie Basel, main female role of Dynamene in the Swiss TV film “Ein Phönix zuviel / A Phenix Too Frequent” with original dialogues by Christopher Fry 2 1960 – 1967 Psychological studies, including at the Berlin Free University Numerous main female roles in b/w TV films, like “Jennifer” 1965, Alwine von Valencay in Jean Anouilh‘s „Leben wie die Fürsten” 1966 (directed by Helmut Käutner) and Laura Manulescu in „Des Rätsels Lösung“ 1966 (with Ivan Desny) 1967 Journey to India Relocation to Ticino (Switzerland) Film shootings in Prague, Gräfin Nettelburg in the TV film „Till Eulenspiegel“ (with Helmut Lohner) Meets dissidents of the later Prague Spring and starts critical questioning the own role in her life Separation from Max Lüscher Turns to fine art as an autodidact and takes the former studio of Hans Arp in Locarno 1967 - 1972 Works with fire and with cigarette stubs Contact to artists of the Nouveau Réalisme www.ingeborgluescher.com 1969 Travels to New York, meets Tiny Duchamp, Christo and Andy Warhol Discovers the hermit Armand Schulthess at Onsernone Valley (Switzerland), starts the photographic documentation of his encyclopedic forest („Der größte Vogel kann nicht fliegen.
    [Show full text]
  • Documenta 5 Working Checklist
    HARALD SZEEMANN: DOCUMENTA 5 Traveling Exhibition Checklist Please note: This is a working checklist. Dates, titles, media, and dimensions may change. Artwork ICI No. 1 Art & Language Alternate Map for Documenta (Based on Citation A) / Documenta Memorandum (Indexing), 1972 Two-sided poster produced by Art & Language in conjunction with Documenta 5; offset-printed; black-and- white 28.5 x 20 in. (72.5 x 60 cm) Poster credited to Terry Atkinson, David Bainbridge, Ian Burn, Michael Baldwin, Charles Harrison, Harold Hurrrell, Joseph Kosuth, and Mel Ramsden. ICI No. 2 Joseph Beuys aus / from Saltoarte (aka: How the Dictatorship of the Parties Can Overcome), 1975 1 bag and 3 printed elements; The bag was first issued in used by Beuys in several actions and distributed by Beuys at Documenta 5. The bag was reprinted in Spanish by CAYC, Buenos Aires, in a smaller format and distrbuted illegally. Orginally published by Galerie art intermedai, Köln, in 1971, this copy is from the French edition published by POUR. Contains one double sheet with photos from the action "Coyote," "one sheet with photos from the action "Titus / Iphigenia," and one sheet reprinting "Piece 17." 16 ! x 11 " in. (41.5 x 29 cm) ICI No. 3 Edward Ruscha Documenta 5, 1972 Poster 33 x 23 " in. (84.3 x 60 cm) ICI /Documenta 5 Checklist page 1 of 13 ICI No. 4 Lawrence Weiner A Primer, 1972 Artists' book, letterpress, black-and-white 5 # x 4 in. (14.6 x 10.5 cm) Documenta Catalogue & Guide ICI No. 5 Harald Szeemann, Arnold Bode, Karlheinz Braun, Bazon Brock, Peter Iden, Alexander Kluge, Edward Ruscha Documenta 5, 1972 Exhibition catalogue, offset-printed, black-and-white & color, featuring a screenprinted cover designed by Edward Ruscha.
    [Show full text]
  • Clarissa Ricci Towards a Contemporary Venice Biennale: Reassessing the Impact of the 1993 Exhibition
    Journal On Biennials Why Venice? Vol. I, No. 1 (2020) and Other Exhibitions Clarissa Ricci Towards a Contemporary Venice Biennale: Reassessing the Impact of the 1993 Exhibition Abstract This paper argues that Cardinal Points of Art, directed by Achille Bonito Oliva has been decisive in the formation of the contemporary Venice Biennale. The 45th Venice Biennale, (1993) was memorable for many reasons: the first exhibi- tion of Chinese painters in Venice, its transnational approach, and because it was the last time the Aperto exhibition was shown. Nevertheless, this was a complex and much criticised Biennale whose specific characteristics are also connected to the process of reform that the institution had been undergoing since the 1970s. The analysis of the exhibition starts with the examination of this legacy and continues by questioning Bonito Oliva’s curatorial contribution in order to define the specific features which helped to shape the contemporary Venice Biennale. Keywords Venice Biennale, Aperto, 1993, Achille Bonito Oliva, Nomadism, Coexistence, Contemporaneity OBOE Published online: September 16, 2020 Journal On Biennials and Other Exhibitions To cite this article: Clarissa Ricci, “Towards a Contemporary Venice Biennale: Reassessing the Impact of the 1993 Exhibition”, OBOE Journal I, no. 1 (2020): ISSN 2724-086X 78-98. oboejournal.com To link to this article: https://doi.org/10.25432/2724-086X/1.1.0007 Journal On Biennials Why Venice? Vol. I, No. 1 (2020) and Other Exhibitions Towards a Contemporary Venice Biennale: Reassessing the Impact of the 1993 Exhibition¹ Clarissa Ricci Introduction The format of today’s Venice Biennale is the result of a long intellectual and polit- ical negotiation.
    [Show full text]
  • 2.3 Curating Biennales
    2 Curating 61 2.3 Curating Biennales This section will examine the emergence of the professional profile of the biennale curator as they exist today. The goal will be to highlight several seminal moments in its development, in order to show the challenges and debates that define it. The focus in this section is on Documenta in Kassel, because it has been a site for many important developments in biennale curating, but also because it illustrates how many different factors—geopolitics, art history, global vs local—are brought to- gether and negotiated through curatorial practice. The section will focus on three particularly important editions of documenta, each significant for its own reasons. The first section will examine the inaugural Documenta in 1955, and thedebates around Harald Szeemann’s Documenta in 1972, and the second section will exam- ine Enwezor’s Documenta 11 in 2002. Each will focus on different parts of what make up biennale curatorship, though of course it being the same festival, there are certain threads that flow through all of the editions. 2.3.1 DocumentaV Documenta was originally established in 1955 by professor and exhibition-designer Arnold Bode. The exhibition was put on with the intention of repudiating the Nazi- era branding of modernism as degenerate art (Entartete Kunst), and reintegrating Germany with avant-garde artistic movements, in an attempt to modernize and move forward after the trauma of war. Bode’s inspiration came from his visit to the Venice Biennale of 1954, demonstrating the importance of Venice as a site for the dissemination of the biennale model (Wallace 2011, 5).
    [Show full text]
  • Documenta 5 : 30
    documenta 5 : 30. Juni bis 8. Oktober 1972 June 30 - October 8, 2007 CHECKLIST Artwork Art & Language. Alternate Map for Documenta (Based on Citation A) / Documenta Memorandum (Indexing). offset-printed ; 28.5 x 20 in. ; black-and-white ; edition unknown. unsigned and unnumbered ; Köln, Germany : Paul Maenz, 1972. Two-sided poster produced by Art & Language in conjunction with Documenta 5. Poster credited to Terry Atkinson, David Bainbridge, Ian Burn, Michael Baldwin, Charles Harrison, Harold Hurrrell, Joseph Kosuth, and Mel Ramsden. Reference: Charles Harrison, Essays on Art & Language. MIT Press, Cambridge, MA, 2001, pp. 63 - 81. Steven Leiber, "Extra Art." Smart Art Press, Santa Monica, CA, 2001, pp. 60 - 61. Paul Maenz and Germano Celant, Paul Maenz : Köln 1970 - 1975. Paul Maenz, Köln, Germany, pp. 48. Good / Very Good. Yellowing newsprint, folded in eight. [Object # 9812] $450.00 Joseph Beuys. Rose for Direct Democracy. 33.5 x 5 x 5 cm. ; edition 440 signed and numbered copies (plus unlimited unsigned and numbered copies). signed and numbered ; Heidelberg, Germany : Edition Staeck, 1973. A graduated glass measuring cylinder with incised texts and certificate on the letterhead of "Organisation for Direct Democracy through referendum," with rubber-stamping, numbering and signature of Beuys. A similar glass (without the incised text) was in the permanent political office on Beuys' desk during Documenta 5. Reference #71 in Jörg Schellmann and Bernd Klüser, Joseph Beuys : The Multiples. Busch-Reisinger Museum, Harvard University Art Museums, Cambridge ; Walker Art Center, Minneapolis ; Edition Schellmann, Munich & New York, pp. 103, 441. Fine. This copy SIGNED and NUMBERED by Beuys on certificate. [Object # 9824] $3,500.00 Joseph Beuys.
    [Show full text]
  • 001 Ingeborg Lüscher 002 Etienne Szeemann 005 Laurent Szeemann 004 Julie Szeemann 005 Valerie Szeemann 006 Role Szeemann 007 Do
    001 INGEBORG LÜSCHER 029 ANNELIESE HARTLEB 056 AMMA POESCHMANN 002 ETIENNE SZEEMANN 050 RUTH FALAZIK 057 PASQUALINA BAZZANA 005 LAURENT SZEEMANN 051 DAGMAR FALAZIK 058 MICKY THOMKINS 004 JULIE SZEEMANN 052 ANTJE VON GRAEVENITZ 059 XANTI SCHAWINSKY 005 VALERIE SZEEMANN 055 JOSY KRAFT 060 GISELA SCHAWINSKY 006 ROLE SZEEMANN 054 AGATHE MÜLLER 061 WILLY ROTZLER 007 DORIS SZEEMANN 055 MARIANNE KRUGIER 062 CARLO PIROVANO 008 MARIANNE VON LICHTNECKERT 056 JAN KRUGIER 065 MASS1MO ZELLMANN 009 CAROLA BENNINGHOVEN 057 DOMINIK KELLER 064 ARMANDO DADÖ 010 GANDRIA 058 RITA BANHOLZER 065 PIERO CANERI 011 BFA HEGNAUER 059 MADELEINE STICKLER 066 BERT SOMMER 012 MAX WIDERKEHR 040 HORST LOCH 067 ERICA GYSLING-BILLETER 015 BEATRICE CADALBERT 041 PETER BISSEGGER 068 EMMANUEL HÜRWITZ 014 LISSl DARUGAR 042 CORNELIA SPILGER 069 OTHMARBIRKNER 015 GITTY DARUGAR 045 BETIILI BISSEGGER 070 NICOLETTA BIRKNER 016 DONA DE CARLI 044 RINALDO BIANDA 071 MICHAEL LÖFFLER 017 CHRISTOPH ZÜRCHER 045 GIANFREDO CAMES1 072 SIL SCHM1D 018 ESTHER DE ROSSA 046 ANGELA CAMESI 075 IVAN RUPERTI 019 FILIPPO DE ROSSA 047 THEO KNEUBÜHLER 074 URSULA EULER 020 ERNESTA ZURINI 048 YVONNE TEMPELMANN 075 FELIX HANDSCHIN 021 EGIDIA ZURINI 049 BALTHASAR BURKHARD 076 JÖRG HANSSEN 022 GIANNI MUMENTHALER 050 CHRISTINA GÄRTNER 077 CARLA PIFFARETTI 025 PETER HEIM 051 MARIA-OTTILIA MALUSCHEK 078 UGO DOSSI 024 DANIELE HEIM 052 HANS BOLLIGER 079 BERTHILD ROLLMANN 025 GERTRUD MERZ 055 ANNEMARIE BOLLIGER 080 MICHEL 026 WALDTRAUT LAUER 054 ARIANE BOLLIGER 081 ROSEMARIE KILLIUS 027 FRITZ GERBER 055 GUDRUN
    [Show full text]
  • Joseph Beuys Think. Act. Convey
    March 3, 2021 Belvedere 21 Arsenalstraße 1 1030 Vienna Opening hours: Tuesday to Sunday, 11 am to 6 pm Monday only open on holidays only Press downloads: belvedere.at/en/press Press contact: Alexandra Guth Désirée Schellerer +43 664 800 141 303 [email protected] [email protected] Portrait of Joseph Beuys (1921-1986), Paris, 1985, Photo: Laurence Sudre / Bridgeman Images JOSEPH BEUYS THINK. ACT. CONVEY. March 4 to June 13, 2021 Beuys in Vienna: a trenchant monographic show will mark the centenary of Joseph Beuys’s birth in May of this year. The exceptional artist fundamentally changed art after 1945 and developed the definition of the expanded concept of art. In this comprehensive exhibition, the Belvedere 21 is showing major works by Joseph Beuys and revealing his connections with Vienna. CEO Stella Rollig: “Exhibiting Joseph Beuys also provides an opportunity to critically analyze the traditional role of the museum and one’s own work there. Beuys’s ecological understanding, the aspect of participation, and the aim to address an unlimited audience are all very topical and of existential importance for the museum as an institution, both now and in the future.” Throughout his life, Joseph Beuys’s credo was to see art as working on society, a task that was everyone’s responsibility. People should be involved in the process of improving society in and through his art. Beuys’s statement “Everyone is an artist” exemplifies his expanded concept of art and idea of social sculpture. Beuys’s principle was that art should have an impact on a social, political, spiritual, and scientific level and hence be an integral part of our thoughts and actions.
    [Show full text]
  • Front Matter
    Falling from the Grip of Grace The Exhibition as a Critical Form since 1968 Dissertation Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy in The Graduate School of The Ohio State University By James T. Voorhies, Jr. Graduate Program in History of Art The Ohio State University 2012 Dissertation Committee: Professor Aron Vinegar, Advisor Professor Lisa Florman Professor Ron Green Bill Horrigan ! ! ! ! ! ! ! ! ! ! ! ! ! Copyright by James T. Voorhies, Jr. Summer 2012 ! Abstract Falling from the Grip of Grace is an analysis of the exhibition as a critical form of art with special consideration to the role of the spectator. It charts a history of exhibitions from 1968 to the present to explore how we arrived at a moment when critical art faces many challenges, not least of which is competing with the art institutions that give it voice. It is the first sustained study to critically analyze connections between late- Modernist artistic strategies engaged with the exhibition form and subsequent dispersal of those strategies into curatorial practices at major institutions and biennials. Artists such as Robert Smithson, Michael Asher and Group Material initially expanded the spectator’s involvement in art to encompass the spatial and temporal contexts of the exhibition. This change signaled a definitive fall from the modernist aesthetic regime of pure visuality, or state of “grace” to use Michael Fried’s term, by placing greater emphasis on integrating engagements between art, spectator and institution. This dissertation interweaves the legacy of work by these artists and that of curator Harald Szeemann to examine contemporary art, institutions and biennials that involve the spectator in exhibition-making processes.
    [Show full text]
  • When Attitudes Become Form – Bern 1969/Venice 2013,” First Published in Eva Kernbauer (Ed.): Kunstgeschichtlichkeit
    documenta studies #7 July 2019 *This essay is a full and slightly revised BEATRICE VON BISMARCK translation from the German original “Der Teufel trägt Geschichtlichkeit oder im Look der Provokation: When Attitudes Become Form – Bern 1969/Venice 2013,” first published in Eva Kernbauer (ed.): Kunstgeschichtlichkeit. The Devil Wears Historizität und Anachronie in der Gegenwartskunst, Paderborn 2015, pp. 233- 248. A much abridged and modified version of the text appeared as “Exhibiting Performances. Historicity Process and Valorization in When Attitudes Become Forms—Bern 1969 / Venice 2013” in: Dena Davida, Mark Pronovost, Véronique Hudon, Jane Gabriels (eds.): Curating Live Arts. or,The Look of Critical Perspectives, Essays and Conversations on Theory and Practice, New York/Oxford 2018, Provocation: pp. 29-37. When Attitudes Become Form– Bern 1969/ Venice 2013* On Exhibitionary Voguing. Editorial by Nanne Buurman I The touring exhibition was developed out of the materials from the Harald Szeemann Recent years have seen not only attempts to institute exhibition history archive, acquired in 2011 by the Getty Research as a branch of art history but also a major trend towards the restaging, Institute from his widow Ingeborg Lüscher. I would like to express my deepest gratitude to redoing, and reenactment of historical art exhibitions. Last year, for her and to special collections archivist (now instance, the Getty Research Institute put together an ambitious assistant curator for modern and contemporary art) Pietro Rigolo for sharing with me on several exhibition on Harald Szeemann’s life and work that travelled from Los occasions their insights into the process of Angeles via Bern and Düsseldorf to Turin and will reach the end of its archiving and exhibiting Szeemann’s legacy.
    [Show full text]
  • Centre Pompidou-Metz Exhibitions in 2018-2019
    Press Release Centre Pompidou-Metz exhibitions in 2018-2019 From October, Centre Pompidou-Metz will present the exhibition Painting the Night devoted to a central theme of art history which has never ceased to inspire artists. The exhibition proposes to plunge the visitor into modern and contemporary painting, with a presentation in a space of around two thousand square metres transforming the spectator into a night bird leading him from giddiness to vertigo: vertigo of the senses, of reason, cosmic vertigo. Night, both a refuge and a window open onto the universe, appears to be a territory and a temporality to be explored, for anyone choosing to remain awake. Taking several directions (“Painting the Night” does it not mean Press contacts both to represent night and to paint at night?), the exhibition assembles Centre Pompidou-Metz over 200 works of artists from the XX and XXI centuries, major figures, but Agathe Bataille also discoveries or rediscoveries, as well as some large installations which Head of Publics and Communications redefine the notion of painting today. We will come across the painters of 00 33 (0)3 87 15 39 83 the nights of the années folles as well as the great insomniacs of the XX [email protected] century, the dreamers for whom the night was their medium, the painters Marion Petit for whom night was an abstraction without any limits, or even the attempts Communication officer by contemporary artists to grasp that intangible substance which the night 00 33 (0)3 87 15 52 76 [email protected] is made of.
    [Show full text]
  • Pumping Honey: Joseph Beuys at the Documenta 6’,In De/Constituting Wholes: Towards Partiality Without Parts, Ed
    https://doi.org/10.37050/ci-11_09 ARND WEDEMEYER Pumping Honey Joseph Beuys at the documenta 6 CITE AS: Arnd Wedemeyer, ‘Pumping Honey: Joseph Beuys at the documenta 6’,in De/Constituting Wholes: Towards Partiality Without Parts, ed. by Christoph F. E. Holzhey and Manuele Gragnolati, Cultural Inquiry, 11 (Vienna: Turia + Kant, 2017), pp. 177–214 <https://doi.org/10. 37050/ci-11_09> RIGHTS STATEMENT: De/Constituting Wholes: Towards Partiality © by the author(s) Without Parts, ed. by Christoph F. E. Holzhey This version is licensed under a Creative Commons Attribution- and Manuele Gragnolati, Cultural Inquiry, 11 ShareAlike 4.0 International License. (Vienna: Turia + Kant, 2017), pp. 177–214 The ICI Berlin Repository is a multi-disciplinary open access archive for the dissemination of scientific research documents related to the ICI Berlin, whether they are originally published by ICI Berlin or elsewhere. Unless noted otherwise, the documents are made available under a Creative Commons Attribution-ShareAlike 4.o International License, which means that you are free to share and adapt the material, provided you give appropriate credit, indicate any changes, and distribute under the same license. See http://creativecommons.org/licenses/by-sa/4.0/ for further details. In particular, you should indicate all the information contained in the cite-as section above. PUMPING HONEY Joseph Beuys at the documenta 6 Arnd Wedemeyer Arnd Wedemeyer Pumping Honey In 1745, Frederick II, future Landgrave of Hesse-Cassel, having mar- ried into the British royal family, took an army of 6000 soldiers over- seas in order to suppress the Jacobite uprising in Scotland.
    [Show full text]