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Antagonism and Relational Aesthetics Author(S): Claire Bishop Source: October, Vol
Antagonism and Relational Aesthetics Author(s): Claire Bishop Source: October, Vol. 110 (Autumn, 2004), pp. 51-79 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/3397557 Accessed: 19/10/2010 19:54 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=mitpress. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to October. http://www.jstor.org Antagonism and Relational Aesthetics CLAIRE BISHOP The Palais de Tokyo On the occasion of its opening in 2002, the Palais de Tokyo immediately struck the visitor as different from other contemporary art venues that had recently opened in Europe. -
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. -
Press Pierre Huyghe Purple Diary, 2011
MARIAN GOODMAN GALLERY Pierre Huyghe By Oliver Zahm and Ari Marcopoulos (2011) Pierre Huyghe is one of the most important artists to emerge out of the French scene of the ’90s. Back then his agenda was to introduce the vocabulary of cinema — casting, acting, production, editing — into an art context. Combining public performance and video projections, Huyghe presents a multifaceted visual experience that creates an existential tension between reality and fiction. I met him in New York to talk about his film, The Host and the Cloud, his 20 years of experimenting with different art forms, and his collaborations with other artists. OLIVIER ZAHM — Here we are in New York City. What’s your history with this city, Pierre? pierre huyghe — I first came here in the early ’80s, when I was 21, for an exhibition with the Ripoulin Brothers at Tony Shafrazi’s gallery. Warhol was there. I was hanging around with Keith Haring. I met Jean Michel Basquiat. It was a pretty big deal, coming into the art world this way, through this door, but it wasn’t mine yet. OLIVIER ZAHM — You’re one of the few French artists of your generation who have moved across the Atlantic. What’s kept you in New York? PIERRE HUYGHE — In the beginning it was because I was invited to do shows here. I stayed because I love this city and I found the situation in France limiting. I’ve always liked the idea of being able to lose myself, and I could no longer do that in Paris, physically, intellectually, or emotionally. -
Superflex Keynote Speech: If Value, Then Copy*
Superflex Keynote Speech: If Value, Then Copy* INTRODUCTION TO SUPERFLEX Good afternoon, I hope that you are enjoying your meal and I thank the waiters and waitresses who are serving us, and the cooks in the back. Good afternoon, I am Anupam Chander. I am Director of the California International Law Center, and I am a law professor here at UC Davis. I am speaking to you on behalf of Mario Biagioli and Madhavi Sunder, my colleagues at the University of California, Davis, and also on behalf of the UC Davis Law Review. I welcome you to a keynote address for our conference titled “Brand New World: Discovering Oneself in the Global Flow.” We are delighted today to welcome Rasmus Nielsen of the internationally renowned artist-group called “Superflex.” Based in Copenhagen, Denmark, Superflex consists of Jakob Fenger, Bjørnsterne Christiansen, and Rasmus who have been collaborating together since 1993. It is hard to do justice to the work of Superflex as the range of their work is nothing less than astonishing, from creating a brand of power-drinks for an Amazonian tribe in Brazil to a television series in Vietnam on Dutch Pirates of the seventeenth century who stole a * Transcript of keynote speech by Rasmus Nielsen at the UC Davis Law Review’s Brand New World symposium, UC Davis School of Law, October 4, 2012. 735 736 University of California, Davis [Vol. 47:735 treasure trove of Southeast Asian porcelain. As you can see, even the geographic scope of their work is dazzling. Their work is in collections and exhibitions across the world from Beijing and Tokyo to Europe and California. -
Actualisation of Space: the Case of Oda Projesi
10 2004 Actualisation of Space: The Case of Oda Projesi Maria Lind A long, highceilinged room with small trees in boxes in the middle. The walls are punctuated by doors and windows, on all three storeys of the building. Here and there shoes are outside the doors and you glimpse curtains through the windows. One or two pushchairs are parked beside the shoes. Daylight floods the space through a glass ceiling and also filters it through the glass on the short sides of the room. If it weren't for the shoes and the pushchairs you might think of a hospital, or even an Americanstyle prison. In the middle of the room a group of men play Turkish music on instruments, others dance. A little girl, dressed in yellow, attracts attention to herself as she dances an elegant solo. Tinkles of laughter. Suddenly a roll of paper is dropped from a balcony, winding down like a great snake, and some children begin to draw on it. The location is a passage and a gathering place in Galeriahaus, a block of flats in Messestadt Riem in the outskirts of Munich. The occasion is one of many modest events that Oda Projesi organised during their visit there in spring 2003. Just as the name indicates ('oda' means room/space and 'projesi' project in Turkish), the point of departure of Oda Projesi's work is space; how one can create and recreate different places and spatial situations through using them in a number of different ways. For example, how, together with various groups of people, can you find new functions for a public space such as a square? Or an empty space in a flat? Or an architectdesigned passage like the atrium in Galeriahaus, which was closed by the authorities to nonresidents and forbidden as a play area? The three artists, Özge Acikkol, Gunes Savas and Secil Yersel, have been working together since 1997. -
Towards a Politics of (Relational) Aesthetics by Anthony Downey
This article was downloaded by: [Swets Content Distribution] On: 8 February 2009 Access details: Access Details: [subscription number 902276281] Publisher Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Third Text Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t713448411 Towards a Politics of (Relational) Aesthetics Anthony Downey Online Publication Date: 01 May 2007 To cite this Article Downey, Anthony(2007)'Towards a Politics of (Relational) Aesthetics',Third Text,21:3,267 — 275 To link to this Article: DOI: 10.1080/09528820701360534 URL: http://dx.doi.org/10.1080/09528820701360534 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Third Text, Vol. 21, Issue 3, May, 2007, 267–275 Towards a Politics of (Relational) Aesthetics Anthony Downey 1 The subject of aesthetics The aesthetic criteria used to interpret art as a practice have changed and art criticism has been radically since the 1960s. -
Art and the Crisis of the European Welfare State Addresses Contemporary Art in the Context of Changing European Welfare States
UNIVERSITY OF CALIFORNIA, SAN DIEGO No Such Thing as Society: Art and the Crisis of the European Welfare State A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Art History, Theory and Criticism by Sarah Elsie Lookofsky Committee in charge: Professor Norman Bryson, Co-Chair Professor Lesley Stern, Co-Chair Professor Marcel Hénaff Professor Grant Kester Professor Barbara Kruger 2009 Copyright Sarah Elsie Lookofsky, 2009 All rights reserved. The Dissertation of Sarah Elsie Lookofsky is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Co-Chair Co-Chair University of California, San Diego 2009 iii Dedication For my favorite boys: Daniel, David and Shannon iv Table of Contents Signature Page…….....................................................................................................iii Dedication.....................................................................................................................iv Table of Contents..........................................................................................................v Vita...............................................................................................................................vii Abstract……………………………………………………………………………..viii Chapter 1: “And, You Know, There Is No Such Thing as Society.” ....................... 1 1.1 People vs. Population ............................................................................... 2 1.2 Institutional -
Relational Aesthetics: Creativity in the Inter-Human Sphere
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2019 RELATIONAL AESTHETICS: CREATIVITY IN THE INTER-HUMAN SPHERE Carl Patow VCU Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Interactive Arts Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/5756 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. Carl A. Patow 2019 All Rights Reserved Relational Aesthetics: Creativity in the Inter-Human Sphere A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Art at Virginia Commonwealth University. By Carl Patow BA Duke University, Durham, NC 1975 MD University of Rochester, Rochester, NY 1979 MPH Johns Hopkins University, Baltimore, MD 1996 MBA University of St. Thomas, Minneapolis, MN 2007 Committee: Pamela Taylor Turner Associate Professor Kinetic Imaging, VCU Arts Stephanie Thulin Assistant Chair and Associate Professor Kinetic Imaging, VCU Arts John Freyer Assistant Professor of Cross Disciplinary Media Photography and Film, VCU Arts Virginia Commonwealth University Richmond, Virginia May 2, 2019 2 Acknowledgement The author wishes to thank my wife, Sue, for her love, encouragement and patience as I fulfilled this life-long dream of a master’s in fine arts degree. I would also like to thank the faculty members of the Department of Kinetic Imaging at VCU for their guidance and inspiration. Pam Turner, Stephanie Thulin and John Freyer, my committee members, were especially helpful in shaping my thesis and artwork. -
PHILIPPE PARRENO Lives and Works in Paris, France Education
PHILIPPE PARRENO Lives and works in Paris, France Education 1983 – 1988 École des Beaux-Arts, Grenoble, France 1988 – 1989 Institut des Hautes Etudes en arts plastiques, Palais de Tokyo, Paris Selected Solo Exhibitions 2019 “Philippe Parreno: A Manifestation of Objects,” Watari Museum of Contemporary Art, Tokyo “Echo,” Museum of Modern Art, New York “Displacing Realities,” LVMH Venice, Venice, Italy “Philippe Parreno,” Gladstone Gallery, New York 2018 “My Room is Another Fish Bowl,” Tensta Konsthall, Stockholm, Sweden “Philippe Parreno,” Pilar Corrias Gallery, London “Philippe Parreno,” Martin-Gropius-Bau, Berlin “Philippe Parreno: Two Automatons for One Duet (My Room Is Another Fish Bowl, 1996–2016, and With a Rhythmic Instinction to Be Able to Travel beyond Existing Forces of Life, 2014),” Art Institute of Chicago, Chicago 2017 “La Levadura y el Anfitrión,” Museo Jumex, Mexico City “Philippe Parreno: Synchronicity,” Rockbund Art Museum, Shanghai, China “Philippe Parreno,” Museu de Arte Contemporânea de Serralves, Porto, Portugal 2016 “Philippe Parreno: Thenabouts,” Australian Center for the Moving Image, Melbourne, Australia “Anywhen,” Hyundai Commission 2016, Turbine Hall, Tate Modern, London “My Room is Another Fish Bowl, The Brooklyn Museum, New York “IF THIS THEN ELSE,” Gladstone Gallery, New York 2015 “H{N)YPN(Y}OSIS,” Park Avenue Armory, New York “Hypothesis,” HangarBicocca, Milan, Italy 2014 “Quasi Objects,” Esther Schipper, Berlin “With a Rhythmic Instinction to be Able to Travel Beyond Existing Forces of Life,” Pilar Corrias, -
SUPERFLEX Formed in 1993 by Bjørnstjerne Reuter Christiansen
SUPERFLEX Formed in 1993 by Bjørnstjerne Reuter Christiansen, Jakob Fenger, Rasmus Nielsen. The Danish artist group SUPERFLEX has been working since 1993 on a series of projects to do with economic forces, democratic production conditions and self-organisation. With a diverse and complex practice that engages art, design, commerce and economic structures of dependency, the Copenhagenbased artists collective Superflex challenges the role of artists in contemporary society and explore the nature of globalization through ongoing collaborative projects. Bjørnstjerne Reuter Christiansen born 1969 Jakob Fenger born 1968 Rasmus Nielsen born 1969 Work and live in Copenhagen, Denmark & Sweden Education The Royal Academy of Fine Art in Copenhagen Solo exhibitions (selected) 2014 The Corrupt Show and The Speculative Machine, The Jumex Foundation, Mexico City, MX Superflex, Kunsthal Charlottenborg, Copenhagen 2013 Mærsk – The Opera, Horsens Art Museum, Horsens, DK 2012 7th Liverpool Biennial, Liverpool, GB Kuh, Thyssen-Bornemisza Art Contemporary, Vienna, AT Reprototypes, Triangulations and Road Tests – w. Simon Starling, Thyssen-Bornemisza Art Contemporary, Vienna, AT Prouvé in Africa / Bent, Pressed, Compressed, Welded, and then Copied, Musée d’Art Moderne, St-Etienne, FR Bankrupt Banks, Peter Blum, New York, US Modern Times Forever, 1301PE Gallery, Los Angeles, US Flooded McDonald’s, The Cube, Taipei, Taiwan 2011 COPY LIGHT – MODERN TIMES FOREVER, Galerie Jeusse Entreprise, Paris, FR Flooded McDonalds, Museum der Westkünste, Alkersum/Föhr, D Foreigners, -
LIAM GILLICK Born 1964, Aylesbury, U.K. Lives and Works in New York City
LIAM GILLICK Born 1964, Aylesbury, U.K. Lives and works in New York City. EDUCATION 1983/84 Hertfordshire College of Art 1984/87 Goldsmiths College, University of London, B.A. (Hons.) AWARDS 1998 Paul Cassirer Kunstpreis, Berlin. 2002 Turner Prize Nomination, Tate, London. 2008 Vincent Award Nomination, Stedelijk Museum, Amsterdam ONE-PERSON EXHIBITIONS 12/89 84 Diagrams, Karsten Schubert Ltd, London. 1/1991 Documents (with Henry Bond), Karsten Schubert Ltd, London. 3/1991 Documents (with Henry Bond), A.P.A.C., Nevers. 12/1991 Documents (with Henry Bond), Gio’ Marconi, Milan. 8/1992 McNamara, Hog Bikes and GRSSPR, Air de Paris, Nice. 6/1993 Documents (with Henry Bond), CCA, Glasgow. 11/1993 An Old Song and a New Drink (with Angela Bulloch), Air de Paris, Paris. 6/1994 McNamara, Schipper & Krome, Köln. 9/1994 Documents (with Henry Bond), Ars Futura, Zurich. 11/1994 Liam Gillick, Interim Art, London. 5/1995 Ibuka! (Part 1), Air de Paris, Paris. 6/1995 Ibuka! (Part 2), Kunstlerhaus, Stuttgart. 9/1995 Ibuka!, Galerie Emi Fontana, Milan. 11/1995 Part Three, Basilico Fine Arts, New York. 12/1995 Documents (with Henry Bond), Kunstverein ElsterPark, Leipzig. 3/1996 Erasmus is Late ‘versus’ The What If? Scenario, Schipper & Krome, Berlin. 4/1996 Liam Gillick, Raum Aktuelle Kunst, Vienna. 4/1996 The What If? Scenario, Robert Prime, London. 6/1996 Documents (with Henry Bond), Schipper & Krome, Köln. 1/1997 Discussion Island, Basilico Fine Arts, New York. 2/1997 Discussion Island - A What if? Scenario Report, Kunstverein, Ludwigsburg. 3/1997 A House in Long Island, Forde Espace d’art contemporain, L’Usine, Geneva. -
Artist Philippe Parreno Orchestrates Monumental Multi-Sensory Installation at Park Avenue Armory This June
Artist Philippe Parreno Orchestrates Monumental Multi-Sensory Installation At Park Avenue Armory this June Featuring new and reconfigured work as well as live performances by pianist Mikhail Rudy, exhibition marks the French artist’s first major New York show and largest project in the U.S. to date New York, NY—March 5, 2015—For his largest exhibition in the U.S. to date, Philippe Parreno constructs a multi- sensory journey within the monumental interior of Park Avenue Armory’s Wade Thompson Drill Hall—guiding and manipulating the audience’s experience through the spectral presence of sound and light. H {N)Y P N(Y} OSIS transforms the traditional exhibition experience into a scripted series of rotating events, incorporating new and re- mastered films and objects with live performances by pianist Mikhail Rudy and recorded sound that respond to the Armory’s expansive 55,000-square-foot space. Choreographed together, these works form an all encompassing and perpetually evolving artistic composition of operatic proportions. On view at the Armory from June 9 through August 2, 2015, H {N)Y P N(Y} OSIS (pronounced hypnosis) is commissioned by Park Avenue Armory and co-curated by Hans-Ulrich Obrist and Alex Poots, with consulting curator Tom Eccles. In addition to live music, the exhibition features recorded sound by Nicholas Becker and set design by Randall Peacock. “The Armory enables contemporary artists across genres to achieve their most ambitious visions, unconstrained by traditional settings. Philippe’s work in particular demands and thrives on this sort of creative freedom. His work radically redefines the exhibition ritual, transforming it from a series of individual works and experiences into a single unified event that interacts with and responds to our soaring drill hall,” said Rebecca Robertson, President and Executive Producer of Park Avenue Armory.