Crafting Exhibitions Crafting Exhibitions 评价人数不足

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2018-04-06 04:58:52

1. By showing different modes of working with exhibiting, I hope the book can contribute to a rethinking and revitalization of the exhibition format within the field of crafts

2. Renowed curators from the early days of curatorial discourse were Harald Szeemann, Walter Hopps, Pontus Hulten and Seth Siegelaub. With these independent exhibition makers, each with his own particular curatorial signature, the ‘exhibition form’ was reflected on the and ‘treated as a medium in and of itself’.

Szeemann’s exhibition Live in Your Head: When Attitudes become Form (Works – Concepts – Process – Situations – Information) at Kunsthalle Bern in 1969

Here a great number of artworks were grouped together to serve a narrative that Szeemann had conceptualized, making the works appear as sharing artistic interests and c

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1. By showing different modes of working with exhibiting, I hope the book can contribute to a rethinking and revitalization of the exhibition format within the field of crafts

2. Renowed curators from the early days of curatorial discourse were Harald Szeemann, Walter Hopps, Pontus Hulten and Seth Siegelaub. With these independent exhibition makers, each with his own particular curatorial signature, the ‘exhibition form’ was reflected on the and ‘treated as a medium in and of itself’.

Szeemann’s exhibition Live in Your Head: When Attitudes become Form (Works – Concepts – Process – Situations – Information) at Kunsthalle Bern in 1969

Here a great number of artworks were grouped together to serve a narrative that Szeemann had conceptualized, making the works appear as sharing artistic interests and concerns and thus belonging to an art historical tendency.

3. Before the curator emerged as an independent agent introducing an individual narrative, the narrative in an exhibition was presented as an authoritative truth.

The emergence of the freelance curator thus implies that there are no absolute truths about art or the world, and there can only be suggestions. We could also say that new truths are produced through curating

4. The Bauhaus school dismantled distinctions between fine art and craft and placed intellectual and artistic pursuits on the same level as the acquisition of manual skills.

5. Medium focuses on what it has to say about itself and what it has not said yet. The definition of a painter might be ‘what a painter has not done, yet’. If we consider the exhibition as a medium in its own right, one definition of it could be ‘what an exhibition maker has not done, yet” Exhibition could be described as formats relying on experimentation, in the same way as any medium relies in experimentation.

6. Anton Vidokle,s manifesto ‘Art without exhibitions’ reveals artist’s growing scepticism towards the prominence of the exhibition(along with the curator)in the field of contemporary art: On a certain level I think that art is primarily a public, social thing, some-thing that moves between people. I'm not very interested in exhibitions these days. In part, this may be caused simply by an exhaustion brought about by an over-proliferation of shows. We are living in a time of an unprecedented expansion in the amount of exhibitions of contemporary art. On a more intimate level I feel that art needs other contexts to enter the lives of people, beyond being displayed in an exhibition. This is because much of artistic practice has become largely identical with everyday life activity and objects and exhibitions today are almost an exclusive context in which something can be recognized as art, making it seem that it is actually the exhibitions that produce art. But this is not true. Art is produced by artists. As an artist, the current condition feels very alienating. So I have been trying to find other ways in which art can circulate and enter social space beyond exhibitions.

7. I think this fact is largely overlooked by artists who favour the white cube; it seemingly interrupts the ‘pristine signal’ less than any other form of presentation. Today's conservators understand that an objects original appearance may no longer be a realistic or even desirable goal, and that a single moment, that of the creation, doesn’t speak for the entirety of the objects history. Conservators recognize that they are equally responsible for preserving the so-called 'crude signals' that are determined by users and cultures to whom an object belongs. This totality of meaning and history constitutes what conservators today call the conservation object, which exists and extends beyond the object's material properties. This raises questions that conservators, artists and curators must all grapple with: Are the fragmenting, cross-linking and intermingling changes and transformations that interfere with the artist's intentions (as a result of the artwork’s social life), good things, or things to be avoided? How do we reconcile the agency of objects (again, their social life) with preserving such a variable and capricious quality as integrity? As Castriota puts it: Are all objects endowed with meaning inherently unstable?... Do objects or their meanings wish to be kept fixed, static or whole; or should we embrace change and their tendency to equilibrate, as part of their dynamic objecthood?

8. The relationship between artists and curators, I believe, is fragileand complicated precisely because of the question of authorshiresults in deadlock: the artwork. the idea or the object is arrested byThisonditions that do not allow it to operate as a thing in itself, only as aninstrument to be controlled by ownership.

9. I quote Stephen Wright.

The autonomous sphere was seen as a place where art was free from the overcodes of the general economy and the utilitarian rationality of market society-and as such, something to be cherished and protected. This realm of autonomy was never supposed to be a comfort zone, but the place where art could develop audacious, scandalous, seditious works and ideas -which it set about doing. However, autonomous art came at a cost-one that for manyhas become too much to bear. The price to pay for autonomy are the invisible parentheses that bracket art off from being taken seriously as a proposition having consequences beyond the aesthetic realm. Art judged by art's standards can be easily written off as just art. Of contemplative valueto people who like that sort of thing, but without teeth. Of course autonomousart has regularly claimed to bite the hand that feeds it; but never very hard

10. This means they were removed from the context for which they were originally intended, which had its own set of functions, rules and conventions. As museum objects, they were first decontextualized from that context, then recontextualized into museum context. What are the consequences of this? Shagerberg's video workall works in the museum collections receives an additional role of a museum object; by virtue of this role, it faces demands and expeations above and beyond that of simply being a work of art.

The world is often unknid to new talent, new creation. The new needs friends.

11.she was concerned about how it entered the dialogue with the room...hunting for the optimal expresion. It was a matter of trial and error, evaluation and renewed attempts.

12. It is presupposed that artists create works based on their own inner motivation and ideas, but it is easier to overlook the fact that each and every museum purchase is also made in order to fit with or develop the profile of the specific museum collection. When an artwork crosses the museum's threshold, it does nso not merely in order to fulfil the artist's intentions, but to support the museum's ambitions for what it wants to be and how it will fulfil its role in society.

Decontextualized, recontextualized, domesticated or ‘localized’

Translator: faithful or intelligible

How is it possible to balance the artwork’s own presence and expression with the exhibition architect’s professional creativity and the story the museum curator wants to tell?

有些评论家(比如Sigrun)觉得museum’s love of contextualization, compositions and forms of presentation was far too steering and disruptive, 但是有些(比如Anne Marthe Dyvi)asserted that the message the museum wanted to put across through its exhibition concept was far too vague

现代艺术:Boris Groys, On the New, art museum creates distance between contemporary artworks and everyday life in a way that enables viewers to see the artworks for what they are; render completely normal things unique, furnishing objects with an additional value that they do not enjoy in everyday life. ‘a difference beyond difference’

The interaction between being perceived as an artwork and as a museum object will add a new dimension to the continusous process surrounding the work’s ‘biography’

A deep historical commitment to craft & open, perhaps even undefined relationship to the concept in the present

Curatorial work is reactive more than expressive

Palette of artists, designers, architects, and executives

13. We were, after all, curating for a mass audience who were not necessarily well-versed in postmodern theory. There seemed little to be gained by making an arch, self-regarding show that eluded its intended visitors.

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