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Papers by Barbara Lutz
Edition Museum, 2022
Transkulturalität zählt zu einem der relevantesten Paradigmen in den Kulturwissenschaften, wenn e... more Transkulturalität zählt zu einem der relevantesten Paradigmen in den Kulturwissenschaften, wenn es um die Beschreibung der Begegnung und des Miteinanders von Kulturen geht. Wenngleich das Paradigma als Theorie in verschiedenen Disziplinen und Diskursen zirkuliert, hat es hinsichtlich seiner Anwendung in der Praxis bislang noch keine umfassende Beachtung erfahren. Anhand einer fundierten praxeologischen Analyse der documenta 12 zeigt Barbara Lutz, wie Transkulturalität für das Kuratieren von Ausstellungen in globalen Zusammenhängen produktiv gemacht werden kann. Sie weist damit den Weg für Museen und andere Ausstellungsinstitutionen, die sich Prozessen der Dekolonialisierung stellen.
The open access version of this book was made possible by the EOSC Future project in February 2024: https://www.transcript-verlag.de/detail/index/sArticle/6011
In recent years, the term global art has become a catchphrase in contemporary art discourses. Goi... more In recent years, the term global art has become a catchphrase in contemporary art discourses. Going beyond additive notions of canon expansion, this volume encourages a differentiated inquiry into the complex aesthetic, cultural, historical, political, epistemological and socio-economic implications of both the term global art itself and the practices it subsumes. Focusing on diverse examples of art, curating, historiography and criticism, the contributions not only take into account (new) hegemonies and exclusions but also the shifting conditions of transcultural art production, circulation and reception.
In: Ever Been Friendzoned by an Institution? Kassel [lumbung press], p. 20-23., 2022
"Ever Been Friendzoned by an Institution?" was conceived entirely during documenta fifteen and in... more "Ever Been Friendzoned by an Institution?" was conceived entirely during documenta fifteen and includes harvests* in the format of texts, illustrations and interviews made by the sobat-sobat**. The content is specific to our experiences of learning with ruangrupa, working in-between the Education Department and the documenta gGmbH, and speaking to visitors, locals and artists. The compilation brings together reflections about the conceptual shifts in documenta fifteen: from tours to Walks & Stories, from art mediator to sobat, examining critically both, our work with the visitors and our position in the institution. This book is a combination of what has been developed so far and what is still in progress. Together we brainstormed relevant topics that constitute our work in documenta.
* Harvest refers to artistic recordings of discussions and meetings. Harvesters listen, reflect, and depict this process from their own perspectives, in their own forms and artistic practices. Harvests can be humorous, poetic, or candid. They can take the shape of a Post-It note, a written story, drawing, film, sound piece, or meme.
** sobat-sobat is an Indonesian word meaning friends. ‘Sobat’ is the singular form of sobat-sobat. In documenta fifteen, a mediator is called a sobat. As friends, the sobat-sobat accompany visitors and artists during the 100 days of the exhibition. They are an active and creative part of lumbung knowledge. Together with the participants, they experience encounters, build bridges and discover new approaches. In dialogue and through the practice of storytelling, they unfold the cosmology of lumbung knowledge. Using large and small narratives, the sobatsobat connect places, people, conditions and experiences with each other and accompany the exhibitions of documenta fifteen.
ISBN 978-3-0007-3359-8
(If you want to purchase a publication please send an email to: sobatpublication@gmail.com)
The Journal of Transcultural Studies, Apr 17, 2019
With the guiding principle "Learning from Athens" the 14th edition of documenta in 2017 was prese... more With the guiding principle "Learning from Athens" the 14th edition of documenta in 2017 was presented in the form of two nearly simultaneous, separate and at the same time related exhibitions in two historically very different and rather distant cities, Kassel and Athens, respectively in two different countries, Germany in the middle of Europe and Greece on the outskirts of Europe. With this curatorial approach Artistic Director Adam Szymczyk obviously goes against the principles of the venerable art institution, which was founded in 1955 by artist and art educator Arnold Bode in Kassel and, since then, is implemented as a periodical exhibition with a 100-day duration at its venue in Kassel. Moreover, Szymczyk disengages documenta from its well-established position as a hosting institution that traditionally invites artists and cultural creators from all over the world to Kassel, and assigns it a new role as guest with the aim to manifest "the dissolution of barriers ...
Situating Global Art, 2018
Kulturwissenschaftliche Zeitschrift, 2018
With the guiding principle „Learning from Athens“ the 14th edition of documenta took place in 201... more With the guiding principle „Learning from Athens“ the 14th edition of documenta took place in 2017 both in the Greek metropolis of Athens and the German city of Kassel. As such, documenta 14 did not appear as a touring exhibition but as two single and at the same time correlated exhibitions in two different countries located in the middle of Europe and on its outskirts. With this curatorial approach, Artistic Director Adam Szymczyk goes counter the basic parameters of the well-established Western exhibition institution, which was founded in 1955 and, since then, is implemented as a periodical exhibition with a one hundred-day duration at its venue in Kassel. Taking a transcultural perspective, this article considers how the curatorial concept of documenta 14 challenges not only the institutional history, structure and status of documenta but also how it resumes and transforms its initial understanding of an ethics of cultural connectivity in times of crisis and traumatic historical ...
The Journal of Transcultural Studies, 2019
"Our third contribution turns [...] to an analysis of the exhibitionary complex in c... more "Our third contribution turns [...] to an analysis of the exhibitionary complex in contemporary art. To what extent is it feasible for a large-scale periodic exhibition such as the documenta to engage in a self-reflexive praxis effecting a disruption of continuing structures that have by virtue of the sheer logic of editionality accumulated an authority whose habits resist dissidence from beyond? In her article 'Learning from Crisis,' Barbara Lutz addresses this question to documenta 14 (2017), whose artistic director Adam Szymczyk sought to disengage the hosting institution from its established position with the intent of introducing a new ethics of participation and co-production that would heal some of the wounds inflicted by crises of the present. Cultural production in a globalized world implies, more than ever before, that the location of its actors is no longer necessarily tied to geography. Thus, for the last edition of documenta, Szymczyk—following the motto 'Learning from Athens'—chose two sites, Kassel and Athens, in a move to dissolve existing barriers and undo the prevailing asymmetries within the contemporary art world. What does it mean, Lutz asks, for an established 'Western' institution to abandon its exclusive role as host and to take instead the part of the guest? Reversing the basis of a curatorial system conceived of as a space of 'hospitality' (Beatrice von Bismarck) in turn meant repositioning a national logic of belonging that constitutes, among other things, the position of the 'foreigner.' [...]
Viewing Szymczyk’s curatorial concept of distributed locations and reversed roles through a transcultural lens, Lutz pertinently asks whether extending an invitation necessarily results in participation, and what struggles would be required to lay down such terms of collaboration that in the end would transform the existing social logic of inclusion within which existing institutional frameworks remain unquestioned. [...]"
Monica Juneja and Joachim Kurtz, Editorial Note.
In: The Journal of Transcultural Studies. Vol 10, No 1 (2019), vii-viii.
Edited Volumes by Barbara Lutz
Ed. by Sarah Dornhof, Nanne Buurman, Birgit Hopfener, Barbara Lutz, 2018
In recent years, the term global art has become a catchphrase in contemporary art discourses. Goi... more In recent years, the term global art has become a catchphrase in contemporary art discourses. Going beyond additive notions of canon expansion, this volume encourages a differentiated inquiry into the complex aesthetic, cultural, historical, political, epistemological and socio-economic implications of both the term global art itself an the practices it subsumes. Focusing on diverse examples of art, curating, historiography an criticism, the contributions not only take into account (new) hegemonies and exclusions but also the shifting conditions of transcultural art production, circulation and reception.
Books by Barbara Lutz
Buchankündigung im transcript-Verlag, 2022
Edition Museum, 2022
Transkulturalität zählt zu einem der relevantesten Paradigmen in den Kulturwissenschaften, wenn e... more Transkulturalität zählt zu einem der relevantesten Paradigmen in den Kulturwissenschaften, wenn es um die Beschreibung der Begegnung und des Miteinanders von Kulturen geht. Wenngleich das Paradigma als Theorie in verschiedenen Disziplinen und Diskursen zirkuliert, hat es hinsichtlich seiner Anwendung in der Praxis bislang noch keine umfassende Beachtung erfahren. Anhand einer fundierten praxeologischen Analyse der documenta 12 zeigt Barbara Lutz, wie Transkulturalität für das Kuratieren von Ausstellungen in globalen Zusammenhängen produktiv gemacht werden kann. Sie weist damit den Weg für Museen und andere Ausstellungsinstitutionen, die sich Prozessen der Dekolonialisierung stellen.
The open access version of this book was made possible by the EOSC Future project in February 2024: https://www.transcript-verlag.de/detail/index/sArticle/6011
In recent years, the term global art has become a catchphrase in contemporary art discourses. Goi... more In recent years, the term global art has become a catchphrase in contemporary art discourses. Going beyond additive notions of canon expansion, this volume encourages a differentiated inquiry into the complex aesthetic, cultural, historical, political, epistemological and socio-economic implications of both the term global art itself and the practices it subsumes. Focusing on diverse examples of art, curating, historiography and criticism, the contributions not only take into account (new) hegemonies and exclusions but also the shifting conditions of transcultural art production, circulation and reception.
In: Ever Been Friendzoned by an Institution? Kassel [lumbung press], p. 20-23., 2022
"Ever Been Friendzoned by an Institution?" was conceived entirely during documenta fifteen and in... more "Ever Been Friendzoned by an Institution?" was conceived entirely during documenta fifteen and includes harvests* in the format of texts, illustrations and interviews made by the sobat-sobat**. The content is specific to our experiences of learning with ruangrupa, working in-between the Education Department and the documenta gGmbH, and speaking to visitors, locals and artists. The compilation brings together reflections about the conceptual shifts in documenta fifteen: from tours to Walks & Stories, from art mediator to sobat, examining critically both, our work with the visitors and our position in the institution. This book is a combination of what has been developed so far and what is still in progress. Together we brainstormed relevant topics that constitute our work in documenta.
* Harvest refers to artistic recordings of discussions and meetings. Harvesters listen, reflect, and depict this process from their own perspectives, in their own forms and artistic practices. Harvests can be humorous, poetic, or candid. They can take the shape of a Post-It note, a written story, drawing, film, sound piece, or meme.
** sobat-sobat is an Indonesian word meaning friends. ‘Sobat’ is the singular form of sobat-sobat. In documenta fifteen, a mediator is called a sobat. As friends, the sobat-sobat accompany visitors and artists during the 100 days of the exhibition. They are an active and creative part of lumbung knowledge. Together with the participants, they experience encounters, build bridges and discover new approaches. In dialogue and through the practice of storytelling, they unfold the cosmology of lumbung knowledge. Using large and small narratives, the sobatsobat connect places, people, conditions and experiences with each other and accompany the exhibitions of documenta fifteen.
ISBN 978-3-0007-3359-8
(If you want to purchase a publication please send an email to: sobatpublication@gmail.com)
The Journal of Transcultural Studies, Apr 17, 2019
With the guiding principle "Learning from Athens" the 14th edition of documenta in 2017 was prese... more With the guiding principle "Learning from Athens" the 14th edition of documenta in 2017 was presented in the form of two nearly simultaneous, separate and at the same time related exhibitions in two historically very different and rather distant cities, Kassel and Athens, respectively in two different countries, Germany in the middle of Europe and Greece on the outskirts of Europe. With this curatorial approach Artistic Director Adam Szymczyk obviously goes against the principles of the venerable art institution, which was founded in 1955 by artist and art educator Arnold Bode in Kassel and, since then, is implemented as a periodical exhibition with a 100-day duration at its venue in Kassel. Moreover, Szymczyk disengages documenta from its well-established position as a hosting institution that traditionally invites artists and cultural creators from all over the world to Kassel, and assigns it a new role as guest with the aim to manifest "the dissolution of barriers ...
Situating Global Art, 2018
Kulturwissenschaftliche Zeitschrift, 2018
With the guiding principle „Learning from Athens“ the 14th edition of documenta took place in 201... more With the guiding principle „Learning from Athens“ the 14th edition of documenta took place in 2017 both in the Greek metropolis of Athens and the German city of Kassel. As such, documenta 14 did not appear as a touring exhibition but as two single and at the same time correlated exhibitions in two different countries located in the middle of Europe and on its outskirts. With this curatorial approach, Artistic Director Adam Szymczyk goes counter the basic parameters of the well-established Western exhibition institution, which was founded in 1955 and, since then, is implemented as a periodical exhibition with a one hundred-day duration at its venue in Kassel. Taking a transcultural perspective, this article considers how the curatorial concept of documenta 14 challenges not only the institutional history, structure and status of documenta but also how it resumes and transforms its initial understanding of an ethics of cultural connectivity in times of crisis and traumatic historical ...
The Journal of Transcultural Studies, 2019
"Our third contribution turns [...] to an analysis of the exhibitionary complex in c... more "Our third contribution turns [...] to an analysis of the exhibitionary complex in contemporary art. To what extent is it feasible for a large-scale periodic exhibition such as the documenta to engage in a self-reflexive praxis effecting a disruption of continuing structures that have by virtue of the sheer logic of editionality accumulated an authority whose habits resist dissidence from beyond? In her article 'Learning from Crisis,' Barbara Lutz addresses this question to documenta 14 (2017), whose artistic director Adam Szymczyk sought to disengage the hosting institution from its established position with the intent of introducing a new ethics of participation and co-production that would heal some of the wounds inflicted by crises of the present. Cultural production in a globalized world implies, more than ever before, that the location of its actors is no longer necessarily tied to geography. Thus, for the last edition of documenta, Szymczyk—following the motto 'Learning from Athens'—chose two sites, Kassel and Athens, in a move to dissolve existing barriers and undo the prevailing asymmetries within the contemporary art world. What does it mean, Lutz asks, for an established 'Western' institution to abandon its exclusive role as host and to take instead the part of the guest? Reversing the basis of a curatorial system conceived of as a space of 'hospitality' (Beatrice von Bismarck) in turn meant repositioning a national logic of belonging that constitutes, among other things, the position of the 'foreigner.' [...]
Viewing Szymczyk’s curatorial concept of distributed locations and reversed roles through a transcultural lens, Lutz pertinently asks whether extending an invitation necessarily results in participation, and what struggles would be required to lay down such terms of collaboration that in the end would transform the existing social logic of inclusion within which existing institutional frameworks remain unquestioned. [...]"
Monica Juneja and Joachim Kurtz, Editorial Note.
In: The Journal of Transcultural Studies. Vol 10, No 1 (2019), vii-viii.
Ed. by Sarah Dornhof, Nanne Buurman, Birgit Hopfener, Barbara Lutz, 2018
In recent years, the term global art has become a catchphrase in contemporary art discourses. Goi... more In recent years, the term global art has become a catchphrase in contemporary art discourses. Going beyond additive notions of canon expansion, this volume encourages a differentiated inquiry into the complex aesthetic, cultural, historical, political, epistemological and socio-economic implications of both the term global art itself an the practices it subsumes. Focusing on diverse examples of art, curating, historiography an criticism, the contributions not only take into account (new) hegemonies and exclusions but also the shifting conditions of transcultural art production, circulation and reception.
Buchankündigung im transcript-Verlag, 2022