Worldwide Wigs: Kutluğ Ataman and the Globalized Art Documentary (original) (raw)
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Inhabiting the Space of Exhibition
Switch on Paper, 2020
This article was first published on SWITCH ON PAPER on 06 November 2020 as part of a series of investigative texts about Society and the Status of Art in Tehran.
Invisible inVisible. Women disconnected from history. Site-specific artworks on abandoned buildings
2017
The book presents my project entitled Invisible inVisible, which consists of a series of site-specific artworks (installations) that I have presented in public spaces, in the urban landscape or on abandoned buildings. I have also referred to my previous artistic activities, which influenced the shape of this project. The starting point for a series of artworks presented within the frame of this project, are women who are related to the history of a particular city, district or region. The basis of the project is the stories of these women, who have become forgotten or erased from collective memory. However, they are important from the perspective of contemporary discourses, including ethnic diversity, gender, feminism or exclusion. Invisible inVisible is a complex project which not only consists of site-specific artworks in public spaces but also includes performances, panel discussions, video artworks, exhibitions, a website and photographic and video documentation. Installations located in abandoned places (site-specific artworks) form the main medium of my artistic expression.These works are closely connected to the architecture, specifically with the use of abandoned houses or other things that have ceased to fulfil their former functions but for which a new use has not yet been found. Such places seem to be mysterious, sometimes dangerous, but for many passers-by they become 'transparent' or simply irritate them with their incompatibility with other elements of the environment in a sense of aesthetics. The Invisible inVisible project is a result of several years of artistic research conducted from a feminist perspective, resulting from my position in culture and social discourses as a woman artist. Initially, my research concerned the gallery space and then developed to work in the public space into which I 'inscribed' the traces of female narratives.
There's No Place Like Hallwalls: Alternative-space Installations in an Artists' Community
In 1977, after moving from Buffalo, New York, to Manhattan, Robert Longo discovered what it meant to trade up from a provincial art centre to the centre of the art-world: his ambition to continue working in video was foiled by a handful of established artists who operated like a 'video mafia', never relinquishing hold of equipment earmarked for the community at large. 1 As the co-founder, with Charles Clough, of the alternative space Hallwalls, Longo had faced neither scarcity nor monopoly. With connections to the Media Studies programme at University of Buffalo, the Hallwalls cohort was able to tape not only art videos and interviews with visiting artists, but also members' weekly 'show-and-tell' sessions and the parties that inevitably followed. 2 In addition to shooting video-works, Longo had spent his Hallwalls years producing scripted multi-performer performances, leaving the set intact for a week or so after the show to function as an installation. By the time he arrived in New York, Longo had become frustrated by the ephemeral nature of performance, which left him with nothing but purposeless props and a few enigmatic photo-documents. Similarly, Clough, who spent his Buffalo years painting the walls of the gallery-and studding them with toys and spray-paint cans-was tired of having nothing to show for his site-specific installations, which were always lost to disassembly and whitewashing. Even Cindy Sherman worked in an installation-like mode in Buffalo, where she taped up elaborate wall-spanning narratives. These fictions featured as many as two hundred and forty-four photographic paper-doll-like figures-male as well as female, allegorical as well as real-each one of which Sherman costumed, made up, modelled, shot and painstakingly cut out. 3
2021
and Sculpture in Kumasi. In a conversation with curator Jelle Bouwhuis, seid' ou contextualized his transition from the making of the "work of art" to a probing of the "art of work, " his focus on pedagogical practice, and some of its political implications regarding his vision of a sharing community: Working in the "cultural slum" of KNUST College of Art in Kumasi, my institutional critical response was to go on artistic strike, stop "making art" symbolically and to inaugurate a practice of "making artists. " My political strategy was what I called "ironic overidentification" with the conditions of the cultural slum. Through that, I hoped to transform art from the status of commodity to gift (seid' ou and Bouwhuis 2019: 193; cf. seid' ou and Bouwhuis 2014: 111-13). KUMASI'S EMANCIPATORY CURRICULUM: ITS PLACE IN GHANA'S EXHIBITION CULTURES The Emancipatory Art Teaching Project proposed and introduced a curriculum with an egalitarian drive-an art-focused curriculum that is not prejudicial to any medium, form, style, genre, process, or trend. Above all, each artist was trained as both artist and exhibition-maker, and as neither. Students were encouraged to rethink the exhibition form itself as a format of art-making and to expand its space, scope, and political ambitions beyond its contemporary framing (seid' ou 2015). Among other things, this was a response to a noticeable dearth of curatorial sensibility in the typical artist's training and experience in Ghana. Through complex modes of exhibition conception, making, and dissemination, the new Kumasi curriculum silently reconfigured art-based and art-focused labor (cognitive, technical, physical) in the hope of a radical transformation of local art institutions and communities. Through seid' ou's Drawing Class and his collaborations with colleagues, a series of artist-curated guerrilla exhibitions ensued between 2003 and 2015 (seid' ou 2006, 2010). These interventions bypassed the gallery system and transformed city spaces and everyday situations into magnificent exhibition sites and community projects (seid' ou 2010; Woets 2011: 323; Dieckvoss 2017) 2. Continuously for more than a decade, an average of fifty concurrent solo exhibitions and public interventions, curated by a corresponding blaxTARLINES Exposing Something to Someone While Exposing Someone to Something blaxTARLINES Exhibition Cultures There-Then-And-Hereafter kąrî'kạchä seid'ou, George Ampratwum (Buma), Kwaku Boafo Kissiedu (Castro),
Exhibiting Matters, GAM Architecture Magazine 14
Exhibiting Matters, GAM Architecture Magazine 14, 2018
The fields of art and architecture are currently witnessing an expansion of the exhibitionary complex: permanent and temporary exhibition spaces proliferate, blending with sites of consumption. Responding to this development, GAM.14 focusses on the act of exhibiting, which reconfigures the spatial limitations of the exhibition, thus creating dynamic sites of contestation and political confrontation. GAM.14 is a collection of current positions from the disciplines of art and architecture assembled around the conceptual effort to distinguish the act of exhibiting from exhibition, opening the potential of exhibiting as an exploratory space to address urgent social and political challenges of our time. With contributions by Bart De Baere, Ivana Bago, Ana Bezi ´c, Nicolas Bourriaud, Maria Bremer, Ekaterina Degot, Ana Devi ´c, Anselm Franke, Andrew Herscher, Christian Inderbitzin, Branislav Jakovljevi ´c, Sami Khatib, Wilfried Kuehn, Nicole Lai Yi-Hsin, Bruno Latour, Ana María León, Armin Linke, Antonia Maja ca, Doreen Mende, Ana Miljacki, The Museum of American Art in Berlin, Vincent Normand, Christoph Walter Pirker, Dubravka Sekulic, Antje Senarclens de Grancy, Katharina Sommer, Anna-Sophie Springer, Barbara Steiner, Kate Strain, Žiga Testen, Milica Tomic, Etienne Turpin, What, How & for Whom/WHW
The Challenge of Installation Art
The rise of installation art challenges principles developed for conserving traditional media. The conventional canon to honor the ' authentic ' object, already under some stress, becomes especially problematic when dealing with art whose meaning and materiality cannot be fixed. 1 In this chapter we outline the challenges that arise in conserving such ephemeral and contingent works. We suggest changes -some already underway -through which conservators may respond.
EDGEcondition Vol.03 'ART & ARCHITECTURE' (Sept 2014)
An online bi-monthly architecture journal interrogating the vocation and activity of those positioned on the fringe of the formal architecture sector, publishing thought pieces from those who work inside and outside of 'architecture-proper'. www.edgecondition.net //CONTENTS //LETTERS: 04 - Sara Seravalli introduces her charity auction project ART MEETS ARCHITECTURE. 08 - Graeme Brooker shares his concerns over the apparent invisibility of the world of interiors in REVIEWING THE FARRELL REVIEW. //FEATURES: 10 - Rachel Anderson, Producer at ARTANGEL takes us through examples of THE PSYCHIC SPACE. 16 - Commissioning editor Helen Castle explores the realm of digital publishing in CANNY COMMUNICATION IN ARCHITECTURE IN THE AGE OF ‘MESSY MEDIA’ - part two.. 22 - Rachael de Moraivia’s essay talks about how Virginia Woolf built feminist discourse on the foundations of modern architecture in A SHOEBOX OF ONE’S OWN. 28 - Philip Hall Patch details his innovative use of salt in art and construction in the article THE INDEFINITE PLEASURES OF SALT. 34 - Andrew Walker and Merjin Royaards delve into the depths of sound and space with their robotic installation, ACID HOUSE. //AN INTERVIEW WITH... 46 - Jennifer Davis, curator at Rearview Projects interviews her friend and commissioned artist Jimenez Lai. //FROM PERSONAL EXPERIENCE: 58 - Liz West gives us a insight into the life of a practising artist in CONSTRUCTING MY SURVIVAL 62 - Bryan Cantley shares the process and thinking behind the cover artwork ....TO BE TRANSFORMED. 70 - Amberlea Neely introduces us to the independent, not-for-profit organisation dedicated to the making of great places - PLACE 74 - Aerospace Engineer narrates a trip San Francisco MOMA in MUTABLE SPACE. //OP-EDS: 76 - Ordinary Architecture take us through the history and it’s use of Supergraphics in BIGGER THAN THE BOTH OF US. 84 - Mia Tagg tells us all about Homebaked, the grass roots art installation and business in MATTERS IN OUR OWN HANDS. 88 - The team behind Processcraft take us through the importance of technical studies and engaging with students in CRAFTING ARCHITECTURE //PHOTO-ESSAYS: 98 - Photographer Paul Karalius and Open Eye Gallery Director, Lorenso Fusi, explore the intricacies of PHOTOGRAPHING ART SPACE. 106 - Photographer Richard Boll shares the concepts behind his shoots in BYPRODUCTS OF CREATIVITY. 116 - Jim Stephenson shares his first hand experience of documenting the construction of the Serpentine Pavilion in UNDER CONSTRUCTION.
EXHIBITION MAKING AS AESTHETIC ENQUIRY
Exhibitions As Research: Experimental Methods in Museums, 2020
If exhibitions are research what kind of scientifi c thinking do they make space for? And what are the eff ects of this kind of research?