Exhbitions Research Papers - Academia.edu (original) (raw)

The work Prenez soin de vous by Sophie Calle was first presented in 2007 at the 52nd Venice Biennale, as a contribution to the French Pavilion. In the exhibition, which extended through several rooms, not only photographs and texts but... more

The work Prenez soin de vous by Sophie Calle was first presented in 2007 at the 52nd Venice Biennale, as a contribution to the French Pavilion. In the exhibition, which extended through several rooms, not only photographs and texts but also videos were arranged on the walls in a richly varied manner. The entire work consists of a series of interpretations of a farewell letter addressed to Calle. The e-mail is said to be from the artist’s lover at the time Gregoire Bouillé, designated in the work as “G.” for reasons of anonymity and conveys his decision to leave her. The text ends with the words “Prenez soin de vous” (“Take care of yourself”). Calle developed out of this formulaic conclusion something which she calls a règle du jeu, a rule of the game, which serves as the point of departure for the work Prenez soin de vous.

Ce mémoire porte sur les deux dernières expositions des produits de l’industrie nationale française de 1844 et 1849. Sous Louis-Philippe (1830-1848), est envisagée la pérennisation de ce « monument » devenu, depuis sa première édition en... more

Ce mémoire porte sur les deux dernières expositions des produits de l’industrie nationale française de 1844 et 1849. Sous Louis-Philippe (1830-1848), est envisagée la pérennisation de ce « monument » devenu, depuis sa première édition en 1798, une « institution » française. Cette démarche est endiguée par la révolution de février 1848 consacrant la Deuxième République (1848-1852). C’est dans ce contexte politique mouvant qu’est vécue l’épopée d’un « progrès », industriel incarnée par les expositions d’industrie. Comment ces « temples » s’adaptent-ils à ces enjeux politiques, économiques, et sociaux ? Quels sont les paramètres façonnant l’identité de ces expositions d’industrie? Enfin, quel rôle jouent-elles dans l’élaboration du concept de « musée industriel » ?

This paper outlines experiences and lessons learned in organizing a variety of digital art exhibits for small and large scale events. The perspective is provided as a cross-disciplinary set of heuristics, drawing on the decade long... more

This paper outlines experiences and lessons learned in organizing a variety of digital art exhibits for small and large scale events. The perspective is provided as a cross-disciplinary set of heuristics, drawing on the decade long experience of the curator-artist and paying particular attention to playable electronic media (e.g. games and toys) as installation works in an art context. Lessons learned from exhibits organized or co-organized by the author in the United States, Europe and Asia are shared. These events were offered with support from the Smithsonian American Art Museum, Leuphana University, the University of Utah, Abertay University and others. Additional observations are provided as an artist who has exhibited at more than 40 events in the last decade. Formally the paper offers an ontology for defining distinguishing between exhibits, festivals and showcases. It is not the intention of the author to create a compendium of exhibition and curation practice. Instead the a...

สูจิบัตรนิทรรศการ "คลื่นไหวภายใต้โดม : การเป็นส่วนหนึ่งและการเคลื่อนย้ายในวัฒนธรรมมุสลิม จัดแสดงที่พิพิธภัณฑ์ธรรมศาสตร์เฉลิมพระเกียรติฯ , มหาวิทยาลัยธรรมศาสตร์ (ศูนย์รังสิต) ระหว่างวันที่ 21 กุมภาพันธ์ - 30 มิถุนายน 2562 ศิลปิน : ณณฐ... more

This essay explores the relationship between research and curatorial practice, focusing on exhibition-making practices and the understanding of exhibition as not simply the display of objects of research but as the site of research, and... more

This essay explores the relationship between research and curatorial practice, focusing on exhibition-making practices and the understanding of exhibition as not simply the display of objects of research but as the site of research, and consequently as a form of critical inquiry and knowledge production in itself. Taking Exhibition Research Lab (ERL)—an academic research centre and a public venue located at Liverpool School of Art and Design - as a case in point, the essay extends the discussion to consider the specificity of the context within which such practices take place.

O presente texto é uma reflexão, em cima do acontecimento, sobre um projeto específico – MatrizMalhoa (MM) – no qual se divisam traços de uma metodologia projetual e de gestão cultural que procura sublinhar a importância da arte... more

O presente texto é uma reflexão, em cima do acontecimento, sobre um projeto específico – MatrizMalhoa (MM) – no qual se divisam traços de uma metodologia projetual e de gestão cultural que procura sublinhar a importância da arte contemporânea para a requalificação do património cultural. Esses traços definiram-se conjunturalmente no plano restrito de um evento que foi concebido e perspetivado como uma accrochage – no sentido, por extensão, de uma efémera interrupção e restruturação
da narrativa museológica do Museu José Malhoa através da instalação de novas obras por entre as que fazem parte da Exposição Permanente. Com a duração de um ano, a iniciativa envolveu duas dezenas de artistas e outros tantos conferencistas, graciosa – e invariavelmente interessados em participar no que lhes pareceu uma oportunidade para o seu trabalho se confrontar com uma situação menos comum, dando-se ao contacto com um público menos habitual.

This paper outlines experiences and lessons learned in organizing a variety of digital art exhibits for small and large scale events. The perspective is provided as a cross-disciplinary set of heuristics, drawing on the decade long... more

This paper outlines experiences and lessons learned in organizing a variety of digital art exhibits for small and large scale events. The perspective is provided as a cross-disciplinary set of heuristics, drawing on the decade long experience of the curator-artist and paying particular attention to playable electronic media (e.g. games and toys) as installation works in an art context. Lessons learned from exhibits organized or co-organized by the author in the United States, Europe and Asia are shared. These events were offered with support from the Smithsonian American Art Museum, Leuphana University, the University of Utah, Abertay University and others. Additional observations are provided as an artist who has exhibited at more than 40 events in the last decade. Formally the paper offers an ontology for defining distinguishing between exhibits, festivals and showcases. It is not the intention of the author to create a compendium of exhibition and curation practice. Instead the a...

EXHIBITIONS OF PHOTOGRAPHS IN THE ART PAVILION IN ZAGREB At exhibitions of the Art Pavilion during the 120 years of its existence, photography has often been represented as artwork, as well as illustration and documentation. Because the... more

EXHIBITIONS OF PHOTOGRAPHS IN THE ART PAVILION IN
ZAGREB
At exhibitions of the Art Pavilion during the 120 years of its
existence, photography has often been represented as artwork,
as well as illustration and documentation.
Because the interest in photography is not fading, either in the
classic forms of the halted moment of reality or in interpretations
and experiments with other new media, the writer thinks
that this cross-section of selected exhibitions should apart
from providing a historical review also recall the diversity of
ideas and exhibition conceptions with which at the exhibitions
in the Art Pavilion in Zagreb the capabilities of photography
in all its forms, technical implementations and experiments,
inspirations and themes were presented.

This paper outlines experiences and lessons learned in organizing a variety of digital art exhibits for small and large scale events. The perspective is provided as a cross-disciplinary set of heuristics, drawing on the decade long... more

This paper outlines experiences and lessons learned in organizing a variety of digital art exhibits for small and large scale events. The perspective is provided as a cross-disciplinary set of heuristics, drawing on the decade long experience of the curator-artist and paying particular attention to playable electronic media (e.g. games and toys) as installation works in an art context. Lessons learned from exhibits organized or co-organized by the author in the United States, Europe and Asia are shared. These events were offered with support from the Smithsonian American Art Museum, Leuphana University, the University of Utah, Abertay University and others. Additional observations are provided as an artist who has exhibited at more than 40 events in the last decade. Formally the paper offers an ontology for defining distinguishing between exhibits, festivals and showcases. It is not the intention of the author to create a compendium of exhibition and curation practice. Instead the aim is to provide context and a starting point for the evolving intellectual examination of curatorial practices around digital games. It is hoped that these assertions support the growth of such work by providing a starting point for other practitioners.1

Blank Arcade: Games out of Joint is more than just a sequel, mod or expansion pack. It revisits its own concept through an exhibition of experimental games and artworks that push the boundaries of game design and theory. The curators... more

Blank Arcade: Games out of Joint is more than just a sequel, mod or expansion pack. It revisits its own concept through an exhibition of experimental games and artworks that push the boundaries of game design and theory. The curators invited artists, scholars and designers to propose works that investigate and question the 'instrumentality' of entertainment. We are more and more surrounded by video games that propose to be more than just 'for fun': games for health, education, social and civic engagement and so on. But what else can games be? How can games be used for trouble-making, rather than problem-solving? How can games become environments for posing new questions about our society, beliefs, and lives in general? This is an international collection, with participating artists from North America, Europe and Asia. Curated by Lindsay D. Grace and Paolo Ruffino

The book focuses on the outputs of the Austrian artist and architect, Hans Hollein, and on his appropriation as a Postmodernist figure. In Vienna, the circles of radical art and architecture were not distinct, and Hollein's claim that... more

The book focuses on the outputs of the Austrian artist and architect, Hans Hollein, and on his appropriation as a Postmodernist figure. In Vienna, the circles of radical art and architecture were not distinct, and Hollein's claim that 'Everything is Architecture' was symptomatic of this intermixing of creative practices. Austria's proximity to the so-called 'Iron Curtain' and its postwar history of four-power occupation gave a heightened sense of menace that emerged strongly in Viennese art in the Cold War era. Seen as a collective entity, Hans Hollein's works across architecture, art, writing, exhibition design and publishing clearly require a more diverse, complex and culturally nuanced account of architectural Postmodernism than that offered by critics at the time. Across the five chapters, Hollein's outputs are viewed not as individual projects, but as symptomatic of Austria's attempts to come to terms with its Nazi past and to establish a postwar identity. Dr Eva Branscome teaches architectural history at University College London in both the Bartlett School of Architecture and the Department of History of Art, where her interdisciplinary research interests cover the intersection of art and architecture. Previously she worked in heritage conservation, protecting buildings of the twentieth century.

Chronicle text for the Royal Academy's Summer exhibition of 1808. In The Royal Academy of Arts Summer Exhibition: A Chronicle, 1769–2018, edited by Mark Hallett, Sarah Victoria Turner and Jessica Feather. London: Paul Mellon Centre for... more

Chronicle text for the Royal Academy's Summer exhibition of 1808. In The Royal Academy of Arts Summer Exhibition: A Chronicle, 1769–2018, edited by Mark Hallett, Sarah Victoria Turner and Jessica Feather. London: Paul Mellon Centre for Studies in British Art, 2018.