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Art Exhibitions
Fokus Grupa is an artist collective based in Rijeka, Croatia, founded by Iva Kovač and Elvis Krstulović in 2009. Borrowing their name from a contested research method, used equally for independent research as for PR purposes, they point to the social, economical and political frames of the art field. Their practice is collaborative and interdisciplinary, and it includes art, design and curating. Artistic strategies they use take political shape, without becoming a representational form of ‘political art’. Fokus Grupa concentrates on the relations between art and its public manifestations, in terms of working culture, aesthetics, and social and economic exchange values. Their work investigates ...
The Bare Prison of Santo Stefano is the seventh issue of a new series of publications issued by Wilfried Lentz Rotterdam. Published as an accompaniment to the presentation at Frieze Art Fair 2011 from 13 october to 16 October 2011 by Wilfried Lentz Gallery. This publication is signed and numbered in an edition of 250 by Rossella Biscotti.
Decolonising Museums is the second thematic publication of L’Internationale Online; it addresses colonial legacies and mindsets, which are still so rooted and present today in the museum institutions in Europe and beyond. The publication draws from the conference Decolonising the Museum which took place at MACBA in Barcelona, 27-29 November 2014 (among the contributors to this thematic issue, Clémentine Deliss, Daniela Ortiz and Francisco Godoy Vega participated at this seminar), and offers new essays, responding to texts published on the online platform earlier this year.
dos focuses on conversations in, about, and with exhibitions.
dos commissions and edits conversations between two visitors to an exhibition to emphasize subjective experience and meaning-making at large. dos conversations can be streamed, followed as an RSS feed, or accessed as a podcast.
dos conjures their listeners as eavesdroppers and vicarious visitors who experience exhibitions on their own time, partaking in a continuum of physical experience and shared interpersonal thinking.
dos is catalyzed by Sarah Demeuse, designed by Goda Budvytyte, and programmed by Asger Behncke Jacobsen. Audio is developed with Seth Cluett. dos voices are: Staci Bu Shea, Shannon Harvey, Annie Godfrey Larmon, ...
dos focuses on conversations in, about, and with exhibitions.
dos commissions and edits conversations between two visitors to an exhibition to emphasize subjective experience and meaning-making at large. dos conversations can be streamed, followed as an RSS feed, or accessed as a podcast.
dos conjures their listeners as eavesdroppers and vicarious visitors who experience exhibitions on their own time, partaking in a continuum of physical experience and shared interpersonal thinking.
dos focuses on conversations in, about, and with exhibitions.
dos commissions and edits conversations between two visitors to an exhibition to emphasize subjective experience and meaning-making at large. dos conversations can be streamed, followed as an RSS feed, or accessed as a podcast.
dos conjures their listeners as eavesdroppers and vicarious visitors who experience exhibitions on their own time, partaking in a continuum of physical experience and shared interpersonal thinking.
dos focuses on conversations in, about, and with exhibitions.
dos commissions and edits conversations between two visitors to an exhibition to emphasize subjective experience and meaning-making at large. dos conversations can be streamed, followed as an RSS feed, or accessed as a podcast.
dos conjures their listeners as eavesdroppers and vicarious visitors who experience exhibitions on their own time, partaking in a continuum of physical experience and shared interpersonal thinking.
This episode of dos was recorded in The Classroom during the New York Art Book Fair, September 2017.
dos focuses on conversations in, about, and with exhibitions.
dos commissions and edits conversations between two visitors to an exhibition to emphasize subjective experience and meaning-making at large. dos conversations can be streamed, followed as an RSS feed, or accessed as a podcast.
dos conjures their listeners as eavesdroppers and vicarious visitors who experience exhibitions on their own time, partaking in a continuum of physical experience and shared interpersonal thinking.
Curator Juana Berrío and artist Delcy Morelos visit the Gold Museum in Bogotá, which houses the world’s largest collection of pre-conquest gold artifacts. They talk about the cultural differences of valuing gold objects, highlighting intrinsic, economic, ceremonial or environmental aspects; the uses of plants with power; the poporo; human-animal bodies; and how to overcome the muteness of those distant objects made by eradicated ethnicities.
Notes on what I would have liked to write and on what I only left as thoughts
Prologue to the Exhibition
Upon entering the exhibition—any imagined example will suf ce for the time being—we enter on the loaded grounds of the exhibition space: a cultural eld of inter-human energy exchange. A space charged with relations between different actors—artists, curators, staff members, and visitors, among others—each with their different aims, ambitions and intentionalities, and what we might call objects of interrogation, reflection and interaction that have been brought forward and put on display. As an exhibition visitor, we move around in white spaces, roam through repurposed warehouses and grey hangars, and wander in and out of black boxes to have a lived experience ...
The implications around climate change have far-reaching consequences but they can also have far-reaching benefits. The e-publication Ecologising Museums explores how museums and cultural institutions can face the issue not only head-on, but from all angles. To what degree are the core activities of collecting, preserving and presenting in fact attitudes that embody an unsustainable view of the world and the relationship between man and nature?
In this episode of Explain Me William Powhida and Paddy Johnson discuss the horrific business practices of Peter Brant and Interview Magazine, a fundraising campaign at University of North Carolina so misguided that firing is in order, and the latest headscratching Creative Time project. To help us discuss all of this, and how the new tax code will affect artists accountant and painter Hannah Cole joins us.
The story of this publication goes back to a much earlier idea, that of preparing a booklet on Gülsün Karamustafa’s artistic practice in the context of the 3rd International Istanbul Biennial. The scope of the text, written by Deniz Şengel, was developed in 1992-1993 in collaboration with the artist. However, this work, prepared with meticulous attention to detail, was never published in book form.
The project was revived for A Promised Exhibition held at SALT in 2013-2014, and the book has now been transformed into an e-publication that remains faithful to the structure prepared many years ago by Şengel, who passed away ...
FLEX was an exhibition organized in 2014 by Orlando Tirado that placed a new sculpture and performance of mine with contemporaries Math Bass, Dan Finsel, and Molly Lowe, alongside works by historical figures Richard Artschwager, James Lee Byars, Guy de Cointet, Marcel Duchamp, Robert Morris, and Myron Stout. This folio/catalog, released in conjunction with the exhibition and printed on folded newsprint, served as a checklist for the exhibition, provided historical context, and expanded on the exhibition’s aim to provide an “alternative to presupposed identity politics, one that re-defines the body against the grain of a representational impulse.” In an in-depth ...
1. Artworks and situations
Pierre Huyghe, Untilled, 2012
Pierre Huyghe’s contribution to dOCUMENTA (13) required some effort in order to be discovered at all. It was not just that Huyghe had chosen a decidedly decentered exhibition site: a composting facility located in the Aue-Park. Even after one had located the site, it was anything but obvious that it was art. One found oneself in a kind of overgrown lot: a pile of compost, sprouting growth, through which a walkway led—at times really just a beaten path, with algae- covered puddles. The hills were overgrown with plants and weeds. Off to one side, paving slabs ...
Induction Burners conversation with Bob Nickas and Ryan Foerster.
The Heritage of 1989. Case Study: The Second Yugoslav Documentspresents a re-enactment of the last big art exhibition in Yugoslavia. Titled Yugoslav Documents ’89, it was curated by the artists Jusuf Hadžifejzović and Rade Tadić and realized under the auspices of the ZOI ’84 Olimpijski centar Skenderija in the 8,000-square-meter Skenderija Center in Sarajevo in 1989. This was surely one of Yugoslavia’s largest exhibitions, if not, indeed, the largest. This re-enactment is interested in Yugoslav Documents primarily because this was the largest exhibition that bore the label “Yugoslav”, a label that, among other things, was meant to strengthen the ideology ...
The exhibition “In the Heart of the Country” is the first comprehensive presentation of the international collection of the Museum of Modern Art in Warsaw.
In a relatively short time—the Museum was established in 2005—the institution has acquired over 300 works. First and foremost, these are works purchased as part of the Ministry of Culture and National Heritage’s “International Collections of Contemporary Art” programme, as well as donations and temporary loans from artists, private individuals and businesses. Many of the collected works were commissioned by the Museum for its exhibitions and public projects (such as pieces by artists like Sanja Iveković, Zbigniew ...
A scan of the original type-written exhibition pamphlet accompanying Scott Burton’s 1980 performance at the University of California, Berkeley Art Museum of “Individual Behavior Tableaux” with an essay by the curator Michael Auping. Auping describes the performance, part of Burton’s “Behavior Tableaux” series, in which a single lanky naked male performer (Kent Hines) wears platform shoes and moves in slow motion with a chaise longue designed by Burton. The audience had to sit extremely close together 80 feet away from the the slow moving and silent performance, as Burton was as interested in what happened in the performance as he ...
It Was a Time of Conversation is an archive and research project. It revisits the story of three exhibitions that took place in the first half of the 1990s in Turkey: Elli Numara: Anı Bellek II [Number Fifty: Memory/Recollection II], GAR [Railway Station] and Küreselleşme–Devlet, Sefalet, Şiddet [Globalization–State, Misery, Violence]. In 2012, SALT visualized the research in the form of an exhibition at SALT Galata in the Open Archive. This was followed by a more developed presentation of the exhibition at SALT Ulus in 2013.
This publication, prepared in parallel with the exhibition, brings together texts by Ali Akay, Selim Birsel, Burak ...
PublisherThe Philadelphia Museum of Art2018
It was during the late nineteenth and early twentieth centuries that many of Philadelphia’s great private collections of the fine and decorative arts were developed. The names of the ambitious individuals who formed these collections—Albert C. Barnes, George W. Elkins, John H. McFadden, and P. A. B. Widener, to name just a few—remain familiar today thanks to the generous benefactions they made to cultural institutions in this city, most prominently the Philadelphia Museum of Art.
The activities of collectors deserve far more attention than they have received to date not only because they constitute a fascinating chapter in the history of ...
In this episode Lucy Skaer discuss her solo exhibition Exit, Voice and Loyalty with Tramway curator Claire Jackson.
For her most ambitious solo exhibition in the UK since the Turner prize in 2009, Lucy Skaer presents a new body of work spanning ceramics, film, litho and wood-cut prints and sculpture. Exit, Voice and Loyalty takes its title from economist Albert O. Hirschman’s essay on how change comes about through dissent. Although not directly linked to the book, Skaer is interested in how economics provides a shifting representation of the materials world, and how this idea can be related to sculpture.
Using a ...
Welcome to the pilot episode of Momus: The Podcast. For our first broadcast, we focus on the historic Venice Biennale as the 57th edition opens to the public. We air a conversation on its history, institution, relevance, and potential, with insight arriving from a group of critics, curators, artists, and gallerists speaking to us from around the world. In this vibrant and myriad discussion, we question this event’s potential for political comment; its profile amid a “festivalist” biennial culture; its emphasis on nationalism; and the latest edition’s success.
Glasgow based sculptor Nick Evans makes solid, organic and amorphous works that constantly question the relationship between form and meaning and, embody an awareness of the properties and purposes of the language of sculpture. Evans’ work alternates between the use of traditional and newer materials; such as plaster, bronze, wood, terracotta and ceramic as well as polyester resin, fibreglass and silicon rubber. Through evocations of cultural and geographical histories, Evans’ practice reveals philosophical, existential, art related maters/questions. Exploring relationships between forms and material, sculpture and plinth, mass and gravity, Evans indicates more contrasted ones such as between abstract and figurative, ...
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