The issue 1,2,3, — thinking about exhibitions combines discussions, interviews, and articles concerning recent discussions in Rotterdam and Hamburg. The symposium in Rotterdam, The Curators, at Witte de With emphasized the role of the curator-subject. This issue includes two interviews which critically review the contributions and results of the symposium, revealing different aspects and controversial facets of their topics. The two featured interviews include one with Nikolaus Schaffhausen and Zoe ...
e-flux journal editors Julieta Aranda, Brian Kuan Wood, Anton Vidokle, and Kaye Cain-Nielsen discuss 10 years of e-flux journal.
Excerpt from the editorial of e-flux journal issue #95—WONDERFLUX:
In November 2008, the editorial for issue #00 said:
Historically, more than any single institution, art publications have been primary sites for discourse surrounding the artistic field. And yet most recently, the discourse has seemingly moved elsewhere—away from the formal vocabulary used to explain art production, away from traditional ...
e-flux journal editors Julieta Aranda, Brian Kuan Wood, Anton Vidokle, and Kaye Cain-Nielsen discuss 10 years of e-flux journal.
Excerpt from the editorial of e-flux journal issue #95—WONDERFLUX:
In November 2008, the editorial for issue #00 said:
Historically, more than any single institution, art publications have been primary sites for discourse surrounding the artistic field. And yet most recently, the discourse has seemingly moved elsewhere—away from the formal vocabulary used to explain art production, away from traditional ...
Is it possible to grasp a large-scale group exhibition based on a single artwork? This is the question posed by curator and critic Julia Moritz in her series of experimental reviews titled “Pick a Piece.” To Moritz, responding to the mushrooming of mega-exhibitions with the sturdy format of the art review means radical choice: to (en)counter the explosion of exhibitions with the implosion of inspection, with the selection of just ...
The following was announced on the windows of a small blue house at dOCUMENTA (13):
The 60 wrd/min art critic is available. Reviews are free of charge, and are written here on Mondays, Wednesdays and Saturdays between the hours of 1 and 6 p.m. Lori Waxman will spend 25 minutes looking at submitted work and writing a 200-word review. Thoughtful responses are guaranteed. Completed reviews will be published in the Hessische/NiedersächsischeAllgemeine ...
In April, the Kunstmuseum Basel opened its new building. More recently, the Bündner Kunstmuseum in Chur followed suit, and in Zürich construction on the extension of the Kunsthaus is well underway. These building projects suggest long-term confidence in publicly funded art museums. But what understanding of “public” is conveyed here? An inspection in Basel.
Poet and art critic Bill Berkson (1939–2016) had planned for many years to write a lengthy study on his friend and mentor Frank O’Hara (1926–1966) but died with the project still incomplete. This volume reproduces the sketchbook in which Berkson gathered notes, images, and poems about O’Hara, focusing on his memories of their collaborations in New York, from their initial meeting in 1960 to O’Hara’s untimely death in 1966. A Frank ...
On February 13, an anonymous petition called for the reinstatement of Beatrix Ruf as director of the Stedelijk Museum. The petition comes at a time when further investigations into the affair have not yet yielded any results that could shed some light on the current level of autonomy of public institutions in general—an issue that, in fact, begs debate.
Accessibility in the Arts: A Promise and a Practice is an accessibility guide geared toward small-scale arts nonprofits and the potentially expansive publics these organizations serve. It details specific ways in which disabled people are excluded from cultural spaces and offers possible solutions to those barriers. Moving away from historical and juridical definitions of accessibility, this guide considers the unique capacity of small scale arts organizations to meet the needs ...
It is an odd interview alright that Barbara Preisig conducted on Brand-New-Life with Mareike Dittmer in light of the fact that Frieze d/e is being discontinued—odd above all, because Barbara Preisig all too politely failed to ask the co-publisher of Frieze d/e, who was long responsible mainly for selling advertising space, the most obvious question: whether there are, perhaps, also economic reasons for the discontinuation after a five-year, seemingly successful ...
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