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 Gray, those responsible for the organization of the symposium, as well as one interview with Paul O’Neill, a contributor…

“18 PARIS IV.70” was an exhibition organized by Michel Claura in Paris in 1970. Held at a temporary space on Rue Mouffetard that April, it was accompanied by this trilingual publication (in English, French, and German), edited by Claura and published and distributed by Seth Siegelaub. Claura invited a group of artists to each contribute a work to the exhibition. Having collected a series of artist proposals, Claura then sent this collection to each of the participants, after which they were allowed to change their initial plans. This publication includes a preface and a postface by Claura and a two-part entry ...

In 1985, the French philosopher Jean-François Lyotard curated a groundbreaking exhibition called Les Immatériaux at the Centre Pompidou in Paris. The exhibition showed how telecommunication technologies were beginning to impact every aspect of life. At the same time, it was a material demonstration of what Lyotard called the post-modern condition. This book features a previously unpublished report by Jean-François Lyotard on the conception of Les Immatériaux and its relation to postmodernity. Reviewing the historical significance of the exhibition, his text is accompanied by twelve contemporary meditations. The philosophers, art historians, and artists analyse this important moment in the history of media and theory, and reflect on the new material conditions brought ...

A Disagreeable Object brings together 20 artists who employ and borrow from the methods and artistic practices that the Surrealists developed in the first half of the century. This is not an exhaustive survey, nor an attempt to re-consider our understanding of Surrealism as an historical movement. Rather, the exhibition offers a view of contemporary sculpture identifying influences and attitudes that have filtered through decades of cultural production. The works in A Disagreeable Object respond to a decidedly contemporary context…

The Center for Experimental Lectures presents Andrianna Campbell, Taraneh Fazeli, Sb Fuller, Sara Magenheimer, and Em Rooney Hosted by The Shandaken Project at Storm King New Windsor, NY Sunday September 4th, 2016, 3pm-evening Andrianna Campbell begins the day at 3pm at Storm King Art Center. Campbell, who was a resident of The Shandaken Project at Storm King earlier this summer, will offer a guided tour of speculative artworks by over 20 contemporary artists. In her many years of making inquiries about contemporary cultural production, Campbell has formed significant relationships with the artists invited to participate in this experimental narrative. Campbell will present the speculative ...

I’m one of those ADD people. I’ve never touched art in a gallery, but that’s because it’s in a gallery, not because “it’s art.” Really good art is best appreciated by rubbing yourself all over it. So, this I Failed as a Visitor thing is a wee bit offensive. Modern art should be inviting visitor participation, not building up that wall of separation. posted by shii at 6:07 AM on December 9, 2009

“Foreword” by Matilde Soligno “About 2016. End of Year Notes” by Vincenzo Estremo, Flaka Haliti, and Studio Miessen (Berlin) “2016’s TOP 5” by Luca Panaro

A virtual environment, with multiple levels, produced for Philadelphia’s Extra Extra Gallery. Tip: Also see Tabor Robak’s Mansion, another virtual environment created by the artist.

Artistic and curatorial practices can be seen as the prime testimonies of transformative movements—on the one hand situated in a specific site and region, and on the other, transgressing disciplines, classes, norms—proposing new forms and relations of living and establishing these practices (building centres along the way) but at the same time always changing their positions, never staying at the centre, but instead unfolding on the periphery of social life. In this OnCurating Issue, we searched for and researched projects and institutions that hold at their core something between the lines of centres–peripheries with their transversal practices and modus operandi. For ...

People make their own history, but they do not make it of their own free will; they do not make it under self-selected circumstances but under immediate circumstances, given and transmitted from the past. The tradition of all dead generations weighs like a nightmare on the brains of the living. And just as they seem to be occupied with transforming themselves and things, creating something that did not exist before, precisely in such epochs of revolutionary crisis they anxiously conjure up the spirits of the past to their service, borrowing from them names, battle slogans, and costumes in order to ...

The reader presents a cross-section of the voices that populate the ongoing debate about, on the one hand, how and in what terms curating functions as a critical cultural practice, and on the other, what methodologies and histories exist with which we can critically analyse curatorial work today. This collection of essays was first published in 2007 by Revolver, in Frankfurt am Main and ICE, Institute for Curatorship and Education as the first ICE Reader…

When we started a discourse on curating in 1998 with the conference “Curating Degree Zero,” we could not have imagined the intensity of interest in this subject in the coming years. In 2003 we wanted to re-examine the field together with Annette Schindler, but when we failed to organise enough funds, we changed the concept and concentrated on the archive, which originally should have just accompanied the symposium. This decision, half by chance and half out of a deeply felt interest in archival practices, proved to be valid, insofar that the archive grew and developed rapidly. Curating Degree Zero Archive ...