Index of Titles Filed Under 'Exhibition Documents'

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The “Free-floating” Srinagar Biennale explores Kashmiri artists’ fractured sense of place through memory, nostalgia, loss and national belonging. Carlson delves into how the Srinagar Biennale adopts an innovative and free-flowing format that allows the Kashmiri community to assert a new visual narrative through a ‘rhizomatic’ approach by engaging viewers in a sensorial experience rather than a visual one.
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A special programme series featuring exhibitions, projects, written works, performances, and set of e-dossiers marking Asia Art Archive’s 15-year anniversary. The participants documented their process and each project has culminated in a set of print and download-on-demand e-dossiers.
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“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 ...
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PublisherLink Editions2013
After Brad Troemel (ABT) is an artist book conceived for the JstChillin exhibition Read/Write at 319 Scholes in Brooklyn in 2011. The book—originally published in a limited edition of 20—took as its conceptual core the characterization of artist Brad Troemel as a genius and a mastermind analyzed through the lens of conspiracy theory and amateur internet sleuthing. According to artist and writer Artie Vierkant, who wrote the introduction to this edition, ABT is not “about Brad Troemel, nor any of the myriad names or identities that are mentioned in its pages. ABT is about the construction of identity in a mediated ...
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Against Art History critically evaluates decolonial art exhibitions and curatorial frameworks. It asks to what extent art history can be decolonial, when its disciplinary and architectural foundation, the museum, is an inherently colonial institution. Shirazi thus examines whether new curatorial frameworks, such as in Exhibitions Without Objects (EwO) which internationalise the modernist canon of non-Western arts, undo or amplify the violence perpetrated by Euro-American historical narratives.
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PublisherSculptureCenter2013
Three characters populate Agnieszka Kurant’s Cutaways, 2013, a short film premiering as part of exformation, the artist’s first exhibition in a United States museum. Played by Dick Miller, Charlotte Rampling, and Abe Vigoda, these characters were found, or more precisely reclaimed, from the cutting room, having been edited out of the final cuts of the feature films for which they were created: Pulp Fiction, Vanishing Point, and The Conversation, respectively. Kurant revives these figures not only by writing a brilliant new script for them but also by casting the original actors: twenty to forty years later, the roles are the ...
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PublisherSculptureCenter2016
Ancient Egyptians regarded the balls that dung beetles diligently form as a symbol of the earth. According to Jean-Henri Fabre’s 1921 Book of Insects, the creature was admired for its cosmic synchronicity: creating microcosms by rolling up feces and dirt, it was engaged in sacred activity. However, as Fabre explains in the chapter “The Sacred Beetle,” the beetle’s balls are actually a food source: “It is not at all nice food. For the work of this Beetle is to scour the filth from the surface of the soil. The ball he rolls so carefully is made of his sweepings from ...
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PublisherSculptureCenter2015
On a recent visit to an archaeology museum, I was struck by the ornate jewelry dating from the early Bronze Age—bracelets, rings, and necklaces that look remarkably contemporary in design. People have always had a taste for fine things. And of course, these were objects for the wealthy, for those of high social status who were buried with their goods. While I have become accustomed to admiring such items during museum visits, my central thought on this trip was that luxury has always existed. This prosaic musing led me to consider the problematics around luxury. It’s difficult to look at ...
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PublisherSculptureCenter2015
Descartes famously believed that animals were living machines; he was said to beat, torture, and vivisect dogs simply to demonstrate that they had no feelings. He interpreted the sounds emerging from the dog’s mouth as mere physical reactions, just the mechanical result of air passing through a windpipe, not indicative of emotional self-expression. According to Descartes and many of his followers, animals were inferior to humans because they lacked the capacity for language. While scientific evidence as well as popular opinion about the emotive actuality and potential of animals has proven that they have inner lives, most do not speak ...
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PublisherBlaker gml. Meieri2015
THIRD REPORT Two of the protagonists of the final iteration of the exhibition project The Gutenberg Galaxy at Blaker were makers of books who have had a profound influence on the archival practice of Guttorm Guttormsgaard. They were also experts in the destruction of books. A friend of Asger Jorn (1914– 1973) once noted how the Danish artist “presented a danger to any book collection” as he used to tear out pages from books belonging to others in order to create his own. Jorn’s compatriot Rudolf Broby-Johansen (1900–1987) was also a notorious book slaughterer, leaving behind a trail of books full ...
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PublisherArchive Books2018
During the Algerian Revolution the French colonial regime designated large areas as zones interdites (forbidden zones), which consisted of free-fire zones for French military air and ground forces, and were to be cleared of any living beings. Hundreds of thousands of Algerians were forcibly evacuated from the forbidden zones and transferred into militarily controlled camps dubbed the centres de regroupement. Based on private and institutional archives, including the French Service cinématographique des armées (SCA), the exhibition at Archive Kabinett, curated by Samia Henni, features certain aspects of the massive forced resettlement of civilians, and disclosures the ways with which the ...

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