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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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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PublisherSculpture Center2013
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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PublisherSculpture Center2016
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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PublisherSculpture Center2015
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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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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Art Biennials and the Mediterranean Conundrum surveys the last twelve editions of Manifesta. Through this examination, the essay evaluates neocolonial strategies that can be used to promote decolonial thinking and exhibition-making. It also situates the biennial as a territory where both fabrication and rethinking of the periphery paradigm occur.
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PublisherSculpture Center2019
Banu Cennetoğlu’s moving-image work 1 January 1970–21 March 2018 H O W B E I T Guilty feet have got no rhythm Ke iboynuzu AS IS MurMur I measure every grief I meet Taq u Raq A piercing Comfort it affords Stitch Made in Fall Yes. But. We had a golden heart. One day soon I’m gonna tell the moon about the crying game presents the totality of the artist’s visual archive from June 10, 2006, to March 21, 2018. The time span of the project is bookended by, at one end, Cennetoğlu’s engagement with The List (see pages 6–10 ...
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The Biennals in Pakistan explores popular political, religious and nationalistic dogmas that have influenced art-making in Pakistan since the 1990s. It addresses the gap between the conception and the reception of public art within Pakistani society that has arisen since the country began hosting visual art biennales and festivals in Lahore, Karachi and Islamabad.
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PublisherSculpture Center2018
Newborn was made multiple times. The Romanian-born French modernist sculptor Constantin Brancusi made the first iconic version, Le Nouveau Né, early in the early twentieth century. He carved the eggshaped form from marble in 1915, then made another version in bronze in 1920. The title’s allusion to originality— a key tenet of avant-garde art at the time—also embraced the peculiarities of artistic creation by comparing it to birth; the ovoid sculpture abstractly resembles a crying baby through an indentation on its surface. By shaping an evocative object out of physical material, Brancusi brought a thing into existence. His paternity was ...
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Cecilia Vicuña: Seehearing the Enlightened Failure was published on occasion of the exhibition Cecilia Vicuña. Seehearing the Enlightened Failure (February 8 to August 2, 2020) muac, Museo Universitario Arte Contemporáneo. unam, Universidad Nacional Autónoma de México, Mexico City; (May 26 to November 24, 2019) Witte de With Center for Contemporary Art, Rotterdam. This retrospective exhibition brings together over a hundred works by the poet, visual artist, and activist Cecilia Vicuña. Since the 1960s, the artist has constituted a radical perspective on the relationship between art and politics through her writing and art making. She has done so in different parts ...

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