Index of Titles Filed Under 'Museumology'

PublisherLink Editions2019
The #mm Net Art art released in the Czech Republic. Its English version (customized for the international reader) was preceded by the Czech edition #mm net art This explains the special care taken of Czech Internet art, which is otherwise little covered abroad. Although primarily concerned with gathering key texts by distinguished international authors, the anthology also contains original studies by Czech experts and chapters or footnotes dealing with the Czech context.
Publishere-flux2015
The museum of contemporary art might be the most advanced recording device ever invented. It is a place for the storage of historical grievances and the memory of forgotten artistic experiments, social projects, or errant futures. But in late nineteenth and early twentieth-century Russia, this recording device was undertaken by artists and thinkers as a site for experimentation. Arseny Zhilyaev’s Avant-Garde Museology presents essays documenting the wildly encompassing progressivism of this period by figures such as Nikolai Fedorov, Aleksandr Rodchenko, Kazimir Malevich, Alexander Bogdanov, and others—many which are translated from the Russian for the first time. Here the urgent question is: ...
In this publication, Greg Lynn and Wolf Prix discuss Coop Himmelb(l)au’s BMW Welt, a corporate-event and car-delivery centre whose iconic form was realized with sophisticated structural analysis and visualization software. The project is located on the BMW campus in Munich, near the Olympic Park; among other corporate functions, it offers the opportunity for new BMW owners to learn more about their cars before driving them away from within the building itself. The design extends Prix’s interest in a cloud-like architecture without ties to the ground. Anchored in one corner by a twisting “double cone” made of nearly nine hundred unique steel ...
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.
Publishere-flux2019
There is a certain plasticity of meaning inherent in any use of language. If that weren’t the case, poetry and literature would not exist. There would only be contracts, scientific formulas, shopping lists, and so forth. Journalism would be properly factual—there would be no fake news or disinformation. All utterances would document isolated events, never evoking larger patterns or tapping into hidden desires. But then the question arises: Even if language could be cleansed of all ambiguity and spin, what role would images play? If language is the problem, images can only be worse. Against a backdrop where postmodern slippages in ...
Publishere-flux2019
On November 7, 1929, the Museum of Modern Art “opened in a five-room rented space with an ‘historical’ exhibition of (European) Post-Impressionist art, titled ‘The First Loan Exhibition: Cezanne, Gauguin, Seurat, Van Gogh.’” MoMA’s founding director, Alfred Barr, had the idea that modern works that passed a test called “Torpedo in Time” would, after some fifty years, be considered historical and transfer to the permanent collection of the Metropolitan Museum of Art. At the time, Gertrude Stein also famously quipped that the very idea of a museum of the modern was an oxymoron. In short, MoMA was more of a kunsthalle ...
Publishere-flux2020
Following the collapse of the Soviet Union, a “global” art world began to form. Sure, there were already a number of world’s fairs and established international biennials, but this would be different. From the 1990s onward, national boundaries would dissolve, centers and peripheries would level out, and the internet would host worldwide cultural exchange. In many ways this really did happen, but some other things also happened. As people and ideas began to move across borders, money did too. Faced with an unmanageable planetary scale, capital became a more efficient regulator of flows than laws or nations. Suddenly, capital rose ...
Publishere-flux2020
As the novel coronavirus pandemic spreads, we—the people of planet earth—are faced with a dizzying variety of responses: quarantine, containment, vigilant self-quarantine, paranoid self-isolation, and in some cases escape from the above. Suddenly, it is as if circulation itself has turned against us, making healthy freedom of movement in the world a dealer of death. So your flight is cancelled. Your trip is over. We are staying in place for the foreseeable future. Exhibitions, symposia, gatherings of all kinds are postponed. But not sporting events. Those will go on, but without any supporters in the stands. The players will play ...
Publishere-flux2017
The critique of bureaucracy slithers like a sewer—hidden, warm, and necessary—beneath the aging towers of the twentieth-century intellectual metropolis. Arising first as one answer to The Question—namely, what happened in the USSR?—bureaucracy eventually came to replace the bourgeoisie as the preferred explanation for why everything was the way it was. To this day, pseudonyms for bureaucracy remain highly fashionable pieces of conceptual hyperbole. Any characterization of instituted sociality as uniform unfreedom—the spectacle, the body without organs, libidinal economics, Empire, Bloom—has its origins in the bureaucratic obsession with control, as distinct from the bourgeois obsession with ownership. In “The Great Accelerator,” Oleksiy ...
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?
The destruction of cultural heritage does not just take place in architectural landscapes, but within the culture of the museum. Middle Eastern museums built by foreign experts under colonial rule are also sites of demolition, aesthetically and ideologically confirming their exhibitors’ Weltanschauung worldview.
PublisherArtFCity2018
Back in January, William Powhida and I recorded an episode of Explain Me on the Metropolitan Museum of Art’s new admission policy. Earlier that month, the museum known for housing some of the world’s greatest treasures announced its admission price would no longer remain “pay-as-you-wish”. As of March 1st, their suggested admission, $25 will become mandatory for anyone living outside of New York State. Children under 12 get in for free. Given that there’s less than two weeks until this policy change goes into affect, we thought it might be a good time to release our discussion and revisit the debate. Because what came out of the ...
Greg Lynn and Preston Scott Cohen discuss the Eyebeam Atelier Museum, a project for an art space in New York developed through 3D modelling to define a structure based on tensegrity. The project was developed for a competition in 2001 and was intended as a space for exhibition, education, and design in the domain of digital art. Preston Scott Cohen’s design defines distinct planes, chords, and stacked toroidal volumes in a segmented structural system that nevertheless allows for continuous and non-repeating circulation. Cohen’s use of digital technology for the Eyebeam project originated in his formal interests—specifically in geometry that could not ...
PublisherFailed Architecture2020
Paris’ famous Louvre Museum was forever transformed in Summer 2018 when it was spectacularly appropriated by megastar power couple Beyoncé and Jay-Z, by way of a music video for their single “Apeshit”. Timed to coincide with Everything is Love, their surprise joint album as The Carters, the video saw the couple, and Beyoncé in particular, performing in front of several significant paintings and sculptures in the museum’s vast collection. Needless to say, two of the world’s most visible and successful black cultural figures seizing control of a space so synonymous with Western imperialism led to a lively debate in the days ...
PublisherEven Magazine2018
On episode 11 of Hidden Noise, hosts Abby Sandler and Rebecca Siegel head to MoMA for “Tarsila do Amaral: Inventing Modern Art in Brazil.” For Critical Conversations, Even editor Jason Farago is joined by artist Sean Landers to discuss his current exhibition at Petzel Gallery.
PublisherEven Magazine2018
On the season finale of Hidden Noise, hosts Abby Sandler and Rebecca Siegel head to the Neue Galerie for “Before the Fall: German and Austrian Art of the 1930’s.” Then, to close out the season the hosts will be joined by two distinguished guests for the Even 8: JiaJia Fei from the Jewish Museum and Daniel S. Palmer from Public Art Fund.
PublisherEven Magazine2017
Hosts Abby Sandler and Rebecca Siegel take a look at Toyin Ojih Odutola’s exhibition at the Whitney. In Critical Conversations Editor Jason Farago is joined by curator, professor, and MacArthur fellow Kellie Jones. Thessaly La Force, features director at T Magazine, joins the hosts for the Even 8.
PublisherEven Magazine2017
Hosts Abby Sandler and Rebecca Siegel do a roundup of the top 6 shows to see at the Metropolitan Museum of Art and Met Breuer. In Critical Conversations, Abby is joined by Joseph V. Melillo, executive producer of the Brooklyn Academy of Music. The BAM impresario stays to join the hosts for the Even 8.
PublisherEven Magazine2017
On episode 5 of Hidden Noise, hosts Abby Sandler and Rebecca Siegel close out the year with a trip to the Bronx Museum for “Gordon Matta-Clark: Anarchitect.” In Critical Conversations, editor Jason Farago is joined by painter Jacqueline Humphries to discuss her current show at Greene Naftali. For the Even 8, the hosts welcome MoMA PS1 chief curator Peter Eleey.
PublisherEven Magazine2018
On episode 9 of Hidden Noise, hosts Abby Sandler and Rebecca Siegel discuss this weeks Go See: “Peter Hujar: Speed of Life” at the Morgan Library and Museum. In Critical Conversations, Even editor Jason Farago speaks to painter Amy Sillman. For the Even 8, the hosts are joined by The Kitchen’s executive director and chief curator Tim Griffin.
In the early years of the 21st century, Europe seems uncertainly placed between a deep sense of its own historical importance and anxiety about where it may go in the future. The European project, which for many of our institutions was a guiding principle, has run aground on the rocks of neo-liberalism and an economic priority that forgot about society’s politi- cal and cultural dimensions. The national project, on which the foundations of our museums (along with most of Europe’s other cultural institutions) were based, retains little of its 19th century ambitions to progressive, democratic thinking. As a result, cultural ...
PublisherPrinted Matter2012
Occupy Museums approached this booklet as an opportunity to collaboratively reexamine and explore our underlying principles. We developed a list of questions together and gave each member the time and space to answer two or three of their choice autonomously. From the very beginning, with roots deep in Occupy Wall Street’s process and ideals, Occupy Museums has been committed to both group process and the autonomous self-expression of group members. Members of Occupy Museums show an individual voice in this booklet, sometimes agreeing with others and sometimes not, and it is exactly within this dialogue that OM finds its coherence.
Rory Hyde is an architect, curator and writer based in London. His work is focuses on new forms of design practice, and redefining the role of the designer today. Currently, he’s Curator of Contemporary Architecture and Urbanism at the Victoria and Albert Museum and is the author of the book, Future Practice, a collection of interviews about the edge of architecture. In this wide-ranging conversation, Rory and I talk about his early career as an architect and interning at Volume magazine, the differences between practice and curation, and the types of design criticism he’s drawn to and wants to see ...
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 ...
PublisherInhabitants2017
For the third and final contribution to Contour 8 Biennale, inhabitants has commissioned Adam Khalil and Zack Khalil in order to host an urgent reflection on indigenous sovereignty, the undead violence of museum archives, and post-mortem justice. Filmmakers Adam and Zack Khalil (Ojibway), in collaboration with artist Jackson Polys, investigate the recent court case that decided the fate of the remains of a prehistoric Paleoamerican man found in Kennewick, Washington State in 1996. The case pitted the Umatilla people and other tribes, who wanted to provide a burial to the  “Ancient One,” against two scientists—one of which from the publicly-funded Smithsonian Institute—who wanted ...

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