Beatrice von Bismarck Book order

Considerations of thingness, intertwining transdisciplinary discourses, transcultural perspectives, and methods of practice-theory. The meaning, function, and status of things have changed decisively over the past two decades. This development can be traced back to a growing skepticism since the second half of the twentieth century that culture can be presented through things. The questioning of thingness is an integral part of presentation and has informed and shaped the social relevance of the field of the curatorial. Immanent to presentation as a mode of being (public) in the world, the curatorial has the potential to address, visualize, and question the central effects of the changing status and function of things. The presentational mode has played a generative role, vitally participating in the mobilization of things through its aesthetic, semantic, social, and, not least, economic dimensions. Intertwining transdisciplinary discourses, transcultural perspectives, and methods of practice-theory, the anthology Curatorial Things is a new orientation of the analysis of things. Contributors Arjun Appadurai, Annette Bhagwati, Beatrice von Bismarck, Bill Brown, Sabeth Buchmann, Clémentine Deliss, André Lepecki, Maria Lind, Sven Lütticken, Florian Malzacher, Benjamin Meyer-Krahmer, Sarah Pierce, Peter J. Schneemann, Jana Scholze, Kavita Singh, Lucy Steeds, Leire Vergara, Katharina Weinstock, Judith Welter

"A curatorial situation is always one of hospitality. It implies invitations to artists, artworks, curators, audiences, and institutions; people and objects are received, welcomed, and temporarily brought together. It offers resources for material and physical support while also responding to a need for recognition, respect, or attention. Finally, and very importantly, a curatorial situation operates in the space between an unconditional acceptance of the other and exclusions legitimized through various rules and regulations. This publication analyzes, from the perspective of hospitality, the curatorial within the current sociopolitical context through key topics concerning immigration, conditions along borders, and accommodations for refugees. The contributions in this volume, by international curators, artists, critics, and theoreticians, deal with conditions of decontextualization and displacement, encounters between the local and the foreign, as well as the satisfaction of basic human needs. Hospitality: Hosting Relations in Exhibitions is the third volume in the Cultures of the Curatorial book series."-- Back cover

Processuality and performativity, and more recently dramaturgy and choreography, are terms often used in analyses of exhibitions and other curatorial formats. These attributions reflect the changes curatorial practice has undergone over the past twenty years in the wider context of cultural and economic globalization and the related notions of acceleration, action orientation, and mobility. In this light, the exhibition manifests itself as a transdisciplinary and transcultural set of spatiotemporal relations, which is time-based by its very nature. Focusing on time instead of the typically predominant category of space, this publication—the second volume in the Cultures of the Curatorial series—takes up the key aesthetic, social, political, and economic issues of the early twenty-first century running through the field and framed by the axes of exhibiting and the temporal. -- Publisher’s description.

This book aims to map the scope of perspectives from which the curatorial field of knowledge can be discussed. Coming from a variety of disciplines and professional backgrounds, the contributors exemplify and entanglement of theory and practice, consider recent developments within the curatorial field, allow self-reflective analysis, and expo lore the conditions under which art and culture become public

Die 1959 in der französischen Schweiz geborene Künstlerin Valérie Favre hat in Paris nach einer Theater- und Filmlaufbahn zu ihrer eigentlichen Passion gefunden: der Malerei. 1998 übersiedelte sie nach Berlin, nachdem sie in den 1990er-Jahren schnell zu einer der meistbeachteten Künstlerinnen Frankreichs avancierte. Häsinnen, so genannte Idiotinnen, Zentauren oder Kakerlaken: Favre hat sich eine schräge Truppe zusammengestellt, um in ihren Arbeiten rätselhafte Geschichten zu entwickeln, die zwischen Parkplätzen und Grimm'schen Märchenwäldern angesiedelt sind und in jüngerer Zeit verstärkt aus dem Fundus von Mythologie, Kunst und Literatur schöpfen. Die Publikation unternimmt eine Tour d'horizon durch das anspielungsreiche Werk der seit 2006 an der Berliner Universität der Künste lehrenden Valérie Favre. Renommierte internationale Autoren beleuchten ausgewählte Werkserien der letzten Jahre und kommentieren vor dem Hintergrund dieses breiten Überblicks ihre neueste künstlerische Produktion, ihre zentralen Themen und Arbeitsmethoden. (Französisch/Englische Ausgabe erhältlich ISBN 978-3-7757-2444-9) Ausstellungen: Carré d'Art-Musée d'Art contemporain, Nîmes 27.5.-20.9.2009 · Kunstmuseum Luzern 24.10.2009-7.2.2010

How to put a young German film and video artist's work on paper? In this case, in rich color production stills that look like Crewdson verité. A poster that unfolds to eight times the size of the slipcase helps convey scale.

How might television, with its broad public appeal, be used as an artistic medium to further democratise the way art is received? This question formed the point of departure for the conception of the TV gallery Fernsehgalerie Gerry Schum in 1968. This catalogue overs a chronological overview, from Schum’s early commissioned work and the productions of Fernsehgalerie Gerry Schum through to the editions of videogalerie Schum. It contains information previously unpublished, or only contained in catalogues no longer available. The Fernsehgalerie Gerry Schum aimed to focus on radical innovations, to broaden art by transporting it into the world of film as a single unit – which combined both the medium and the work – and also to redefine television as an artistic medium with a mass audience. Instead of private art ownership, communication with a wider audience was increasingly to take the stage. Giovanni Anselmo Keith Arnatt John Baldessari Joseph Beuys Alighiero Boetti Marinus Boezem Stanley Brouwn Pierpaolo Calzolari Jan Dibbets Gino de Dominicis Ger Van Elk Barry Flanagan Hamish Fulton Gilbert & George Michael Heizer Wolf Knoebel Gary Kuehn Richard Long Walter De Maria Mario Merz Dennis Oppenheim Klaus Rinke Ulrich Rückriem Reiner Ruthenbeck Richard Serra Robert Smithson Keith Sonnier Franz Erhard Walther Lawrence Weiner Gilberto Zorio