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- Volume 6, Issue 1, 2017
Journal of Curatorial Studies - Volume 6, Issue 1, 2017
Volume 6, Issue 1, 2017
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How to Curate ‘Badly’: Forked Temporality in Pablo Picasso’s Retrospective at the Galeries Georges Petit, 1932
More LessAbstractPicasso curated his first large-scale retrospective, Exposition Picasso, which was held at the Galeries Georges Petit in Paris, in 1932. When asked how he arranged the works, Picasso replied, ‘Badly’. This article unravels the artist’s curation, beginning with his juxtaposition of a lowly houseplant with the sculpture Woman’s Head (1929–30). Using archival research, installation photographs, and the writings of Picasso’s contemporaries, this article offers an interpretation of the exhibition by analysing Picasso’s deliberately inconsistent curatorial strategies, which defied the chronological and teleological narratives often applied to his career and that tend to dominate the traditional history of modernism.
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Van Gogh, 1947
More LessAbstractThe 1947 Vincent Van Gogh retrospective held at the Musée de l’Orangerie, Paris, may seem to be a relatively obscure moment in the history of exhibitions. Yet some artistic and cultural ventures coming out of the show have had interesting afterlives. This article looks at how three productions – a Pathé newsreel story, Van Gogh Exhibition, 1947 (1947); Alain Resnais’s short film Van Gogh (1948); and Antonin Artaud’s pamphlet Van Gogh, Le Suicidé de la société (1947) – supplement and mediate the Paris exhibition. The exhibition appears, in turn, as a spectacle and social phenomenon (Pathé), a material basis for a narrative about the power of the imaginary in art and life (Resnais), and a dramatization of the impasse between the aesthetic and the social (Artaud). The article highlights the disparity between the logic of supplementarity that unfolds in the vicinity of the 1947 exhibition, where irreducibly elusive or mythic visions of aesthetic exposition predominate, and the double-edged models of supplementarity that circulate in present-day curatorial frameworks.
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Articulating the In-Between: Changing Exhibition Practices in Early Postwar Rome
Authors: Manuela Mariani and Patrick BarronAbstractThis article focuses on the intersection of exhibitionary and architectural space in early postwar Rome. It examines the development of spatialized exhibition practices that choreograph as well as destabilize viewers’ movements across perceptual and physical boundaries between artworks, enclosing buildings, and the connective external city. The central question we address is how Rome’s built environment served as an integral background for increasingly liminal exhibitionary engagement from the mid-1950s to early 1960s at two key small galleries, L’Obelisco and La Salita, as well as at the Galleria Nazionale d’Arte Moderna.
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Doing Things Together: Objectives and Effects of Harald Szeemann’s Happening & Fluxus, 1970
More LessAbstractHarald Szeemann’s exhibition Happening & Fluxus (Kölnischer Kunstverein 1970) was the first to bring Fluxus into an institutional art world context. Previously avoiding such situations, Fluxus had primarily grown through artist-based networking, collaboration and self-curation during the 1960s. The exhibition evoked conflict both before and after the opening but had surprisingly little impact on Fluxus’s aftermath. This article explores Szeemann’s art historical take on the works in Happening & Fluxus. It concludes that by reducing attention to Fluxus’s collaborative strategies and network structure, Szeemann overlooked the characteristics that are today acknowledged as the group’s most significant.
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Engendering Exhibitions: The Politics of Gender in Negotiating Curatorial Authorship
More LessAbstractSince the 1990s, a number of turns – such as the social, the discursive and the educational – have been observed in the curatorial field. Taking the increased interest in the relational dimensions of curating as a point of departure, this article investigates the gendering of exhibition making and the effects of gender scripts on conceptions of exhibition authorship, with a particular focus on the intersection of the educational and curatorial realms. After briefly sketching how practices and subject positions of curators and educators have been gendered and respectively denied or attributed authorship historically, I will consider not only the problem of the existing divisions of labour in the field but also the potentials and pitfalls of the educational turn in curating for renegotiating conceptions of authorship and authority under the conditions of cognitive capitalism, including what is known as the feminization of labour.
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#exstrange: Curatorial Interventions on eBay
More LessAbstract#exstrange (2017) was an online curatorial project in which artworks were displayed and sold, auction-style, on eBay. For three months in 2017, the project presented one artwork-as-auction per day to interrogate the functioning of this e-commerce platform and the role of digital culture in everyday life. By focusing on the interactivity and global networking of the Internet, #exstrange sought to reconsider the relationship between exhibitions, artworks and audiences.
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Exhibition Review
More LessAbstractBRENDAN FERNANDES: LOST BODIES Curated by Sunny Kerr, Agnes Etherington Art Centre, Kingston, 9 January – 10 April 2016, and the Textile Museum of Canada, Toronto, 9 November 2016 – 10 March 2017
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Book Review
More LessAbstractHANS ULRICH OBRIST HEAR US: FEATURING BILL BURNS London and Toronto: Black Dog and YYZBOOKS (2015), 224 pp., Hardcover, ISBN: 978-1-91043-306-5, US $39.95
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