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During its impressive career over the last decades the term 'performative' has been attributed with many parallel meanings in the humanities, philosophy, arts, or economics. Empty Stages, Crowded Flats applies the notion of the performative to the context of curating with the aim to unfold a potential that so far has been mostly unused. The book is following J.L. Austin, Judith Butler, and others in their belief in the performative capacity to transform reality with words and other cultural utterances, but it also emphasises the often dismissed, colloquial notion of the performative as something being 'theatre-like', believing that those two strands are in fact interdependent and intertwined. Empty Stages, Crowded Flats investigates an array of staged situations, from choreographed exhibitions, immaterial museums, theatres of negotiation, and discursive marathons, to street carnivals and subversive public-art projects, and asks how 'theatre-like' strategies and techniques can in fact enable 'reality making' situations in art, and how, as a consequence, curating itself becomes staged, dramatised, choreographed, and composed.--LADA website.
Conservation --- Curatorship --- Curatorship. --- Performance art --- Theater --- Philosophy --- Philosophy. --- Exhibitions --- Performative (Philosophy)
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Art --- curating --- public art --- performance art --- philosophy of art --- Perjovschi, Dan --- Aranda, Julieta --- Ghani, Mariam --- Herz, Rudolf --- Miessen, Markus --- Wanner, Franz --- Abu Hamdan, Lawrence --- Pirici, Alexandra --- Dittmer, Mareike --- Furlan, Massimo --- Eixenberger, Leon --- Lund, Jonas --- Haliti, Flaka --- Bilir-Meier, Cana --- Meyers, Benjamin Ari --- Blum, Gabi --- McCarthy, Anna --- Eiebakke, Anders --- Wasilkowska, Aleksandra --- Wahren, Julia --- Morris, Sarah --- Kluge, Alexander --- Melián, Michaela --- Nicolai, Olaf --- Akademie der Bildenden Künste [München] --- anno 2010-2019 --- Munich
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Adamczak, Bini ; Ahmed, Sara ; Andreani, Giulia ; Baggesen, Lise Haller ; Bauer, Petra ; Thor, Rebecka ; Garcia, Dora ; Hardt, Michael ; Lind, Maria ; Masucci, Michele ; Mitrofanova, Alla ; Pettersson, Pontus ; Platt, Jonathan Brooks ; Power, Nina ; Preciado, Paul B. ; Rafa, Tomas ; Rogalska, Alicja ; Salemy, Mohammad ; Schonfeldt, Sally ; Schuster, Aaron ; Tabatadze, Sophia ; Timofeeva, Oxana ; Warsza, Joanna ; Nowicka-Wojnowska, Martyna ; Zafiropoulos, Hannah
Social problems --- Kollontaï, Alexandra --- anno 1800-1899 --- anno 1900-1999 --- Russia --- Kollontai, Alexandra --- Pleijel, Agneta --- Feminism --- Love --- Theatre --- Book
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"Re-enchanting the World is a publication accompanying Małgorzata Mirga-Tas's exhibition of the same name, shown in the Polish pavilion at the 59th Venice Biennale. The exhibit is Mirga-Tas's manifesto on Roma identity and art, drawing inspiration from the Renaissance frescoes of the Palazzo Schifanoia in Ferrara and thus attempting to expand the European iconosphere and history of art with representations of Roma culture.The title of the project and this book is inspired by Silvia Federici's book Re-enchanting the World: Feminism and the Politics of the Commons (2018), in which re-enchanting - a non-violent process in which women play an important role - reverses the unfortunate fate of the world, shaking off its evil spell. This publication presents Mirga-Tas's re-enchanting of the world as a way of recovering the idea of the Roma community, with consideration to transnationality, cyclicity and the evolution of meanings, proposing a new narrative about the continuous cultural migration of images and mutual influences between Roma, Polish and European cultures.Within the multidirectional texts featuring poetry, prose and essays, as well as images of Mirga-Tas's project and its process, we witness her re-enchantment of the world through a re-examination of identity, a recognition of feminine power, and a re-presentation of historical and contemporary visual narratives."--.
kunst --- textiel --- textielkunst --- eenentwintigste eeuw --- Polen --- Mirga-Tas Malgorzata --- Roma --- 7.071 MIRGA-TAS --- Biennale di Venezia --- Mirga-Tas, Malgorzata --- Mirga-Tas, Malgorzata / Expositions --- Catalogues d'exposition --- Mirga-Tas, Malgorzata. --- collages --- quiltwork --- ontwerpmethodiek --- Biënnale van Venetië --- 772.9 --- 779.8 --- portretten --- productdesign, afzonderlijke voorwerpen --- textielkunst, overige --- Exhibitions --- Mirga-Tas, Małgorzata, --- antiziganisme --- racisme
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Art --- democracies --- performance art --- political art --- Aminde, Ulf --- Pirici, Alexandra --- Helguera, Pablo
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Conversations from some of the most complex and yet underresearched European and US public art exhibitions of the 1980s and 1990s. Through conversations with curators and participating artists, this book revisits some of the most groundbreaking yet under-researched European and US public art exhibitions of the 1980s and 1990s: “Konstrukcja w Procesie,” an artist-driven collaboration with the Solidarność movement in Łódź, 1981; “Die Endlichkeit der Freiheit,” initiated by artists Rebecca Horn and Jannis Kounellis and playwright Heiner Müller on both sides of the former Berlin Wall in 1990; “Culture in Action,” curated by Mary Jane Jacob in Chicago in 1993; “Sonsbeek 93” in Arnhem, curated by Valerie Smith; “Fem trädgårdar,”curated by Carlos Capelán in Simrishamn and Ystad in 1996; “INSITE,” an ongoing series of exhibitions in San Diego and Tijuana launched in 1992; “U-media,” curated by VAVD Editions in Umeå in 1987; and Ida Biard's “La Galerie des Locataires,” which, from 1972 until today, has used the window of a Parisian apartment as an exhibition space. Assuming Asymmetries focuses on questions central to all these projects: How can art productively navigate political tensions? How have artists and curators addressed the ethical asymmetries of the border condition, of inside and outside, working across walls and fences—whether physical, political, or social? Why is participation so hard to catalyze and conduct? How have artworks come to constitute a practice of “situated knowledge,” engaging with the contexts in which they are produced or exhibited? And finally, what can we learn from the exhibitions discussed here when developing new, respectful forms of curating today?
Muséologie --- Exposition --- Politique culturelle
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Abramovic, Marina ; Akhunov, Vyacheslav ; Alimpiev, Victor ; Althamer, Pawel ; Antufiev, Evgeny ; Atabekov, Said ; Avotins, Janis ; Balka, Miroslaw ; Cantor, Mircea ; Didziapetris, Gintaras ; Djordjadze, Thea ; Feriancova, Petra ; Friedman, Yona ; Grigorescu, Ion ; Grubic, Igor ; Gutov, Dmitry ; Halilaj, Petrit ; Jasansky, Lukas ; Polak, Martin ; Kabakov, Ilya & Emilia ; Koller, Julius ; Kovanda, Jiri ; Kovylina, Elena ; Kusmirowski, Robert ; Lulaj, Armando ; Maljkovic, David ; Man, Victor ; Martek, Vlado ; Meldibekov, Yerbossyn ; Mikhailov, Ivan ; MoAA (Dorothy Miller) ; Muresan, Ciprian ; Narkevicius, Deimantas ; Ondak, Roman ; Paci, Adrian ; Putrih, Tobias ; Sala, Anri ; Seda, Katerina ; Solakov, Nedko ; Sosnowka, Monika ; Turba, Tamas St. ; Ter-Oganyan, David ; Galkina, Alexandra ; Tichy, Miroslav ; Toomik, Jaan ; Trbuljak, Goran ; Zmijewski, Artur
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Art --- installations [visual works] --- drawing [image-making] --- painting [image-making] --- photography [process] --- light [energy] --- color [perceived attribute] --- private collections [object groupings] --- reflection [action] --- sculpting --- Eliasson, Olafur --- Boros Collection [Berlin]
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