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In 1926 El Lissitzky created an unconventional exhibition space in Dresden. His Room for Constructive Art connected the notion that space and the viewer are constitutive elements of an artwork and that the reception of art can be activated through the organization of space. The publication Demonstration Rooms, which cites one of the terms Lissitzky used for his spatial designs, was produced in the context of a project at Dresden’s Albertinum that presented new artworks by Céline Condorelli, Kapwani Kiwanga, Judy Radul, and Heimo Zobernig. Their installations explored the relationship between art, space, and viewer within the specific context of the architecture, design, and collection of the Albertinum. They drew upon Lissitzky’s core ideas and a spatial design by Piet Mondrian, which was created in 1926 for the Dresden residence of art collector Ida Bienert This book accompanies an exhibition at Dresden's Albertinum of new artworks--by Céline Condorelli, Kapwani Kiwanga, Judy Radul and Heimo Zobernig--that draw upon the core ideas of influential Russian constructivist El Lissitzky. Demonstration Rooms references Lissitzky's experimental 1926 Room for Constructive Art in Dresden

Rapport du spectateur à l'objet créé --- Lissitsky, Eliezer,dit El --- Mondrian, Piet --- Condorelli, Céline --- Kiwanga, Kapwani --- Radul, Judy --- Zobernig, Heimo

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‘Alexandrië: vervlogen toekomsten’ blikt terug op de glorietijd van de antieke megalopolis aan de hand van eeuwenoude teksten, belangrijke museumstukken en unieke documenten. Het boek werpt een nieuw licht op de stad en plaatst haar stedenbouwkundige, politieke en religieuze organisatie in de kijker. Ook het dagelijkse leven van de inwoners komt aan bod, net zoals de wetenschappelijke en filosofische vernieuwingen die dit kloppende hart van de antieke beschaving uitstraalde tussen de vierde eeuw voor en de vierde eeuw na Christus. Een twintigtal hedendaagse kunstwerken vult het verhaal aan en nodigt uit tot kritische en poëtische associaties. De aangekaarte thema’s worden bovendien regelmatig verrijkt met zijsprongen naar de Byzantijnse, Arabische en moderne tijd om zo het beeld van Alexandrië in de loop van de geschiedenis nog scherper te stellen.

7.039 --- kunst --- kunstenaars --- eenentwintigste eeuw --- Egypte --- Alexandrië --- archeologie --- oudheid --- Marzouk Mona --- Metwaly Jasmina --- Shawky Wael --- Morsi, Ahmed --- Aivazian Haig --- Manna Jumana --- Maamoun Maha --- Sarkissian Hrair --- Çavuşoğl, Asli --- Helmy Malak --- Ga Ellie --- Fahmy Marianne --- Issa Iman --- Condorelli Céline --- Khaled Mahmoud --- Ghoneimy Ahmed --- Khan Hassan --- 902 <620 ALEXANDRIE> --- 02 <32> --- 902 <620 ALEXANDRIE> Archeologie--Egypte--ALEXANDRIE --- Archeologie--Egypte--ALEXANDRIE --- Art --- History of civilization --- archaeology --- Contemporary [style of art] --- cultural artifacts --- cultuurgeschiedenis --- Alexandria

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'Living as Form' grew out of a major exhibition at Creative Time in New York City. Like the exhibition, the book is a landmark survey of more than 100 projects selected by a 30-person curatorial advisory team; each project is documented by a selection of colour images.

Art --- anno 1990-1999 --- anno 2000-2009 --- 77.01 --- 77.03 --- Fotografie--Semiotiek van de fotografie. Theorie --- Documentaire fotografie --- Social movements in art --- Radicalism in art --- Social movements --- Art, Modern --- History. --- Themes, motives --- political art --- social movements --- 77.03 Documentaire fotografie --- 77.01 Fotografie--Semiotiek van de fotografie. Theorie --- community art --- art [fine art] --- Jahangir, Farid --- Hobbs, Stephen --- Melitopoulos, Angela --- Allora and Calzadilla --- Kusolwong, Surasi --- Fayyazi, Bita --- Šušteršič, Apolonija --- Simpson, Buster --- von Osten, Marion --- Almárcegui, Lara --- Wikström, Elin --- Bik Van der Pol --- Ruga, Athi-Patra --- Ai Weiwei --- NSK --- Ilich, Fran --- Lace, Bronwyn --- Oldenborgh, van, Wendelien --- Reyes, Pedro --- Moys, Anthea --- Creischer, Alice --- Schaub, Didier --- Chin, Mel --- Kochta-Kalleinen, Oliver --- Shimabuku, Michihiro --- Oda Projesi --- Kenawy, Amal --- Muniz, Vik --- Hassanzadeh, Khosrow --- Reynolds, Laurie Jo --- Chan, Paul --- Hasheminejad, Ata --- Douala-Bell, Marilyn --- Watkins, Peter --- Fallen Fruit --- Condorelli, Céline --- Ukeles, Mierle Laderman --- Aranda, Julieta --- Neustetter, Marcus --- Nassiri, Sassan --- Rosado Seijo, Chemi --- Alÿs, Francis --- Kalleinen, Tellervo --- Bruguera, Tania --- Collins, Phil --- Vidokle, Anton --- Lacy, Suzanne --- Gil, Alonso --- Cirugeda, Santiago --- Schneider, Florian --- Dion, Mark --- Guzman, Frederico --- Deller, Jeremy --- Šedá Katerina --- Schlingensief, Christoph --- Cuevas, Minerva --- O'Neal, John --- Vazquez Martin, Eduardo --- Haeg, Fritz --- Siekmann, Andreas --- Wade, Gavin --- Barclay, Claire --- Morgan Puett, J. --- Movellán, Begoña --- Gates, Theaster --- Glover, Paul --- the land Foundation --- Greene, Josh --- Torolab --- San Francsico Cacophony Society --- Pulska Grupa --- Slanguage --- Ultra-Red --- Frente 3 de Fevereiro --- Cornerstone Theater Company --- Mammalian Diving Reflex --- Temporary Services --- Sarai and Ankur --- Voina Group --- Wochenklausur --- Barefoot Artists --- Superflex [Copenhagen] --- Basurama --- Ala Plástica --- Colectivo Cambalache --- Chto Delat Group --- Platforma 9.81 --- Long March Project --- Alternate Roots --- Bijari --- Pase Usted --- HAHA --- Public Movement --- Bread and Puppet Theater --- Decolonizing Architecture Art Residency [Beit Sahour] --- Women on Waves --- Free Class Frankfurt --- Mujeres Creando --- Finishing School --- Los Angeles Poverty Department --- Osten, von, Marion --- Kunst --- kunst --- gemeenschapskunst --- sociale bewegingen --- politieke kunst --- Oda Projesi [Istanbul] --- SUPERFLEX [Kopenhagen] --- SUPERFLEX [Copenhagen] --- Almarcegui, Lara --- art [discipline] --- Šedá, Katerina