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The ways we encounter contemporary art and performance is changing. Installations brim with archival documents. Dances stretch for weeks. Performances last a minute. Exhibitions are spread out over thirty venues. There are endless artworks about mid-century architecture and design. How are we expected to engage with today's diverse practise? Is the old model of(...)
Disordered attention: How we look at art and performance today
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The ways we encounter contemporary art and performance is changing. Installations brim with archival documents. Dances stretch for weeks. Performances last a minute. Exhibitions are spread out over thirty venues. There are endless artworks about mid-century architecture and design. How are we expected to engage with today's diverse practise? Is the old model of close-looking still the ideal, or has it given way to browsing, skimming, and sampling? Across four essays, art historian and critic Claire Bishop identifies trends in contemporary practice - research-based installations, performance exhibitions, interventions, and invocations of modernist architecture - and their challenges to traditional modes of attention. Charting a critical path through the last three decades, Bishop pinpoints how spectatorship and visual literacy are evolving under the pressures of digital technology.
Théorie de l’art
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Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas(...)
Artificial hells : participatory art and the politics of spectatorship
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Since the 1990s, critics and curators have broadly accepted the notion that participatory art is the ultimate political art: that by encouraging an audience to take part an artist can promote new emancipatory social relations. Around the world, the champions of this form of expression are numerous, ranging from art historians such as Grant Kester, curators such as Nicolas Bourriaud and Nato Thompson, to performance theorists such as Shannon Jackson. Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as “social practice.” Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawe Althamer and Paul Chan. Since her controversial essay in Artforum in 2006, Claire Bishop has been one of the few to challenge the political and aesthetic ambitions of participatory art. In Artificial Hells, she not only scrutinizes the emancipatory claims made for these projects, but also provides an alternative to the ethical (rather than artistic) criteria invited by such artworks. Artificial Hells calls for a less prescriptive approach to art and politics, and for more compelling, troubling and bolder forms of participatory art and criticism.
Théorie de l’art
Participation
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The artist's museum
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This book accompanies a stunning exhibition of immersive installations that propose unexpected relationships between artworks and images across time and place. This book presents immersive artworks that bring together art, artifacts, and natural materials to create distinct models from each artist’s world. Employing the language of museum display, the artists chart the(...)
novembre 2016
The artist's museum
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This book accompanies a stunning exhibition of immersive installations that propose unexpected relationships between artworks and images across time and place. This book presents immersive artworks that bring together art, artifacts, and natural materials to create distinct models from each artist’s world. Employing the language of museum display, the artists chart the recurrence of forms and themes across cultures and history, to reveal unexpected relationships and affinities.
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In Radical Museology, New York–based art historian Claire Bishop argues that the incommensurability of fiscal and cultural temporality--one fast, the other slower--points to an alternative world of values in which museums (and by extension, culture, education and democracy in general) are not subject to the banalities of a spreadsheet, but enable us to access a rich and(...)
Radical museology: or what's contemporary in museums of contemporary art?
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In Radical Museology, New York–based art historian Claire Bishop argues that the incommensurability of fiscal and cultural temporality--one fast, the other slower--points to an alternative world of values in which museums (and by extension, culture, education and democracy in general) are not subject to the banalities of a spreadsheet, but enable us to access a rich and diverse history, to question the present and to realize a different future. She discusses creative solutions implemented at the Van Abbemuseum in Eindhoven, the Museo Nacional de Reina Sofía in Madrid and MSUM in Ljubljana. This book is a manifesto for the importance of a politicized representation of the contemporary in today’s art.
Muséologie