HAR 915G - BLOCK B SEMINAR: Between Speech and Practice: History and Theory of the Exhibition and The Police Station
J - 14:00-17:00
UQAM, Pavilon Judith Jasmin, RRoom TBA
INSTRUCTOR: DR. BARBARA CLAUSEN
"Exhibitions have become the medium through which art is generally known. Exhibitions make up the main place of exchange in the political economy of art, the place of construction, maintenance and - sometimes - deconstruction of meaning. Simultaneously a spectacle, a socio-historical event and a structuring device, exhibitions - and more specifically contemporary art exhibitions - establish and manage the cultural meanings of art. " (Reesa Greenberg, Bruce W. Ferguson and Sandy Nairne in Thinking about Exhibitions , London-New York, 1996, p.2)
This seminar, devoted to the theory, practice and policy of the exhibition and curatorial exhibition, will provide an opportunity to study the history and transformations that are currently taking place in art history and museology. This seminar proposes a study of the exhibition as an artistic and social issue in the art of the twentieth and twenty-first centuries, considering the exhibition as an object of common interest to artists, curators and researchers. Since the seventeenth century, the format of the exhibition has encompassed and mediated the conception of art for the public. It is the heterogeneous product of several perspectives of power and vision that reflect cultural discourses and economic interests through works of art. The exhibition is a system of networks, discourses and institutions; It may,
The curatorial turn in contemporary discourses and cultural practices encompasses a field of knowledge that influences the conditions of presentation of art and culture. This development has affected the notion of curatorial by expanding its reach beyond selecting and showing to include also analysis, criticism, theorization, education, as well as editing, staging, And public presentation. Anchored in the globalization of the field of art and the democratization of the "curator" figure, the curatorial office has acquired a specific socio-political relevance within contemporary society. The exhibition's history and discourse developed in parallel with the different forms of artistic practice. Therefore, The exhibition became a space for artistic production, giving rise to a type of artistic practice (institutional criticism) that transformed not only the modes of artistic creation, but also the curatorial and the interpretation of art. As a staging, presentation and space for interaction, the exhibition becomes a place and a medium in which the tensions between institution, curator and artist are actualized.
This seminar will provide a critical reflection on the history of the exhibition and the notion of the curatorial as well as the issues related to globalization, identity politics and new media. Among these objectives will be to analyze the main trends such as research-creation and the way in which event practices occur in the museum context. The aim will be to present an overview of the theoretical currents and the multiplicity of discourses that have taken place since the beginning of the 1990s and to question the various institutional and artistic current policies that continue to shape our understanding of the exhibition as a medium , Production and communication site.
Bibliography
ALBERRO, A., Critical Institutional, An Anthology of Artists' Writings, Cambridge (Mass.), MIT Press, 2009.
ALTSHULER, B. (ed.), Salon to Biennial. Exhibitions That Make Art History. Flight. I: 1863-1959, London, Phaidon, 2009.
ALTSHULER, B. (ed.), Biennials and Beyond, London, Phaidon, 2013.
BAWIN, J., The commissioner: between critical posture, creative play and added value , Paris: Editions des archives contemporaines, 2014.
BISHOP, C., Artificial Hells Participatory Art and the Politics of Spectatorship , London, VERTIGO, 2012.
BISHOP, C., Radical Museology: What's Contemporary in Museums of Contemporary Art? , Cologne, Walther Koenig, 2014.
BELTING, H., The Global Contemporary and the Rise of New Art Worlds , Cambridge (Mass.), MIT Press, 2013.
BÉNICHOU, A., "Works in the form of museums, collections and archives. ", An Institutional Imaginary, Museums, Collections and Archives of Artists , coll. "Aesthetics", Paris, L'Harmattan, 2013.
BISMARCK, von B., et al., Cultures of the Curatorial I, II, III , Berlin New York, Sternberg Press, 2012 - 2016
BOURDIEU, P. and A.DARDEL, The love of art: Museums and their public , Paris, Les Éditions de Minuit, coll. "Common sense", 1966.
BRONSON, AA and P. GALE (eds.), Museums by Artists, Toronto, Toronto Art Metropole, 1983.
COPELAND, M. (ed.), Choreograph the exhibition. A book by Mathieu Copeland, Dijon, Les presses du réel, 2013.
CRIMP, D., On the Museum of Ruins , Cambridge, Mass., MIT Press, 1993.
DAVALLON, J., The exhibition at the work. Communication strategies and symbolic mediation, Paris, L'Harmattan, coll. "Communication", 1999.
DULGUEROVA, E., Usages and utopias: the exhibition in the pre-revolutionary Russian avant-garde (1900-1916), Dijon, Les Presses du réel, 2015.
ENWEZOR, O. (ed.), Documenta 11_Plattform5: Exhibition (exhibition catalog), Ostfildern, Hatje Cantz, 2002.
FILIPOVIC, E., VAN HAL & S. OVSTEBO (eds.), The Biennial Reader , Ostfildern, Hatje Cantz, 2010.
FOUCAULT, M., "Other spaces", in Architecture, Movement, Continuity , no. 5, October 1984, pp. 46-49.
GLICENSTEIN, J., The invention of the curator Mutations in contemporary art , Paris, PUF, 2015.
GRAHAM, B. and S. COOK, Rethinking Curating: Art After New Media Cambridge (Mass.), MIT Press, 2010.
GREENBERG, R., B.FERGUSON and S. NAIRNE, Thinking About Exhibitions, London and New York , Routledge, 1996.
HANTELMANN, von D., How To Do Things With Art, Zurich, Dijon, JRP Ringier, Presses du Réel, 2010.
JONES, A. and HEATHFIELD, A., Perform, Repeat, Record, Live Art in History, Bristol, UK Chicago, US, Intellect Books, 2012.
KRAUSS, R., 'The Cultural Logic of the Late Capitalist Museum', October , no.54, 1990, 3-17
MALRAUX, A., The Imaginary Museum, Paris, Folio Essais, 2003 [1965].
MCSHINE, K., The museum as muse: artists reflect, New York, Museum of Modern Art, 1999.
MOLESWORTH, H., "How to Install Art as a Feminist," in BUTLER, Cornelia and SCHWARTZ, Alexandra (ed.), Women Artists at the Museum of Modern Art, New York, Museum of Modern Art, 498-513.
MIWON, K., One Place after Another: Cambridge, Mass., MIT Press, 2002.
O'NEILL, P. and WILSON, M. (eds.), Curating and the Eductional Turn, London, Open Editions, 2010.
O'DOHERTY, B., White Cube. The exhibition space and its ideology , Zürich, JRP Ringier, 2008.
OBRIST, HU, A Brief History of Curating , Zürich, Dijon, JRP Ringier / Les Presses du réel, 2008.
POINSOT, JM, When the work takes place: Exhibited art and its authorized stories , New edition revised and expanded, Dijon, Les Presses du réel, 2008 [1998].
PUTMAN, J., The Museum at Work. The museum as a medium in contemporary art , Paris / London, Thames & Hudson, 2002.
SMITH, T., Thinking Contemporary Curating , New York, Independent Curators International, 2012.
STANISZEWSKI, MA, The Power of Display: A History of Exhibition Facilities at the Museum of Modern Art , Cambridge (Mass.), MIT Press, 1998.
WITCOMB, A., Re-Imagining the Museum - Beyond the Mausoleum , New York / London, Routledge, 2003.