02/01/12 Coline Milliard
Exhibitions have increasingly become a topic of investigation. Afterall Books have just launched a new series of case studies, Exhibition Histories. An interview with Teresa Gleadowe, Research Consultant and Series Editor.
By Nina Möntmann
01/02/10 Nina Möntmann
Curating in Jerusalem means curating in a region of crisis. In October this year, at the time I arrived to work on the Jerusalem Show 2009: Jerusalem Syndrome, two conflicts continued to smoulder: the violent clashes after the provocative prayers of Jewish believers at the Temple Mount close to the al-Aqsa mosque, which is only permitted for Muslim worship, and the confiscations of Palestinian homes in the residential area of Sheikh Jarrah.
features 13.04.09 Hendrik Folkerts
Haarlem
Body Double at Nieuwe Vide
21/03/09 - 25/04/09
Every year art space Nieuwe Vide in Haarlem (near Amsterdam) appoints a new curator to give shape to its exhibition program. This year's curator is Emilie Oursel, founding director of Violet Bureau and editor of the publication .doc//m.
The classic retrospective, in which works are selected to present an overview of an artist’s oeuvre, is being radically renewed at the initiative of a new generation of artists. Recent examples are the exhibitions of Liam Gillick in Witte de With and Marc Camille Chaimowicz in De Appel. Alexis Vaillant, who as curator was responsible for the latter exhibition, places this development in perspective.
The emergence of the academy in the exhibition circuit is connected with the popularity of ‘relational aesthetics’. Pursuing contact may well have led to a lot of talk in the exhibition circuit, but a genuinely critical dialogue has been lacking until now. It’s more a question of talking for talking’s sake. According to Robert Garnett, ‘the exhibition as academy’ is weighed down by a threatening academicism. It’s time to disrupt the prevailing relationships.