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As museums worldwide shuttered in 2020 because of the coronavirus, New York-based cultural strategist András Szántó conducted a series of interviews with an international group of museum leaders. In a moment when economic, political, and cultural shifts are signaling the start of a new era, the directors speak candidly about the historical limitations and untapped potential of art museums. Each of the twenty-eight conversations in this book explores a particular topic of relevance to art institutions today and tomorrow. What emerges from the series of in-depth conversations is a composite portrait of a generation of museum leaders working to make institutions more open, democratic, inclusive, experimental and experiential, technologically savvy, culturally polyphonic, attuned to the needs of their visitors and communities, and concerned with addressing the defining issues of the societies around them. The dialogues offer glimpses of how museums around the globe are undergoing an accelerated phase of reappraisal and reinvention. Conversation Partners: Marion Ackermann, Cecilia Alemani, Anton Belov, Meriem Berrada, Daniel Birnbaum, Thomas P. Campbell, Tania Coen-Uzzielli, Rhana Devenport, María Mercedes González, Max Hollein, Sandra Jackson-Dumont, Mami Kataoka, Brian Kennedy, Koyo Kouoh, Sonia Lawson, Adam Levine, Victoria Noorthoorn, Hans Ulrich Obrist, Anne Pasternak, Adriano Pedrosa, Suhanya Raffel, Axel Rüger, Katrina Sedgwick, Franklin Sirmans, Eugene Tan, Philip Tinari, Marc-Olivier Wahler, Marie-Cécile Zinsou
The ecological crisis the world is currently experiencing calls for an urgent rethinking of our relationship to nature, natural resources, and the entirety of life on Earth, as well as that of humans to each other. The time has come for repurposing coexistence, aided by post-human thought and technological advancement, and for realizing that humans are merely part of, rather than the center of, our world. Potential Worlds: Planetary Memories and Eco-Fictions, published in conjunction with group shows at Zurich's Migros Museum für Gegenwartskunst and Baku's YARAT Contemporary Art Space, questions forms of knowledge developed in the course of annexation of the environment and asks what ideas of nature might emerge from the current crisis and how we might perceive nature in the future. Thirty-six artists from around the world featured in this book examine the ecological and social consequences of the past and ongoing conquests of land for purposes of accumulating power and resources. Essays by Benjamin H. Bratton, T. J. Demos, Reza Negarestani, and Jussi Parikka shed light on multiple different perspectives, such as colonialism, post-humanism, ecology, and artistic adaption of new technologies, and investigate the potential future of mankind living in alliance with nature and the role of art in this undertaking as a technological, scientific, and social experiment. Concise texts on the work of the participating artists and an introduction by curators Suad Garayeva-Maleki and Heike Munder round out this illustrated volume.
Tatiana "Pluta" Spektor was a mostly happy, if awkward, young girl--until her sociologist father was disappeared during Argentina's Dirty War. Sent a world away by her grieving mother to attend boarding school outside New York City, Pluta wrestles alone with the unresolved tragedy and at last runs away: to the streets of Brooklyn in 1980, where she figuratively--and literally--spreads her wings. Told with haunting fabulist imagery by debut novelist Anca L. Szilagyi, this searing tale of love, loss, estrangement, and coming of age is an unflinching exploration of the personal devastation wrought by political repression.
Sydney is a city blessed with an extraordinary natural environment - a beauty that has been defined and refined by the male gaze of artists drawn to this place since the early 19th century. From Martens, Streeton and Roberts, to Rees, Whiteley and Olsen, male artists have successfully driven the process of interpreting and reinterpreting the harbour city while the work of female artists has been comparatively ignored or recognized only in the genres of interiors or still lifes. The new millennium calls for a reconsideration of this legacy and an exploration of the work of women artists in defining the art of Sydney in the 21st century - Destination Sydney: The natural world is a response to this call.This is the third (and final) iteration of the Destination Sydney series, developed and presented by Manly Art Gallery & Museum, Mosman Art Gallery and S. H. Ervin Gallery. The first two exhibitions featured well known Australian artists whose landscape visions of Sydney changed our perception of the city. The nine artists each showed the wide range and complexities of landscape paintings and demonstrated their popularity in Australian art. This third iteration now brings the series up to date and showcases a broader range of media to include painting, photography, sculpture and ceramics. All but one of the artists is living and in a nod to contemporary curatorial thinking and practice, all of the artists and their associated essayists are female. Each of the artists has created works that are becoming synonymous with the Sydney landscape, in new and innovative ways. The strap line of the exhibition, The natural world, clearly identifies the intention to show artists whose interests are again landscape and landforms, but with the added analytical appreciation and understanding of the environment. Artists selected for this exhibition include Joan Ross, Fiona Lowry, Merran Esson (Manly Art Gallery & Museum), Janet Laurence, Caroline Rothwell, Robyn Stacey (Mosman Art Gallery), and Bronwyn Oliver, Juz Kitson and Jennifer Keeler-Milne (S.H. Ervin Gallery).
The turning away from the picture is one of the biggest upheavals in 20th century art history. Conceptual Art took the place of figurative painting.This significant paradigm shift is also underscored by the important role that the legendary D�sseldorf gallerist and collector Konrad Fischer played in the international art scene starting in the 1960s.Konrad Fischer established his gallery, which he developed into one of the most influential galleries in the world, in 1967. He represented artists of Minimal and Conceptual Art such as Carl Andre, Joseph Beuys, Hanne Darboven, Hamish Fulton, Sol LeWitt, Richard Long, or Bruce Nauman.The gallery gained art-historical importance above all through exhibiting American artists, and thus contributed to making D�sseldorf into a hotspot for contemporary art.The State of North Rhine - Westphalia acquired the impressive art collection of Konrad Fischer and his wife, comprising 250 works by some 35 artists, as well as the gallery archive, for the Kunstsammlung Nordrhein-Westfalen at the beginning of 2014. The exhibition catalogue now provides a summary of Konrad Fischer's significant life's work.Published on the occasion of the exhibition Cloud & Crystal: The Dorothee and Konrad Fischer Collection, at K20 Grabbeplatz, D�sseldorf, 24 September 2016 - 8 January 2017.
This catalogue traces the evolution of Posenenske's practice from early experiments with mark making to transitional aluminium wall reliefs to industrially fabricated modular sculptures, which are produced in unlimited series and assembled or arranged by consumers at will.Posenenske exhibited widely during the brief period (1956-68) that she was active as an artist, alongside peers such as Hanne Darboven, Donald Judd, and Sol LeWitt.Her work is distinguished by its radically open-ended nature: she used permutation and contingency as playful conceptual devices to oppose compositional hierarchy and invite the public to collaborate by reconfiguring her variable sculptures.Embracing reductive geometry, repetition, and industrial fabrication, she developed a form of mass-produced Minimalism that addressed the pressing socioeconomic concerns of the 1960s by circumventing the art market and rejecting established formal and cultural hierarchies.Published on the occasion of the exhibition, Charlotte Posenenske: Work in Progress at Dia:Beacon, New York (8 March - 9 September 2019), before travelling to Museu d'Art Contemporani de Barcelona (18 October 2019 - 8 March 2020), Kunstsammlung Nordrhein-Westfalen Düsseldorf (4 April - 2 August 2020), and Mudam Luxembourg--Musée d'Art Moderne Grand-Duc Jean (2 October 2020 - 10 January 2021).Co-published with Dia Art Foundation.
The articles collected in this volume from the two companion Arts Special Issues, "The Machine as Art (in the 20th Century)" and "The Machine as Artist (in the 21st Century)", represent a unique scholarly resource: analyses by artists, scientists, and engineers, as well as art historians, covering not only the current (and astounding) rapprochement between art and technology but also the vital post-World War II period that has led up to it; this collection is also distinguished by several of the contributors being prominent individuals within their own fields, or as artists who have actually participated in the still unfolding events with which it is concerned