El objetivo de este artículo es contribuir a la historiografía del contexto artístico de Barcelona de las últimas décadas. Para ello toma como caso de estudio el periodo de formación del Centre d'Art ...Santa Mònica (CASM). El CASM se estableció como centro de arte en Barcelona entre 2003 y 2007 siguiendo el modelo "Kunsthalle". El autor busca establecer la adecuación del centro en un mapa institucional dedicado al arte contemporáneo que estaba en construcción y desarrollo. El artículo también establece un paralelismo entre el CASM y los modelos de trabajo en la producción artística en el contexto internacional antes de la crisis de 2008. Además, busca situar históricamente el modelo instituido por el CASM en el origen del debate sobre la necesidad de un centro de arte en Barcelona. La investigación se basa en fuentes y documentos originales, reconstruyendo la historia del CASM en relación con otras instituciones paralelas en Barcelona y concluye con un análisis de los efectos y consecuencias de la interferencia política en el contexto institucional del arte de la ciudad.
With reference to different examples of self-organized Swiss art projects, this article highlights how the ‘institution’—especially Kunsthallen—can be a (literal) infrastructure for running a ...project. As such, institutions act more as semantic forms. However, this does not mean that they are merely simulated or faked, but rather that these semantic forms serve as vessels for artistic ends of social connections and imagination of production, which ultimately create something concerned with institutional imagination.
Public has had the opportunity to grasp the success of concrete within the contemporary art world thanks to Beton, an exhibition held at the Kunsthalle in Vienna (June 25 - November 6, 2016) curated ...by Vanessa Joan Müller and Nicolaus Schafhausen. A thoughtful selection of works allowed curators to highlight the cultural significance of the material in the construction of social and Brutalist architectures. The exhibition proved to be a critical assessment of concrete, redeeming brutalist architectures from oblivion and inviting to save them from physical ruin.
A trailblazing look at the historical emergence of a global field in contemporary art and the diverse ways artists become valued worldwide
Prior to the 1980s, the postwar canon of “international” ...contemporary art was made up almost exclusively of artists from North America and Western Europe, while cultural agents from other parts of the world often found themselves on the margins. The Global Rules of Art examines how this discriminatory situation has changed in recent decades. Drawing from abundant sources—including objective indicators from more than one hundred countries, multiple institutional histories and discourses, extensive fieldwork, and interviews with artists, critics, curators, gallerists, and auction house agents—Larissa Buchholz examines the emergence of a world-spanning art field whose logics have increasingly become defined in global terms.
Deftly blending comprehensive historical analyses with illuminating case studies, The Global Rules of Art breaks new ground in its exploration of valuation and how cultural hierarchies take shape in a global context. The book’s innovative global field approach will appeal to scholars in the sociology of art, cultural and economic sociology, interdisciplinary global studies, and anyone interested in the dynamics of global art and culture.
The author of article views the curator activity of famous German art-historian and director of Mannheim Kunsthalle Gustav Friedrich Hartlaub in the context of the collecting and patronage. His ...interest to actual art has turned to most large-scaled project in the art of Weimar republic, that fixes the bone of new «neorealistic» art in the period between two world wars, that has got a name «New objectivity» after the Hartlaubs exhibition. The aim of article is the study of Hartlaubs role as a gallerist in the awareness of changing, which have took a place in the German art after expressionism and their fixation in the social consciousness by exhibition actual pieces of art and following acquiring of them for different museum collections. For the first time in Russian language tells this article about the rising of interest to the «New Objectivity», the history of the organization of famous exhibition in 1925 and her tourney about Germany, about the problem, that have took a place, also about the contradictions between the participants of two wings inside the movement. Special attention is given to the fate of collection, which was scattered by Nazi.
Die Praxis der Ausstellung Natter, Tobias G; Fehr, Michael; Habsburg-Lothringen, Bettina
2014, 2012, 201403, 2012-01-01
eBook
Welche Konzepte und Erzählformen bestimmen heute Dauer- und Sonderausstellungen? Wodurch unterscheiden sie sich und wie greifen sie ineinander?Die Praxis zeigt, dass die Grenzen zwischen beiden ...Formaten zunehmend verschwimmen: Dauerausstellungen wirken ›beschleunigt‹ und instabiler, während Sonderausstellungen in neuer Weise mit dem eigenen Sammlungsbestand arbeiten und ›Altbekanntes‹ neu befragen. Der Band diskutiert diese aktuellen Fragestellungen anhand theoretischer Überlegungen und konkreter Beispiele aus der Praxis.
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