Issue 9 introduces a new long-form section titled “Rigorous Research”; for this first installment, Italian curator and writer Germano Celant addresses the evolution of exhibition spaces in the 19th and 20th centuries, and certain seminal exhibitions that established new standards by reacting to the existing models of design and display.
For “Curators’ Favorites,” Hendrik Folkerts writes on how WACK! Art and the Feminist Revolution shifted his perception of how a canon is formed through historical exhibitions. Monika Szewczyk‘s text on Bart De Baer’s notorious 1994 exhibition This is a show and the show is many things makes clear that even decades later, this exhibition’s particular brand of organized chaos continues to resonate. Chen Tamir recounts the relentless political challenges that informed Liminal Spaces, a project that originally aspired to take the shape of an exhibition but evolved into a series of intensive seminars that took place primarily between Jerusalem and Ramallah.
“Missing in Action” presents Lucy Lippard’s 1967 text “After a Fashion: The Group Show,” which starts as an exhibition review, but then segues into a sharp critique of the strategies of the thematic group exhibition as a form. Massimiliano Gioni reflects on his much-scrutinized 2013 Venice Biennale in “Attitude,” making a case to retire the notion of the curator as a promoter or a supporter in favor of a concept more akin to a scholar or an interpreter.
For “Back in the Day,” Inés Katzenstein reflects on Experiencias 68 and how the controversial positions taken by the young Argentine artists were no exception to the global social and political upheaval of that year. “Assessments” brings together Christopher Y. Lew, Åse Løvgren, Laurel Ptak, and Johanne Nordby Wernø to review Monday Begins on Saturday, the first Bergen Assembly exhibition, which came about after literally years of discussion regarding why and how a new international biennial could function.
“Six by Six” returns for another round with six curators—Ngahiraka Mason, Fionn Meade, Pablo León de la Barra, Filipa Ramos, María Inés Rodríguez, and Syrago Tsiara—offering highly personal dispatches from around the globe, again demonstrating the wide range of exhibition histories that have shaped current curatorial viewpoints. In “Rear Mirror,” Daniel Baumann, Dan Byers, and Tina Kukielski openly discuss the satisfactions, regrets, and collective learning that happened in the process of creating the 2013 Carnegie International. As the curator of the traveling exhibition The Société Anonyme: Modernism for America, Jennifer Gross speaks to the difficulties of translating the dynamism of the remarkable collection into the present museum context.
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