'Art and its Worlds offers a possible history of art since 1989 told through the moments when art becomes public. The anthology addresses some of the myriad worlds conjured by art and the telling of their histories. It is guided by three questions: What is the "global" for art and exhibition-making, or why has it been what it has? How have agents including artists and curators experimented with different forms of exhibition? And how do these exhibitionary moments connect to longer-term and institutional trajectories? Key texts previously published in Afterall journal appear alongside newly commissioned essays, artist contributions, conversations and translations, exploring exhibition as a material, embodied and political practice, while inviting a new location for past art and bringing it into the present for what is to come. ' - extracted from the publisher's website
Exhibition Histories Series
Onsite
English
2021
431
9783960989172
1
anthology
Introduction: Exhibition Histories Through the Shared Art of Memory - Lucy STEEDS, David MORRIS, Charles ESCHE, Bo CHOY, 蔡寶賢
I. Making Art Global?
Introduction: Making Art Global?
How to Eat a Forest
In our language the word for the sea means the 'spirit that returns' - Adjoa ARMAH
How Do We Know What Latin American Conceptualism Looks Like? - Miguel A. LOPEZ
NIRIN WURRUNMARRA - Brook ANDREW, Anthony GARDNER
Anger and Reconciliation: A Very Brief History of Exhibiting Contemporary Indigenous Art in Canada - Lee-Ann MARTIN
Art and the Foreigner's Gaze: A Report on Contemporary Arab Representations - Pablo LAFUENTE
On the Curatorial in India: Geeta Kapur in conversation with Natasha Ginwala - Geeta KAPUR, Natasha GINWALA
Aftermaths?: dOCUMENTA (10) in Kabul - Francesca RECCHIA
In Real Life - A Reflection on the 'Online Exhibition' - Adeena MEY, David MORRIS
'Cities on the Move' in Public Space: A Journey Through the Archive
Potosí Principle: Following the Devil's Tail - Luiza PROENCA
Amo la montaña / I Love the Mountain - Silvia Rivera CUSICANQUI
II. Artist/Curator/Other?
Introduction: Artist/Curator/Other?
David Hammons, Untitled (Knobkerry), 1994 - Elena FILIPOVIC
Brothers in Arms: Laboratoire AGIT'art and Tenq in Dakar in the 1990s - Clementine DELISS
Center for Historical Reenactments: Is the Tale Chasing its Own Tail? - Khwezi GULE
Counter-Imaginaries: 'Women Artists on the Move', 'Second to None' and 'Like A Virgin...' - Serubiri MOSES
Womanifesto - Bo CHOY, 蔡寶賢
Fragmented Sites of Actions: Three Art Events in China's Hinterland, 1992-94 - XIE Congyang, 謝從暘
On the Subject of Object-act-ivities: 1989 in Hong Kong - John TAIN, 譚鴻鈞
Who Cares a Lot? ruangrupa as Curatorship - David TEH
The Joy of Meta: On the Museum of American Art - Steven ten THIJE
The Artist as Director: 'Artist Organisations International' and its Contradictions - Ekaterina DEGOT
III. Institutional Histories?
Introduction: Institutional Histories?
Who Needs 'Exhibition Studies'? - Yaiza Hernández VELÁZQUEZ
The Art of Gentrification: The Lisbon Version - Ana Teixeira PINTO
'Public' and 'Access': Genealogies of Theft, Community, Violence and Pedagogies - Khairani BAROKKA
Museo Comunitario del Valle de Xico: A Community's Trench of Struggle - Genero Amaro Altamirano in conversation with Ana Bilbao
'Struggle as Culture': The Museum of Solidarity - María BERRÍOS
La creatividad es un instrumento de lucha y el cambio social un hecho creativo (Creativity Is an Instrument of Struggle, and Social Change a Creative Act) - Mujeres CREANDO
VIVA ExCon: Itinerant Indeterminacy - Võ Hồng Chương-Đài
What was Chobi Mela and what happens next? - Naeem MOHAIEMEN
Iniva: Everything Crash - Eddie CHAMBERS
My Post-Catastrophic Glossary - Zdenka BADOVINAC
Ground Provisions - Tonika Sealy THOMPSON, Stefano HARNEY
Art and Its Worlds — Exhibitions, Institutions and Art Becoming Public
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AAA at BOOKED: Hong Kong Art Book Fair 2023
28 Apr–1 May 2023
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