Expology
Paper afgeven op examen
Paper in engels schrijven migosh -> maar halve pagina expo
beschrijven
Alle teksten mogen mee naar het examen
Je mag daar notities bij schrijven
2 maart
Examen
Mag in nederlands
Excursion 26 april
Start half past one
de exhibition waar we naartoe gaan PAPER
- Geen curator, self organized
Is een statement
Alles besproken tijdens de les is leerstof
Theorie op voorbeelden toepassen op examen
LES 1:
Waarom heet het expology?
Expo, from latin expositio = to put forth (show, display)
Logos, from Greek, meaning ‘knowledge/wisdom, understanding, mastery
of
Focus on history and theory, not on the practice of curating itself
Expo is term van serge chaumier
Uit boekje: traité d’expologie: les écrituresde l’exposition
The visitor can construct a narrative after looking at the exhibition
The intellectual creative process starts with an idea
Shaped the form for communication with the public
Tekst 1: Beyond objecthood: The exhibition as a Critical
form since 1968 – JAMES VOORHIES
Analyse focust op experience van Carsten Höller 2011-2012 een exhibitie in New
York
- Speels
Slide went down several floors down in the museum
Kon baden in aquarium
Prototypical example of relational aesthetics
,Relational aesthetics? – Nicolas Bourriaud
Höller gezien als 1/de kunstenaars gecategoriseerd onder ‘relational
aesthetics’
Activating the visitor
Kunstvorm waarbij de toeschouwer gevraagt wordt te participeren
Trying to get the visitor to participate
Solicitate the spectator is the purpose and engender new relationships by
doing so
New models for exhibition making : spatial and temporal experience of the
spectator vs autonomy of the artwork
Exhibition in 2011 en 2012
Was very contemporary
Relational aesthetics was a new approach
Fal of berlin Wall is a breaking point
People traveled more
Optimistic idea of the nomadic artist and curator
Autonomy of the art work
The work of art is completed in itself
Completed by the artist before it is presented to the spectator
The only thing you have to do is to look and be some sort of passive
receiver
The modern autonomy of the artwork presented to the passive spectator
Het kunstwerk is autonoom en de kijker wordt gezien al seen passief
element
Dit idee van kunst veranderd
Relational art van Bourriaud
‘art as a refusal to inherit the ideologies of modernity, emphasis on
limitations bij medium, discipline’
Art that crosses boundaries
Atmosphere of entertainment that you would expect in another
environment is suddenly in a museum
Was niet altijd normaal in een museum zoiets te zien
Een glijbaan zou nooit voorkomen in bijvoorbeeld de oude salons
We kunnen beagrumenteren dat zo een exhibities provocaties zijn/ waren
He was the first to theorize these new models of living and acting in a
reality that before wasn’t called art or aesthetics
The artists succeeded of making things develop that far that others
would produce similar exhibitions
It became a model for exhibition making
The power of the curator is immense
Verschuiving van kunstenaars als star naar curator als ster
Verschil aesthetics en social engagements
Kritiek op zo een soort kunst van de Schrijver van het artikel
Hij zegt dat this type of art is to similar to social activities and everyday life
Critics argue that there is nothing aesthetic about it, it’s not artistic enough
, This art is nothing more than entertainment
We have now entered the era of global industry
We are confronted with a lot of forms of contemporary art in this era
The spectator rather becomes a consumer
= kritiek van de schrijver James Voorhies
Het is te dicht bij een neo liberale markt gedachte
Hij wil meer een passive spectator zijn
Capitalism is everywhere
Experience of an exhibition
How can an exhibition engage the spectator when everything that is
presented to the spectator is so superficial
It takes no time to experience something in a more serious way
IS ZIJN ARGUMENT
For him we need to understand exhibitions by profound ways of looking at
art
Hij mist dit bij deze exhibition
His problem is that the artist gives us the illusion of the promise of a better world,
he doesn’t buy the promise
for him true critical art should change something
art should have the capacity to change existing aesthetic regimes
it should open to new ideas
we should not settle for an exhibition that is in no way disruptive
art should create dissensus and divide opinions
for him blockbuster exhibitions have no purpose
blockbuster is very marketing gericht
Bijvoorbeeld van gogh etc
iets wat iedereen wil zien
the exhibition as a critical form
blockbuster rarely does that
Exhibition should contribute to other forms of education
Introductory case: the animal metaphor in the artworks
of Peter Friedl
Build on the idea of the thin line between entertainment and critical art
Questioning the exhibition as critical art form
- What is its potential?
- What can the artist achieve within present-day exhibition conditions?
Boek: selected writings by Peter Friedl
Foto van giraf
Paper afgeven op examen
Paper in engels schrijven migosh -> maar halve pagina expo
beschrijven
Alle teksten mogen mee naar het examen
Je mag daar notities bij schrijven
2 maart
Examen
Mag in nederlands
Excursion 26 april
Start half past one
de exhibition waar we naartoe gaan PAPER
- Geen curator, self organized
Is een statement
Alles besproken tijdens de les is leerstof
Theorie op voorbeelden toepassen op examen
LES 1:
Waarom heet het expology?
Expo, from latin expositio = to put forth (show, display)
Logos, from Greek, meaning ‘knowledge/wisdom, understanding, mastery
of
Focus on history and theory, not on the practice of curating itself
Expo is term van serge chaumier
Uit boekje: traité d’expologie: les écrituresde l’exposition
The visitor can construct a narrative after looking at the exhibition
The intellectual creative process starts with an idea
Shaped the form for communication with the public
Tekst 1: Beyond objecthood: The exhibition as a Critical
form since 1968 – JAMES VOORHIES
Analyse focust op experience van Carsten Höller 2011-2012 een exhibitie in New
York
- Speels
Slide went down several floors down in the museum
Kon baden in aquarium
Prototypical example of relational aesthetics
,Relational aesthetics? – Nicolas Bourriaud
Höller gezien als 1/de kunstenaars gecategoriseerd onder ‘relational
aesthetics’
Activating the visitor
Kunstvorm waarbij de toeschouwer gevraagt wordt te participeren
Trying to get the visitor to participate
Solicitate the spectator is the purpose and engender new relationships by
doing so
New models for exhibition making : spatial and temporal experience of the
spectator vs autonomy of the artwork
Exhibition in 2011 en 2012
Was very contemporary
Relational aesthetics was a new approach
Fal of berlin Wall is a breaking point
People traveled more
Optimistic idea of the nomadic artist and curator
Autonomy of the art work
The work of art is completed in itself
Completed by the artist before it is presented to the spectator
The only thing you have to do is to look and be some sort of passive
receiver
The modern autonomy of the artwork presented to the passive spectator
Het kunstwerk is autonoom en de kijker wordt gezien al seen passief
element
Dit idee van kunst veranderd
Relational art van Bourriaud
‘art as a refusal to inherit the ideologies of modernity, emphasis on
limitations bij medium, discipline’
Art that crosses boundaries
Atmosphere of entertainment that you would expect in another
environment is suddenly in a museum
Was niet altijd normaal in een museum zoiets te zien
Een glijbaan zou nooit voorkomen in bijvoorbeeld de oude salons
We kunnen beagrumenteren dat zo een exhibities provocaties zijn/ waren
He was the first to theorize these new models of living and acting in a
reality that before wasn’t called art or aesthetics
The artists succeeded of making things develop that far that others
would produce similar exhibitions
It became a model for exhibition making
The power of the curator is immense
Verschuiving van kunstenaars als star naar curator als ster
Verschil aesthetics en social engagements
Kritiek op zo een soort kunst van de Schrijver van het artikel
Hij zegt dat this type of art is to similar to social activities and everyday life
Critics argue that there is nothing aesthetic about it, it’s not artistic enough
, This art is nothing more than entertainment
We have now entered the era of global industry
We are confronted with a lot of forms of contemporary art in this era
The spectator rather becomes a consumer
= kritiek van de schrijver James Voorhies
Het is te dicht bij een neo liberale markt gedachte
Hij wil meer een passive spectator zijn
Capitalism is everywhere
Experience of an exhibition
How can an exhibition engage the spectator when everything that is
presented to the spectator is so superficial
It takes no time to experience something in a more serious way
IS ZIJN ARGUMENT
For him we need to understand exhibitions by profound ways of looking at
art
Hij mist dit bij deze exhibition
His problem is that the artist gives us the illusion of the promise of a better world,
he doesn’t buy the promise
for him true critical art should change something
art should have the capacity to change existing aesthetic regimes
it should open to new ideas
we should not settle for an exhibition that is in no way disruptive
art should create dissensus and divide opinions
for him blockbuster exhibitions have no purpose
blockbuster is very marketing gericht
Bijvoorbeeld van gogh etc
iets wat iedereen wil zien
the exhibition as a critical form
blockbuster rarely does that
Exhibition should contribute to other forms of education
Introductory case: the animal metaphor in the artworks
of Peter Friedl
Build on the idea of the thin line between entertainment and critical art
Questioning the exhibition as critical art form
- What is its potential?
- What can the artist achieve within present-day exhibition conditions?
Boek: selected writings by Peter Friedl
Foto van giraf
