Restaging Origin, Restaging Difference: Restaging Harald Szeemann's Work

IF 0.2 0 HUMANITIES, MULTIDISCIPLINARY

Journal of Curatorial Studies Pub Date : 2019-10-01 DOI:10.1386/jcs_00005_1

N. Foster

引用次数: 1

Abstract

Abstract The most common form of restaging is that of the retrospective exhibition, for it can be used to provide a platform for the museum to reaffirm the original exhibition and in turn reaffirm itself as host. For Harald Szeemann, the role of the curator was that of a mediator who, through the exhibition, should attempt to halt the abovementioned closed-circuit of affirmations by questioning existing boundaries and canons. His own work, however, has been repeatedly restaged in recent years. This article focuses on two restagings: the Prada Foundation's When Attitudes Become Form: Bern 1969/Venice 2013 (2013) and the Getty Research Institute's Harald Szeemann: Museum of Obsessions (2018). I argue that restaged exhibitions can take two different forms: they can be focused on revising traditional canons and hierarchies, or they can serve to reaffirm the exhibition and the hosting institution. The two forms are interdependent, however, and most restagings contain a mixture of the two.

查看原文本刊更多论文

重新演绎的起源，重新演绎的差异:重新演绎哈拉尔德·塞曼的作品

摘要最常见的重述形式是回顾展，因为它可以为博物馆提供一个平台，让博物馆重申原来的展览，进而重申自己是东道主。对Harald Szeemann来说，策展人的角色是一个调解人，通过展览，他应该试图通过质疑现有的界限和准则来阻止上述封闭式的肯定。然而，他自己的作品近年来一再被重复。这篇文章聚焦于两个餐厅：普拉达基金会的《当态度成为形式：伯尔尼1969/威尼斯2013》（2013）和盖蒂研究所的《哈拉尔德·泽曼：痴迷博物馆》（2018）。我认为，重新安排的展览可以采取两种不同的形式：它们可以专注于修改传统的准则和等级制度，也可以用来重申展览和主办机构。然而，这两种形式是相互依存的，大多数餐馆都包含这两者的混合物。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

求助全文

约1分钟内获得全文求助全文

来源期刊

Journal of Curatorial Studies HUMANITIES, MULTIDISCIPLINARY-

CiteScore

0.40

自引率

0.00%

发文量

期刊介绍： The Journal of Curatorial Studies is an international, peer-reviewed publication that explores the cultural functioning of curating and its relation to exhibitions, institutions, audiences, aesthetics and display culture. The journal takes a wide perspective in the inquiry into what constitutes ''the curatorial''. Curating has evolved considerably from the connoisseurship model of arranging objects to now encompass performative, virtual and interventionist strategies. While curating as a spatialized discourse of art objects remains important, the expanded cultural practice of curating not only produces exhibitions for audiences to view, but also plays a catalytic role in redefining aesthetic experience, framing cultural conditions in institutions and communities, and inquiring into constructions of knowledge and ideology. As a critical and responsive forum for debate in the emerging field of curatorial studies, the journal will foster scholarship in the theory, practice and history of curating, as well as that of exhibitions and display culture in general. The journal supports in-depth investigations of contemporary and historical exhibitions, case studies of curators and their engagements, and analyses of the critical dynamics influencing the production of exhibitions in art and broader display culture. The Journal of Curatorial Studies invites contributions from scholars within curatorial studies, art history, museum studies, cultural studies, and other academic disciplines. The journal publishes both thematic and open issues, and features research articles, contemporary and historical case studies, interviews with curators, artists and theorists, and reviews of books, exhibitions and conferences.