Stedelijk Studies Journal最新文献

Imagining the Future of a Complex Mixed-media Work: The Case of Lynn Hershman Leeson’s The Floating Museum 想象一个复杂的混合媒体作品的未来:林恩·赫什曼·李森的《漂浮的博物馆》的案例

Stedelijk Studies Journal Pub Date : 2020-10-12 DOI: 10.54533/stedstud.vol010.art06

G. Giannachi

{"title":"Imagining the Future of a Complex Mixed-media Work: The Case of Lynn Hershman Leeson’s The Floating Museum","authors":"G. Giannachi","doi":"10.54533/stedstud.vol010.art06","DOIUrl":"https://doi.org/10.54533/stedstud.vol010.art06","url":null,"abstract":"Over the last twenty years museums have systematically digitized the contents of their archives and, increasingly, the data and documents produced through these processes are used, alongside historic documents, to engage audiences on- and offline (see, for example, Tate’s Archives and Access project, 2012–2017).[1] For art museums, this has increasingly involved the digitization of materials related to performance and new media. When this has occurred, it has been found that museums often only have partial data pertaining to these kinds of works. This has to do with questions related to how museums originally documented performance and new media, as well as with the inherent complexity of capturing information about these specific genres.[2] Artists, too, nowadays often digitize historic documaentations of their work, frequently submitting existing documentations of their artworks that do not yet form part of museum collections to universities or national libraries and archives for preservation purposes. However, simply digitizing existing data pertaining to these works is often not sufficient to generate high-quality, future-facing documentations that could communicate the complexity of a work to generations to come. This is because, as Renée van de Vall, Anna Hölling, Tatja Scholte, and Sannike Stigter suggested, “The meaning of an object and the effects it has on people and events may change during its existence,” which means that we should construct the “lives” of these objects “as individual trajectories.”[3] Digitization projects, however, rarely cross-reference contextual documentation collected before, during, or after a given live event, which means that the relation between different versions of a work or different works that may form part of a wider body of work are often lost.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131544873","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Temporal Conflicts and the Purification of Hybrids in the 21st-Century Art Museum: Tate, a Case in Point 21世纪美术馆的时间冲突与混合的净化:泰特美术馆，一个恰当的例子

Stedelijk Studies Journal Pub Date : 2017-10-01 DOI: 10.54533/stedstud.vol005.art12

V. Walsh, A. Dewdney

引用次数: 0

Narrative Theories and Learning in Contemporary Art Museums: A Theoretical Exploration 当代艺术博物馆的叙事理论与学习:理论探索

Stedelijk Studies Journal Pub Date : 2016-03-01 DOI: 10.54533/stedstud.vol004.art04

Emilie Sitzia

引用次数: 11

What’s in a Name? Questions for a New Monument 名字里有什么?新纪念碑的问题

Stedelijk Studies Journal Pub Date : 2016-03-01 DOI: 10.54533/stedstud.vol004.art10

Margrethe Troensegaard

{"title":"What’s in a Name? Questions for a New Monument","authors":"Margrethe Troensegaard","doi":"10.54533/stedstud.vol004.art10","DOIUrl":"https://doi.org/10.54533/stedstud.vol004.art10","url":null,"abstract":"What is the contemporary condition of the monument? In relation to the current issue’s discussion of immersive and discursive exhibition practices, this essay places itself at a slight remove; rather than to analyse and evaluate specific curatorial strategies it seeks to raise questions of relevance to such practices and begins by moving the discourse out of the museum and into the public space. The point of interrogation here is the monument, a form with a particular capacity to tease and expose the triad we find at the core of any curatorial discourse: the relation between institution, artwork and audience. Following an introductory reflection on how to describe and define a ‘monument’, a term so broadly used it all but loses its value, the text proceeds to examine three cases, Monument de la Renaissance Africaine, Dakar (2010), Danh Vo’s WE THE PEOPLE (DETAIL), various locations (2010-13), and Thomas Hirschhorn’s Gramsci Monument, New York (2013). The sequencing of these geographically and culturally diverse works makes way for an interrogatory piece of writing that addresses the question of permanence versus temporariness of the artwork as exhibition (and the exhibition as artwork), and that of the political agency of the artistic form. Probing the social agency of the monument, the text draws lines between the symbolising capacity once held by modern sculpture and the oscillation between immersion and discursiveness as two complimentary modes of communication. The discursive content or function of the monument (i.e. what it commemorates) is activated through the viewer’s personal, immersive encounter with its form, a form that potentially places its viewer as a participant to the construction of its message rather than as a mere receiver.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133672559","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

A Thought Never Unfolds in One Straight Line 思想从来不是一条直线展开的

Stedelijk Studies Journal Pub Date : 2016-03-01 DOI: 10.54533/stedstud.vol004.art09

Christel Vesters

引用次数: 1

Curating Education, Staging the CV: Learning at Former West 策划教育，展示简历:在前西方学习

Stedelijk Studies Journal Pub Date : 2016-03-01 DOI: 10.54533/stedstud.vol004.art11

Barbara Mahlknecht

引用次数: 0

For Whom Do We Write Exhibitions? Towards a Museum as Commons 我们为谁写展览?走向公共博物馆

Stedelijk Studies Journal Pub Date : 2016-03-01 DOI: 10.54533/stedstud.vol004.art05

Francesco Manacorda

{"title":"For Whom Do We Write Exhibitions? Towards a Museum as Commons","authors":"Francesco Manacorda","doi":"10.54533/stedstud.vol004.art05","DOIUrl":"https://doi.org/10.54533/stedstud.vol004.art05","url":null,"abstract":"In 1979, Umberto Eco published The Role of the Reader (Lector in fabula), which gathered the analysis he had conducted in the previous years on audience participation in the enjoyment of narrative literature. According to the Italian semiologist, a text always implies a set of rules as well as undefined empty areas, which are set up by the producer and activated by the receiver. As a matter of fact, according to Eco, any text has inscribed in it, since its very conception by the author, an interpretative mechanism that makes it incomplete. Every text therefore always implies—or at least hopes for—a subject able to decode it. Breaking down the act of textual communication as an act based on shared codes and conventions—some of which are more stable, like languages; others are less codified, such as a set of references or contextual readings—between producer and receiver, Eco delineates the theoretical character of a Model Reader, for which every communication produces postulates and proposes more or less knowingly the following: “To organize a text the author relies upon a series of codes that assign given contents to the expression he uses. To make his text communicable, the author has to assume that the ensemble of codes he relies upon is the same as that shared by his possible reader. The author has thus to foresee a model of the possible reader (Model Reader), supposedly able to deal interpretatively with the expressions, in the same way as the author deals generatively with them.”","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133250162","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 4

Vestiges of 125,660 Specimens of Natural History 125,660件自然史标本的遗迹

Stedelijk Studies Journal Pub Date : 2016-03-01 DOI: 10.54533/stedstud.vol004.art14

A. Springer, E. Turpin

引用次数: 0

To Touch and Be Touched 触摸和被触摸

Stedelijk Studies Journal Pub Date : 2016-03-01 DOI: 10.54533/stedstud.vol004.art08

Saara Hacklin

{"title":"To Touch and Be Touched","authors":"Saara Hacklin","doi":"10.54533/stedstud.vol004.art08","DOIUrl":"https://doi.org/10.54533/stedstud.vol004.art08","url":null,"abstract":"In my article, I will present as a case study the collection exhibition shown at the Museum of Contemporary Art Kiasma in 2016.[1] The starting point for the exhibition was the metaphor of touch. As a concept, touch is ambivalent: it is more intimate than sight, which has been the traditional metaphor for knowledge in Western thinking. Yet touching is also about grasping or understanding, as in it we are taking hold of something. Our curatorial team, Eija Aarnio, Arja Miller, and myself, was interested in touch early on, because with it the distance to the observed is lost: when touching something we, too, are being touched. To be clear, we did not want to create an exhibition where spectators are actually able to touch. Instead, we were looking at the collections of the museum and searching for artworks that would “touch” us—works that were able get under our skin. While forming the conceptual core of the exhibition, our curatorial team recognized a tension in the way in which “touchy issues,” affects and emotions, are perceived in our society. On the one hand, we were interested in emotions and affects raised by the artworks. We wanted to focus on the immersive dimension of the art that seems to escape verbalization, a dimension that makes use of the multisensory experience and addresses the viewer in a direct manner. On the other hand, we also became aware of how society in general has been taken over by an emotional surge. If previously feelings and emotions were not meant to be shown in public, today they have become commonplace. What was emotional and affective seems no longer to be private, but shared and public.[2] In fact, strong emotions seem to be a prerequisite for success, be it a matter of reality television or politics. This is also connected to the search for extreme emotions and experiences, an aspect we felt needed to be included in the exhibition—not the least because in museums’ competition for audiences, the experience-laden works are often seen as an answer.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130996955","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Between the Discursive and the Immersive – Editorial 在话语与沉浸之间——社论

Stedelijk Studies Journal Pub Date : 2016-03-01 DOI: 10.54533/stedstud.vol004.art01

Marie Laurberg, M. Schavemaker

引用次数: 0