Stedelijk Studies Journal最新文献_第10页

Within a Labyrinth of Gazes: Exhibiting Christoph Schlingensief 在凝视的迷宫中:克里斯托夫·施林根西夫展览

Stedelijk Studies Journal Pub Date : 1900-01-01 DOI: 10.54533/stedstud.vol007.art10

Janneke Schoene

引用次数: 0

Niki de Saint Phalle Playing with the Feminine in the Male Factory: HON – en katedral 妮基·德·圣法尔在男性工厂中玩弄女性:汉恩大教堂

Stedelijk Studies Journal Pub Date : 1900-01-01 DOI: 10.54533/stedstud.vol007.art07

Annika Öhrner

引用次数: 2

Labyrinth and Rhizome: On the Work of Walid Raad 迷宫与根茎:论瓦利德·拉德的作品

Stedelijk Studies Journal Pub Date : 1900-01-01 DOI: 10.54533/stedstud.vol007.art11

Christoph Chwatal

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Imagining the Future of Digital Archives and Collections – Editorial 想象数字档案和收藏的未来-编辑

Stedelijk Studies Journal Pub Date : 1900-01-01 DOI: 10.54533/stedstud.vol010.art01

Vivian van Saaze, C. Rasterhoff, Karen Archey

{"title":"Imagining the Future of Digital Archives and Collections – Editorial","authors":"Vivian van Saaze, C. Rasterhoff, Karen Archey","doi":"10.54533/stedstud.vol010.art01","DOIUrl":"https://doi.org/10.54533/stedstud.vol010.art01","url":null,"abstract":"The web of digitized collections and archives in the field of arts and culture is rapidly expanding. Almost all arts and heritage institutions have digital collections, which are increasingly shared online, via institutions’ own websites and through collaborative resources such as Wikidata. Many memory institutions embrace the digitization of their archives and collections, not only as a means to preserve and safeguard data but also as an opportunity to attract new audiences and increase engagement with their collections, programs, and research. When, in 2019, the EU member states signed a declaration of cooperation on advancing digitization of cultural heritage, they emphasized that “digital transformation can play an essential role in enabling cultural experiences, knowledge creation, preservation, and use and re-use of cultural heritage across borders. Digitized cultural objects, moreover, unlock the potential for broader societal, cohesive and economic benefits of sectors such as tourism, education and creative sectors.”[1] This declaration points at what Jenny Kidd describes as the “promise of the digital” for public heritage; a democratization of the notion of heritage and disruption of existing categories and ideas such as ownership and authorship.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132037485","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

Video: Raqs Media Collective 视频:Raqs Media Collective

Stedelijk Studies Journal Pub Date : 1900-01-01 DOI: 10.54533/stedstud.vol007.art16

{"title":"Video: Raqs Media Collective","authors":"","doi":"10.54533/stedstud.vol007.art16","DOIUrl":"https://doi.org/10.54533/stedstud.vol007.art16","url":null,"abstract":"Raqs Media Collective guides us through the operative ideas behind their curation of the 11th Shanghai Biennale, titled Why not ask again? They discuss some of the challenges they faced in curating and implementing what they call an “infracuratorial” model. Invited to think of that exhibition as a labyrinth, they talk us through some examples of labyrinths that inspired them, among others: the Bara Imambara in Lucknow, India; a labyrinthine slaughterhouse in Shanghai, designed by British architects; and the story of a series of shadow companies set up to create a convoluted paper trail meant to evade the law. The attempt to visually present a labyrinth introduces a paradox: one has to, somehow, lay out the illogical and mystifying in a logical way. Raqs Media Collective invites us to think through this question. How should one discursively present something which does not make straightforward sense to us, experientially? The fundamental experience of the labyrinth is one of losing yourself. It is an experience in which one’s experience of time itself changes—it dilates and compresses, and the sense not only of where one is, but also of when, is lost. To Raqs Media Collective, the most interesting aspect of the labyrinth is this idea of losing yourself—but losing yourself in a productive, generative manner. It is a pivotal notion in their design of the Shanghai Biennale.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"258 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"113972169","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

In the Labyrinth of the Contemporary Condition: The Labyrinthine as Curatorial Topos of Postwar Modern in the German Art World Between 1945 and 1968 在当代环境的迷宫中:1945年至1968年间德国艺术界作为战后现代策展主题的迷宫

Stedelijk Studies Journal Pub Date : 1900-01-01 DOI: 10.54533/stedstud.vol007.art09

Kristian Handberg

引用次数: 0

Understanding Audience Participation Through Positionality: Agency, Authority, and Urgency 通过位置性理解受众参与:代理、权威和紧迫性

Stedelijk Studies Journal Pub Date : 1900-01-01 DOI: 10.54533/stedstud.vol008.art02

Lorna Cruickshanks, Merel van der Vaart

{"title":"Understanding Audience Participation Through Positionality: Agency, Authority, and Urgency","authors":"Lorna Cruickshanks, Merel van der Vaart","doi":"10.54533/stedstud.vol008.art02","DOIUrl":"https://doi.org/10.54533/stedstud.vol008.art02","url":null,"abstract":"For a number of decades, museums have been challenged to rethink their relationships with visitors: from the New Museology,[1] highlighting the social role of museums in the late 1980s through a growing focus on engagement, outreach, and representation, to the concept of participation popularized in the early 2000s by, among others, Nina Simon. Since Simon defined “a participatory cultural institution as a place where visitors can create, share, and connect with each other around content,”[2] researchers and practitioners have continued to consider the multiple factors that influence participation practices within museums.[3] The complexity of museum audiences has increasingly become recognized—understood as having different interests, backgrounds, and values. These diverse audiences are, however, often set in opposition to “The Museum,” a homogenous entity. But every museum is different, each uniquely shaped by its collections and its history, as well as the people who work there. By overlooking these differences, we fail to critically engage with the way that participatory practices develop and are understood differently in different organizations.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"167 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121253116","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: 2

Reimagining the Object Record: SFMOMA’s MediaWiki 重新想象对象记录:SFMOMA的MediaWiki

Stedelijk Studies Journal Pub Date : 1900-01-01 DOI: 10.54533/stedstud.vol010.art08

M. Haidvogl, Layna White

{"title":"Reimagining the Object Record: SFMOMA’s MediaWiki","authors":"M. Haidvogl, Layna White","doi":"10.54533/stedstud.vol010.art08","DOIUrl":"https://doi.org/10.54533/stedstud.vol010.art08","url":null,"abstract":"Behind the floor-to-ceiling glass wall that separates his book-filled office from the administrative spaces, Rudolf Frieling, Curator of Media Arts at the San Francisco Museum of Modern Art (SFMOMA), still entertains a little viewing station with a DVD and VHS player, connected to a 1990s CRT monitor. The colorfully cabled setup is a remnant of a time when artists and galleries sent VHS viewing copies directly to curators to promote their works. For curators, such a setup provided a practical and necessary portal to accessing their collection. Single-channel video works could easily be viewed or previewed in this way. However, more complex video installations are not as accessible. For instance, to stage Christian Marclay’s immersive four-channel installation Video Quartet (2002) for Frieling in 2012, media technicians at SFMOMA had to set up four synchronized DVD players and four monitors—the installation art’s cumbersome equivalent of pulling out the wire mesh art screen that houses a painting in storage. The four-channel video projection consists of a myriad of found footage segments and is, in and of itself, a musical composition, with the four channels of the work coming together like four different instruments playing in unison.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"268 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126829040","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

In All Fairness: An Exploration of Ethical Collaborative Practices 在所有的公平:伦理合作实践的探索

Stedelijk Studies Journal Pub Date : 1900-01-01 DOI: 10.54533/stedstud.vol011.art07

Najiba Yasmin

引用次数: 0

Dancing at the Museum: Parataxis and the Politics of Proximity in Beyoncé and Jay-Z’s “APESHIT” 博物馆里的舞蹈:碧昂斯和Jay-Z的《APESHIT》中的Parataxis和接近政治

Stedelijk Studies Journal Pub Date : 1900-01-01 DOI: 10.54533/stedstud.vol008.art08

L. Plate

{"title":"Dancing at the Museum: Parataxis and the Politics of Proximity in Beyoncé and Jay-Z’s “APESHIT”","authors":"L. Plate","doi":"10.54533/stedstud.vol008.art08","DOIUrl":"https://doi.org/10.54533/stedstud.vol008.art08","url":null,"abstract":"The curatorial turn, with its shift of attention from the individual (autonomous) artwork toward the exhibition and the role of the curator in its creation,[1] has brought about a renewed focus on the museum as a political space; a space for experimentation and for transformation, for knowledge creation, and for social regeneration. In this article, the rhetorical figure of parataxis will be developed as a concept to inquire into what happens when performers dance at the museum, and how such dancing can be an agent of social change. For this, I focus on the music video “APESHIT” (2018) and bring rhetorical theory in dialogue with recent theory on proximity, to build on Mary Louise Pratt’s notion of the contact zone as a social space “where cultures meet, clash, and grapple with each other, often in contexts of highly asymmetrical relations of power, such as colonialism, slavery, or their aftermaths as they are lived out in many parts of the world today.”[2] Filmed at the Musée du Louvre and released to promote the new album of R&B singer Beyoncé and her husband, rapper Jay-Z, the music video produces the art museum as a contact zone by bringing black dancers and singers into its space and staging relations between the performers and some of its iconic pieces. Exploring the ways in which the politics of proximity, contiguity, and access in “APESHIT” interface with those of representation to challenge the white colonialist narrative of the museum, this article seeks to understand how dancing affects the social space of the museum and what kind of knowledge dancing at the museum produces.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126393272","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