Stedelijk Studies Journal最新文献_第5页

Editorial Stedelijk Studies: Topical, Urgent, High-Quality 市立研究:专题，紧急，高质量

Stedelijk Studies Journal Pub Date : 2014-01-01 DOI: 10.54533/stedstud.vol001.art01

M. Schavemaker

引用次数: 0

Museum Practices and Migrating Modernity: A Perspective from the South 博物馆实践与现代性迁移:来自南方的视角

Stedelijk Studies Journal Pub Date : 2014-01-01 DOI: 10.54533/stedstud.vol001.art09

C. Ianniciello, Michaela Quadraro

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Peace, the Museum, and Globalization, 1800/2014 和平、博物馆和全球化，1800/2014

Stedelijk Studies Journal Pub Date : 2014-01-01 DOI: 10.54533/stedstud.vol001.art04

Todd Porterfield

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Creating Ancestors and Affinities: A Rhetorical Analysis of African Art in the Story of Modern Art 创造祖先与亲缘:现代艺术故事中的非洲艺术修辞分析

Stedelijk Studies Journal Pub Date : 2014-01-01 DOI: 10.54533/stedstud.vol001.art05

N. Leigh

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Collecting Geographies: Global Programming and Museums of Modern Art – Editorial 收集地理:全球规划和现代艺术博物馆-编辑

Stedelijk Studies Journal Pub Date : 2014-01-01 DOI: 10.54533/stedstud.vol001.art02

J. Bouwhuis, Christel Vesters

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Recalcitrant Geographies: National Claims, Transnationalism, and the Institutionalization of Contemporary Art 顽强的地理:国家主张、跨国主义和当代艺术的制度化

Stedelijk Studies Journal Pub Date : 2014-01-01 DOI: 10.54533/stedstud.vol001.art03

K. Zijlmans

{"title":"Recalcitrant Geographies: National Claims, Transnationalism, and the Institutionalization of Contemporary Art","authors":"K. Zijlmans","doi":"10.54533/stedstud.vol001.art03","DOIUrl":"https://doi.org/10.54533/stedstud.vol001.art03","url":null,"abstract":"The time is ripe for modern and contemporary art museums in the West to reconsider their position in a globalizing world, to engage with such questions as how their collections have been formed and presented in the past fifty years or more, and what they represent. Modern art is said to have an international scope, but in reality this generally means Euro-American. Consequently, its origins, which lie in part in art from Africa, the Pacific and the Americas, are denied. Contemporary art as a global phenomenon is making a somewhat hesitant entry into museums in the Western world and into art history. It may be making its entry and may also be included in the discourse of art history, but in many cases this move is problematic. Throughout the past twenty-five years, Third Text founder Rasheen Araeen has fulminated against the “West’s” appropriation of modern art and the concept of Modernism.[1] Third Text has persistently argued that the Western analytical paradigm of the arts is distorted in its history and imposes its values and aesthetics without acknowledging the contribution of artists “from elsewhere,” as Okwui Enwezor terms it. This has had a number of consequences, not least the neglect in art historical textbooks and by modern art museums in the West of crucial Modernist work produced by non-Euro-American artists. Not having been written into the mainstream of art history, or seen as foundational for the formation of the canon of modern art and displays in modern art museums, this neglect results in a distorted view and calls for a thorough rewriting of modern art history, as well as a reconsideration of the layout of art museums. This urge is felt even more in the present-day globalization of art and the art world. “Art from elsewhere,” which is abundant, cannot simply be added to the existing canons or inserted into prevalent discourses; rather, we need to critically assess the foundations of art historical writing, canon formation, and museum displays.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117179275","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

Revisiting Magiciens de la terre 重温地球上的魔术师

Stedelijk Studies Journal Pub Date : 2014-01-01 DOI: 10.54533/stedstud.vol001.art06

A. Cohen-Solal

引用次数: 1

Statues also die, even… Time and Agency of Museum Display 雕像也会死，甚至

Stedelijk Studies Journal Pub Date : 2014-01-01 DOI: 10.54533/stedstud.vol001.art10

María Íñigo Clavo

引用次数: 1

Reading as Sculpture: A new layer for the library in ruins 雕塑般的阅读:废墟中的图书馆的新一层

Stedelijk Studies Journal Pub Date : 1900-01-01 DOI: 10.54533/stedstud.vol011.art09

Mariana Lanar

{"title":"Reading as Sculpture: A new layer for the library in ruins","authors":"Mariana Lanar","doi":"10.54533/stedstud.vol011.art09","DOIUrl":"https://doi.org/10.54533/stedstud.vol011.art09","url":null,"abstract":"This text is an artist’s contribution situated in the intersection of performance art and information technology.[1] It is a sequel to my project Moving Thinking — The origin of one’s thought is the thought of another, in which I implemented a visual presentation of information pathways and a model for the circulation of books between the stacks in the storage and the reading room of the Stedelijk Museum Library in 2015/16. It was a nine-month performance that aimed to reveal how the content of books is interlinked by transforming the current classification system in the reading room and replacing all the books on display with publications from the storage depot. I began by exploring the branching of the influential book Writing as Sculpture by Louwrien Wijers (1996). The book contains interviews between Wijers and important artists and scientists of the day, including Joseph Beuys, Andy Warhol, and Robert Filliou. Taking this title as a starting point, I composed several lengthy sequences of publications, distributed in relation to the floor plan of the museum and its current program. The permutations were recorded by photos and videos viewable on the website of the Stedelijk. This text tells what I learned from this research and how it informed Archival Consciousness, a collaboration with graphic designer Remco van Bladel that aims at interfering in the infrastructure of libraries in museums and cultural institutions by adding a layer of interaction on top of the existing database.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"31 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":"124910854","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

Whatever Happened to Ground Euro? The Borders of Brussels 欧元到底怎么了?布鲁塞尔的边界

Stedelijk Studies Journal Pub Date : 1900-01-01 DOI: 10.54533/stedstud.vol006.art03

Bert de Muynck

{"title":"Whatever Happened to Ground Euro? The Borders of Brussels","authors":"Bert de Muynck","doi":"10.54533/stedstud.vol006.art03","DOIUrl":"https://doi.org/10.54533/stedstud.vol006.art03","url":null,"abstract":"Between 2003 and 2006 I followed, participated in the discussion, and published several analyses dealing with the spatial presence and architectural appearance of the European Union in Brussels.[1] This discussion was limited, spatially, to the area of the Leopold District in Brussels, where the majority of the European Union Headquarters are located. At the time this debate on architecture, politics, and representation attracted quite some attention in the Belgian and international press. To say the least, it had an air of sensationalism, as after decades of backroom dealings between Belgian real estate developers and politicians in Brussels, the city’s European Quarter was perceived as facing an identity crisis of sorts. It was felt that none of the existing buildings (including the Berlaymont Building and the building for the European Commission) adequately expressed an architectural identity that was “European.” Finally it felt like something was happening. This essay revisits and reviews what has happened with the debate on the Capital of Europe and its architectural identity in relation to the development of “Ground Euro,” that plot of land in the heart of Brussels, actually more commonly known as the European Quarter, which was suddenly bombarded with good intentions, ideas, and a nascent desire to architecturally embody an elusive European identity in a campus-like European Capital.[2] We are now fifteen years later (and I have been spending twelve of those in China, which itself displays a quicker succession and implementation of national narratives), and I wonder if the debate on the future of Ground Euro proved to be a fallacy; a fake narrative, to state it in today’s terms.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"25 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":"116099293","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