I groped for make a small summary of today's lesson, so if you was not there or for those who still have some questions open. Before we
in Collection Analysis we talked about various topics.
For next week we will read texts that are part of Syllabus at the end of Chapter 5, 6 and 7.
Thursday we will be meeting with Orietta Lanzarini on productions of Carlo Scarpa . Prepare
can never be a neutral attitude and involvement of the meanings you make something of it remains tacit, unsaid. So it will be really interesting to see how the addition of an architect, a job often face the material.
Carlos Basualdo has spoken of the relationship between strategy and tactics. If we approach the history of exposure to the tactics we need to involve the construction. We must not believe that the two are so far away, indeed, use the tactic to our advantage to develop the strategy.
After two meetings with two great receivers, Luca Massimo Barbero and Okuwi Enwezor, July 3rd we will have the opportunity to learn more of the figure of the collector. Based on all the discussions proposed by Professor on the independent, market value and exchange seems appropriate to revisit the position in relation to the collections through its complexity, not more negative.
I'll try to find the lyrics in a very short time
published in the Catalogue of the Biennial of Seville
and Documenta 11 in Okuwi Enwezor, preliminary version in relation to the presentation on Monday afternoon.
Another text in the catalog of documents that I'll try to arrange to be Carlos Basualdo: the white cube in relation to the Biennale.
Many times we see the creases in the system of forces, who do not cancel their power, but they keep it underlies.
spoke about the figure of the independent curator, not only in the goodness that characterizes it. We will assess the practical aspects with which each administrator must face. He travels whenever he could travel as he can. But as this reflection
reconnect the other side of the coin to the speeches which have already been addressed?
Meeting Okuwi Enwezor has allowed us to reflect on the very concept of exclusion , a true figure of modernity. How is the 'exclusion ? The governance rights
leaves some individuals characterized mainly by a common destiny. In developed countries, those organizations that deal with human rights are in danger. To maintain a standard of living has become necessary to have a class of workers who are exploited. Do not have membership rights, do not vote, can not take full advantage of the services to society. Never before have the first view of this situation which never circulated like wildfire ... globalization has made even more visibility for these issues.
They are not just of Europe or the United States, this humus you can feel everywhere in the countries in the developing world.
It can therefore reconstruct an identikit picture of a well defined from what has not. The figures that do not belong do not belong to no end ...
independent curator can also be read as an outcast, excluded from the Museum and the institutional protection, a support system.
The 90s were characterized by great mobility and independent curator, is a cornerstone of immateriality. He is a flexible personality and plays a vital role in the world of "entertainment." We must think of
molecularization exclusion as a symptom of immanence ... we find it everywhere and in various forms.
form as politics and policy as a form ...
Okuwi Enwezor showed us how they are related to his thoughts, always advancing and discussion, with respect to a certain artistic production.
To proceed we could also say that the same choice, including part of an exhibition is also a form of exclusion for other artists ...
but let's see some examples of how artists have worked on this concept:
(find a detailed list here of works and artists participating in the meantime I will insert something we discussed in class ...)
Liz Larner:
Liz Larner, Reflector Wizards , 1992, mirrors, Aluminium, steel and leather, Photo: Norbert Artner The work of Andreas Slominski
was a reflection on the concept and "consistency" of the grid as isotopic space. It 'a space that makes us think of the prison setting. Grid and confinement. Grid and trap ...
Untitled (Massenfang), 2001 Holz, Metall, verschiedenen Materialien
Dog Trap
, 1999 Metal, madera 312 x 104.8 x 151.8 cm
now the computer no longer able to upload pictures ...
view of the time I'll see you tomorrow with the conclusion of this post!
goodnight all
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