Haus der Kunst – Detail.

Geschichten im Konflikt: Das Haus der Kunst und der ideologische Gebrauch von Kunst 1937-1955

AUSSTELLUNG 10.06.12 – 13.01.13

“Dieses Jahr wird das Haus der Kunst 75 Jahre alt. Der Jahrestag gibt uns Gelegenheit, über das Gebäude nachzudenken – über seine Geschichte, seine Geschichten und darüber, was es heute ist.” (Okwui Enwezor)”

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A Prior – dOCUMENTA13 Kassel, A Review.
by Michele Dantini

The entrance to dOCUMENTA 13 is devoted to the large, empty atriums of the installation by Ryan Gander, the English artist famous for his reinvention of exhibition practices and his partiality to Absence; it is a polemical opener to the exhibition, challenging excessive production and the reduction of artworks to merchandise. Noteworthy initiatives hover at the edges of the visitor’s field of vision: first and foremost, this year’s dOCUMENTA is displaced, with sections set up in Kabul, Alexandria, Cairo and Banff. It proposes educational and artistic-artisanal projects. It has expanded its activities to become not merely an ‘event’ or a container of events, but an agency of education and cultural cooperation, an agency of redistribution. This is enough to lend curator Carolyn Christov-Bakargiev’s edition a connotation of ‘social activism’ and mutual benefit. There is a great desire for political content and the consecration of art as testimonial. The exhibition is decidedly broad and perhaps too disparate, for reasons that at times seem arbitrary. And so, we must try to select and recognize the constellation of artists who lend meaning to this dOCUMENTA. Here are at least three.
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documenta 13

August 15, 2012

3 pictures from documenta 13, which I visited last week

In a radical departure from her usual practice of site-specific projects, Natascha Sadr Haghighian’s first solo exhibition in London is a selection of works from the last fifteen years. She describes her work as a continual process of interrogation and unhinging of sociopolitical hierarchies and conventions; of seeking to defrock and de-stabilise systems of representation and authority. By placing the works alongside each other for the first time, Sadr Haghigian draws out new perspectives and connects the various debates and questions raised by them over the years.

In her exhibition for Carroll / Fletcher, Sadr Haghighian’s richly detailed, collaborative investigations, utilise a wide variety of media, such as video, slide projection, sound, websites, photography, and actions, to explore issues as diverse as the control and manipulation of the world’s scarce resources; consumerism and corporatism; identity, power and class; and the structures and rituals of the professional art world.

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(Mousse Magazine)

From Conceptualism to Feminism: Lucy Lippard’s Numbers Shows 1969–74

Four exhibitions of contemporary art curated by Lucy Lippard have become renowned as her ‘numbers shows’. Each took the population of the city in which it was shown as its title: ‘557,087’ in Seattle, ‘955,000’ in Vancouver, ‘2,972,453’ in Buenos Aires and ‘c.7,500’ opening in Valencia, California, before touring the US and to London. This third title in the Exhibition Histories series follows Lippard’s curatorial trajectory, analysing her transition from a writer about art to a maker of exhibitions, and tracing her growing political engagement and involvement with feminism.  Extensive photographic material is complemented by a major new essay by Cornelia Butler and interviews with Lucy Lippard, Seth Siegelaub and artists included in ‘c.7,500’, as well as critical responses written at the time by Peter Plagens and Griselda Pollock. The volume also includes an essay by Pip Day analysing artists’ initiatives in Argentina as a context for the emergence of Lippard’s political consciousness.

The Exhibition Histories series investigates exhibitions that have shaped the way contemporary art is experienced, made and discussed.