Papers by Katharina Brandl
This article addresses the question of whether it is possible to develop a perspective based on t... more This article addresses the question of whether it is possible to develop a perspective based on the history and theory of performance as a medium of the visual arts that conclusively allows for the inclusion of (streamed) performances in digital games. Whatever the outcome, this requires a theoretical recalibration, for which I propose two approaches in the text.
The book was published with open access and is available on the publisher's website: https://www.degruyter.com/document/doi/10.1515/9783111186009/html?lang=de
https://www.routledge.com/Curating-as-Feminist-Organizing/Krasny-Perry/p/book/9781032065304
Available via open access: https://www.diaphanes.ch/titel/no-rhetoric-s-6183
FKW // ZEITSCHRIFT FÜRGESCHLECHTERFORSCHUNGUND VISUELLE KULTUR, 2022
Im Jahr 2016, als Daniela Brugger und ich unsere kuratorische Recherche für die Ausstellung Magic... more Im Jahr 2016, als Daniela Brugger und ich unsere kuratorische Recherche für die Ausstellung Magic Circle 1) begannen, standen die Zeichen auf okkulter Notwehr: Donald J. Trump war soeben zum 45. Präsidenten der Vereinigten Staaten gewählt worden, obwohl er in den letzten Monaten des Wahlkampfs mit Äußerungen wie "grab them by the pussy" keinen Hehl aus dem Dunst machte, der das höchste US-amerikanische Amt bald umgeben sollte. Als eine aktivistische Antwort auf seine Angelobung setzte Popstar Lana del Rey einen Tweet ab, der nicht nur von Boulevard-Medien aufgenommen wurde, sondern auch einer sich formierenden magischen Protestbewegung Auftrieb verlieh. "At the stroke of midnight. Feb 24, March 26, April 24, May 23. Ingredients can be found online", schrieb die Sängerin und bewarb damit die Termine, an denen sich, gewissen Mondphasen entsprechend, Trump-Gegner*innen aller Art-darunter Hexen, Wiccans, Popstars und Künstler*innen-an einem groß angelegten und konzentrierten magischen Amtsenthebungsritual versuchten. Unter den Hashtags #BindTrump und #MagicResistance versammelten sich während Trumps Amtszeit tausende Menschen online und im physischen öffentlichen Raum, um sich mittels Ritualen gegen die US-Administration zur Wehr zu setzen. Hexen schienen überall zu sein, als Daniela Brugger und ich in den letzten Monaten des Jahres 2016 mit unserer Recherche über aktuelle queer-feministische Interessen an Hexenkulturen in der Gegenwartskunst begannen. Auf cis-männlichen, chauvinistischen Seiten gab es ebenso Hexenbezüge (wenn sich etwa Trump zum Opfer einer ‚Hexenjagd' ernannte) wie auf Seiten einer neuen Bewegung, die mit binding spells den Schaden der Trump-Administration begrenzen wollte. 2) Es waren also nicht nur emanzipatorische Taktiken,
EIKON - Internationale Zeitschrift für Photographie und Medienkunst, 2020
Stormy Weather, 2020
Exhibition catalogue accompanying the show "Stormy Weather" (Kunstraum Niederoesterreich/Vienna, ... more Exhibition catalogue accompanying the show "Stormy Weather" (Kunstraum Niederoesterreich/Vienna, 24.09.2020 – 21.11.2020 & Centre culturel suisse/Paris, 06.12.2020 – SO, 24.01.2021)
EIKON - Internationale Zeitschrift für Photographie und Medienkunst, 2019
S. 53-65.
TechnoCare, 2019
Curatorial Statement by Katharina Brandl & Friederike Zenker for the exhibition "TechnoCare" at K... more Curatorial Statement by Katharina Brandl & Friederike Zenker for the exhibition "TechnoCare" at Kunstraum Niederoesterreich (Vienna, AT; Apr 5 - May 15, 2019); published by Verlag für moderne Kunst
Closure - Kieler e-Journal für Comicsforschung, 2018
Curatorial Statement for the exhibition "Magic Circle" at Kunstraum Niederösterreich (Vienna, AT)... more Curatorial Statement for the exhibition "Magic Circle" at Kunstraum Niederösterreich (Vienna, AT), March 23 - May 15, 2018
The exhibition Magic Circle investigated the current feminist interest in the figure of the witch within contemporary artistic production. Our present time has become an arena for surging disputes about the notion of truth; keywords such as “post-facticity” and the rise of populist strategies of simplification in the political realm evidence this development. Witch cultures provoked historically dissident forms of knowledge—and thus this interest of late in witches is also conceived as a vehicle to explore resistant knowledge and queer-feminist organisation models and their denunciations at a distance from the respective mainstream. Furthermore, the exhibition viewed the witch as a kind of hub, a departure point from which to chart different forms of social exclusion mechanisms: In post-Reformation Europe people the collective wanted to be rid of were vilified as a witch—often older women, homeless and poor persons, queer subjects.
The exhibition aimed to enter into a dialogue with the activist-motivated reception of the witch in the 1970s in order to demonstrate that this current interest is definitely not ahistorical. However, the project focuseed on the contemporary relevance of the topic by incorporating technological history, pop culture, knowledge structures, and social mechanisms of exclusion.
Artists: Johanna Braun (AT), Veronika Burger (AT), Veronika Eberhart (AT), Karin Ferrari (IT/AT), Roxanne Jackson (US), Robin J. Kang (US), Ariane Koch (CH) und Sarina Scheidegger (CH), Chantal Küng (CH) und Mara Züst (CH), Katja Lell (RU) und Laura Nitsch (DE/AT), Tabita Rezaire (FR), Linda Stupart (ZA), Suzanne Treister (UK)
Tagungsbericht zu Re:Trace – Histories of Media Art (Krems, Göttweig und Wien, 23. - 25.11.2017),... more Tagungsbericht zu Re:Trace – Histories of Media Art (Krems, Göttweig und Wien, 23. - 25.11.2017), In: ArtHist.net, 01.02.2018. Letzter Zugriff 02.02.2018. <https://arthist.net/reviews/17272>
Juliana Herrero - REM 1:1, ed. by Günther Friesinger, Evelyn van Hulzen, 2017
Ausstellungsbesprechung ¦ Architekturbiennale 2016
in: Kunstgeschichte Aktuell - Mitteilungen de... more Ausstellungsbesprechung ¦ Architekturbiennale 2016
in: Kunstgeschichte Aktuell - Mitteilungen des Verbandes österreichischer Kunsthistorikerinnen und Kunsthistoriker, 3/2016
Die Arbeit „SYNCHRON, DYSCHRON, ANACHRON. Zeitlichkeit als Material der Gegenwartskunst“ nimmt di... more Die Arbeit „SYNCHRON, DYSCHRON, ANACHRON. Zeitlichkeit als Material der Gegenwartskunst“ nimmt die laufende Diskussion zum Begriff der Gegenwartskunst (bzw. „contemporary art“) und der ihr entsprechenden historischen Gegenwart („the contemporary“) auf, um nach der Rolle der Zeitlichkeit in der Gegenwartskunst zu fragen. Zeitlichkeit als Material zu denken, wird so zu einem Fokus und
Wegweiser durch die Begriffsdiskussion.
Da das grundlegend verbindenden Merkmal der unterschiedlichen Ansätze und Herangehensweisen innerhalb dieser Diskussion die Übereinkunft ist, dass mit den Paradigmen der modernen Kunst Kunstpraxen seit den 1960er Jahren nicht mehr ausreichend erklärt werden können, bietet diese Arbeit ein Argument an, das „Zeitlichkeit als Material“ konstitutiv für die Abgrenzung der zeitgenössischen Kunst von einem Hauptstrang der modernen Kunst – dem Modernismus – setzt. Neben der Rekapitulation der theoretischen Diskussion unter den Aspekten von Synchronie, Dyschronie und Anachronie werden ebenso künstlerische Positionen (u.a. von Rimini Protokoll, Sherrie Levine, Michael Asher und Matthias Poledna) diskutiert.
I Can’t Work Like This
A Reader on Recent Boycotts and Contemporary Art
Edited by Joanna Warsza;... more I Can’t Work Like This
A Reader on Recent Boycotts and Contemporary Art
Edited by Joanna Warsza; with associate editors Ágnes Básthy, Anna Ten, Georgia Stellin, Judith Waldmann, Katharina Brandl, Lianne Mol, Mirela Baciak, Petra Belc, Renata Cervetto, Sarah Werkmeister, Ulrike Jordan, Ursula Guttmann, Vanda Sárai
Contributions by Corina L. Apostol, Julieta Aranda, Burak Arikan, Dave Beech, Boris Buden, Brad Butler & Karen Mirza, Libia Castro & Ólafur Ólafsson, Tony Chakar, Chto Delat?, Ekaterina Degot, Galit Eilat, Charles Esche, Lara Fresko, Maria Galindo, Erdem Gündüz, Thomas Hirschhorn, Clara Ianni, Alevtina Kakhidze, Matthew Kiem, Kasper König, Vasif Kortun, Maria Kulikovska, Pablo Lafuente, Ana Lira, Vesna Madžoski, Angela Mitropoulos, Ahmet Öğüt, Andrea Phillips, Natascha Sadr Haghighian, Christoph Schäfer, Gregory Sholette, Jonas Staal, Hito Steyerl, Chen Tamir, Nato Thompson, Gabrielle de Vietri, Dmitry Vilensky, Joanna Warsza, Tirdad Zolghadr
In recent years, artists and curators have often been confronted with the political dilemma of engagement or disengagement. The ideological, economic, or ethically objectionable circumstances of certain biennials and art exhibitions have raised the question of whether to continue and, if so, under what circumstances, with what consequences, and to what ends? From 2013 to 2015, biennials in Istanbul, St. Petersburg, Sydney, and São Paulo demonstrated that curating and art production can’t just carry on as if nothing had happened.
I Can’t Work Like This
A Reader on Recent Boycotts and Contemporary Art
Edited by Joanna Warsza;... more I Can’t Work Like This
A Reader on Recent Boycotts and Contemporary Art
Edited by Joanna Warsza; with associate editors Ágnes Básthy, Anna Ten, Georgia Stellin, Judith Waldmann, Katharina Brandl, Lianne Mol, Mirela Baciak, Petra Belc, Renata Cervetto, Sarah Werkmeister, Ulrike Jordan, Ursula Guttmann, Vanda Sárai
Contributions by Corina L. Apostol, Julieta Aranda, Burak Arikan, Dave Beech, Boris Buden, Brad Butler & Karen Mirza, Libia Castro & Ólafur Ólafsson, Tony Chakar, Chto Delat?, Ekaterina Degot, Galit Eilat, Charles Esche, Lara Fresko, Maria Galindo, Erdem Gündüz, Thomas Hirschhorn, Clara Ianni, Alevtina Kakhidze, Matthew Kiem, Kasper König, Vasif Kortun, Maria Kulikovska, Pablo Lafuente, Ana Lira, Vesna Madžoski, Angela Mitropoulos, Ahmet Öğüt, Andrea Phillips, Natascha Sadr Haghighian, Christoph Schäfer, Gregory Sholette, Jonas Staal, Hito Steyerl, Chen Tamir, Nato Thompson, Gabrielle de Vietri, Dmitry Vilensky, Joanna Warsza, Tirdad Zolghadr
In recent years, artists and curators have often been confronted with the political dilemma of engagement or disengagement. The ideological, economic, or ethically objectionable circumstances of certain biennials and art exhibitions have raised the question of whether to continue and, if so, under what circumstances, with what consequences, and to what ends? From 2013 to 2015, biennials in Istanbul, St. Petersburg, Sydney, and São Paulo demonstrated that curating and art production can’t just carry on as if nothing had happened.
I Can’t Work Like This
A Reader on Recent Boycotts and Contemporary Art
Edited by Joanna Warsza;... more I Can’t Work Like This
A Reader on Recent Boycotts and Contemporary Art
Edited by Joanna Warsza; with associate editors Ágnes Básthy, Anna Ten, Georgia Stellin, Judith Waldmann, Katharina Brandl, Lianne Mol, Mirela Baciak, Petra Belc, Renata Cervetto, Sarah Werkmeister, Ulrike Jordan, Ursula Guttmann, Vanda Sárai
Contributions by Corina L. Apostol, Julieta Aranda, Burak Arikan, Dave Beech, Boris Buden, Brad Butler & Karen Mirza, Libia Castro & Ólafur Ólafsson, Tony Chakar, Chto Delat?, Ekaterina Degot, Galit Eilat, Charles Esche, Lara Fresko, Maria Galindo, Erdem Gündüz, Thomas Hirschhorn, Clara Ianni, Alevtina Kakhidze, Matthew Kiem, Kasper König, Vasif Kortun, Maria Kulikovska, Pablo Lafuente, Ana Lira, Vesna Madžoski, Angela Mitropoulos, Ahmet Öğüt, Andrea Phillips, Natascha Sadr Haghighian, Christoph Schäfer, Gregory Sholette, Jonas Staal, Hito Steyerl, Chen Tamir, Nato Thompson, Gabrielle de Vietri, Dmitry Vilensky, Joanna Warsza, Tirdad Zolghadr
In recent years, artists and curators have often been confronted with the political dilemma of engagement or disengagement. The ideological, economic, or ethically objectionable circumstances of certain biennials and art exhibitions have raised the question of whether to continue and, if so, under what circumstances, with what consequences, and to what ends? From 2013 to 2015, biennials in Istanbul, St. Petersburg, Sydney, and São Paulo demonstrated that curating and art production can’t just carry on as if nothing had happened.
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Papers by Katharina Brandl
The book was published with open access and is available on the publisher's website: https://www.degruyter.com/document/doi/10.1515/9783111186009/html?lang=de
The exhibition Magic Circle investigated the current feminist interest in the figure of the witch within contemporary artistic production. Our present time has become an arena for surging disputes about the notion of truth; keywords such as “post-facticity” and the rise of populist strategies of simplification in the political realm evidence this development. Witch cultures provoked historically dissident forms of knowledge—and thus this interest of late in witches is also conceived as a vehicle to explore resistant knowledge and queer-feminist organisation models and their denunciations at a distance from the respective mainstream. Furthermore, the exhibition viewed the witch as a kind of hub, a departure point from which to chart different forms of social exclusion mechanisms: In post-Reformation Europe people the collective wanted to be rid of were vilified as a witch—often older women, homeless and poor persons, queer subjects.
The exhibition aimed to enter into a dialogue with the activist-motivated reception of the witch in the 1970s in order to demonstrate that this current interest is definitely not ahistorical. However, the project focuseed on the contemporary relevance of the topic by incorporating technological history, pop culture, knowledge structures, and social mechanisms of exclusion.
Artists: Johanna Braun (AT), Veronika Burger (AT), Veronika Eberhart (AT), Karin Ferrari (IT/AT), Roxanne Jackson (US), Robin J. Kang (US), Ariane Koch (CH) und Sarina Scheidegger (CH), Chantal Küng (CH) und Mara Züst (CH), Katja Lell (RU) und Laura Nitsch (DE/AT), Tabita Rezaire (FR), Linda Stupart (ZA), Suzanne Treister (UK)
in: Kunstgeschichte Aktuell - Mitteilungen des Verbandes österreichischer Kunsthistorikerinnen und Kunsthistoriker, 3/2016
Wegweiser durch die Begriffsdiskussion.
Da das grundlegend verbindenden Merkmal der unterschiedlichen Ansätze und Herangehensweisen innerhalb dieser Diskussion die Übereinkunft ist, dass mit den Paradigmen der modernen Kunst Kunstpraxen seit den 1960er Jahren nicht mehr ausreichend erklärt werden können, bietet diese Arbeit ein Argument an, das „Zeitlichkeit als Material“ konstitutiv für die Abgrenzung der zeitgenössischen Kunst von einem Hauptstrang der modernen Kunst – dem Modernismus – setzt. Neben der Rekapitulation der theoretischen Diskussion unter den Aspekten von Synchronie, Dyschronie und Anachronie werden ebenso künstlerische Positionen (u.a. von Rimini Protokoll, Sherrie Levine, Michael Asher und Matthias Poledna) diskutiert.
A Reader on Recent Boycotts and Contemporary Art
Edited by Joanna Warsza; with associate editors Ágnes Básthy, Anna Ten, Georgia Stellin, Judith Waldmann, Katharina Brandl, Lianne Mol, Mirela Baciak, Petra Belc, Renata Cervetto, Sarah Werkmeister, Ulrike Jordan, Ursula Guttmann, Vanda Sárai
Contributions by Corina L. Apostol, Julieta Aranda, Burak Arikan, Dave Beech, Boris Buden, Brad Butler & Karen Mirza, Libia Castro & Ólafur Ólafsson, Tony Chakar, Chto Delat?, Ekaterina Degot, Galit Eilat, Charles Esche, Lara Fresko, Maria Galindo, Erdem Gündüz, Thomas Hirschhorn, Clara Ianni, Alevtina Kakhidze, Matthew Kiem, Kasper König, Vasif Kortun, Maria Kulikovska, Pablo Lafuente, Ana Lira, Vesna Madžoski, Angela Mitropoulos, Ahmet Öğüt, Andrea Phillips, Natascha Sadr Haghighian, Christoph Schäfer, Gregory Sholette, Jonas Staal, Hito Steyerl, Chen Tamir, Nato Thompson, Gabrielle de Vietri, Dmitry Vilensky, Joanna Warsza, Tirdad Zolghadr
In recent years, artists and curators have often been confronted with the political dilemma of engagement or disengagement. The ideological, economic, or ethically objectionable circumstances of certain biennials and art exhibitions have raised the question of whether to continue and, if so, under what circumstances, with what consequences, and to what ends? From 2013 to 2015, biennials in Istanbul, St. Petersburg, Sydney, and São Paulo demonstrated that curating and art production can’t just carry on as if nothing had happened.
A Reader on Recent Boycotts and Contemporary Art
Edited by Joanna Warsza; with associate editors Ágnes Básthy, Anna Ten, Georgia Stellin, Judith Waldmann, Katharina Brandl, Lianne Mol, Mirela Baciak, Petra Belc, Renata Cervetto, Sarah Werkmeister, Ulrike Jordan, Ursula Guttmann, Vanda Sárai
Contributions by Corina L. Apostol, Julieta Aranda, Burak Arikan, Dave Beech, Boris Buden, Brad Butler & Karen Mirza, Libia Castro & Ólafur Ólafsson, Tony Chakar, Chto Delat?, Ekaterina Degot, Galit Eilat, Charles Esche, Lara Fresko, Maria Galindo, Erdem Gündüz, Thomas Hirschhorn, Clara Ianni, Alevtina Kakhidze, Matthew Kiem, Kasper König, Vasif Kortun, Maria Kulikovska, Pablo Lafuente, Ana Lira, Vesna Madžoski, Angela Mitropoulos, Ahmet Öğüt, Andrea Phillips, Natascha Sadr Haghighian, Christoph Schäfer, Gregory Sholette, Jonas Staal, Hito Steyerl, Chen Tamir, Nato Thompson, Gabrielle de Vietri, Dmitry Vilensky, Joanna Warsza, Tirdad Zolghadr
In recent years, artists and curators have often been confronted with the political dilemma of engagement or disengagement. The ideological, economic, or ethically objectionable circumstances of certain biennials and art exhibitions have raised the question of whether to continue and, if so, under what circumstances, with what consequences, and to what ends? From 2013 to 2015, biennials in Istanbul, St. Petersburg, Sydney, and São Paulo demonstrated that curating and art production can’t just carry on as if nothing had happened.
A Reader on Recent Boycotts and Contemporary Art
Edited by Joanna Warsza; with associate editors Ágnes Básthy, Anna Ten, Georgia Stellin, Judith Waldmann, Katharina Brandl, Lianne Mol, Mirela Baciak, Petra Belc, Renata Cervetto, Sarah Werkmeister, Ulrike Jordan, Ursula Guttmann, Vanda Sárai
Contributions by Corina L. Apostol, Julieta Aranda, Burak Arikan, Dave Beech, Boris Buden, Brad Butler & Karen Mirza, Libia Castro & Ólafur Ólafsson, Tony Chakar, Chto Delat?, Ekaterina Degot, Galit Eilat, Charles Esche, Lara Fresko, Maria Galindo, Erdem Gündüz, Thomas Hirschhorn, Clara Ianni, Alevtina Kakhidze, Matthew Kiem, Kasper König, Vasif Kortun, Maria Kulikovska, Pablo Lafuente, Ana Lira, Vesna Madžoski, Angela Mitropoulos, Ahmet Öğüt, Andrea Phillips, Natascha Sadr Haghighian, Christoph Schäfer, Gregory Sholette, Jonas Staal, Hito Steyerl, Chen Tamir, Nato Thompson, Gabrielle de Vietri, Dmitry Vilensky, Joanna Warsza, Tirdad Zolghadr
In recent years, artists and curators have often been confronted with the political dilemma of engagement or disengagement. The ideological, economic, or ethically objectionable circumstances of certain biennials and art exhibitions have raised the question of whether to continue and, if so, under what circumstances, with what consequences, and to what ends? From 2013 to 2015, biennials in Istanbul, St. Petersburg, Sydney, and São Paulo demonstrated that curating and art production can’t just carry on as if nothing had happened.
The book was published with open access and is available on the publisher's website: https://www.degruyter.com/document/doi/10.1515/9783111186009/html?lang=de
The exhibition Magic Circle investigated the current feminist interest in the figure of the witch within contemporary artistic production. Our present time has become an arena for surging disputes about the notion of truth; keywords such as “post-facticity” and the rise of populist strategies of simplification in the political realm evidence this development. Witch cultures provoked historically dissident forms of knowledge—and thus this interest of late in witches is also conceived as a vehicle to explore resistant knowledge and queer-feminist organisation models and their denunciations at a distance from the respective mainstream. Furthermore, the exhibition viewed the witch as a kind of hub, a departure point from which to chart different forms of social exclusion mechanisms: In post-Reformation Europe people the collective wanted to be rid of were vilified as a witch—often older women, homeless and poor persons, queer subjects.
The exhibition aimed to enter into a dialogue with the activist-motivated reception of the witch in the 1970s in order to demonstrate that this current interest is definitely not ahistorical. However, the project focuseed on the contemporary relevance of the topic by incorporating technological history, pop culture, knowledge structures, and social mechanisms of exclusion.
Artists: Johanna Braun (AT), Veronika Burger (AT), Veronika Eberhart (AT), Karin Ferrari (IT/AT), Roxanne Jackson (US), Robin J. Kang (US), Ariane Koch (CH) und Sarina Scheidegger (CH), Chantal Küng (CH) und Mara Züst (CH), Katja Lell (RU) und Laura Nitsch (DE/AT), Tabita Rezaire (FR), Linda Stupart (ZA), Suzanne Treister (UK)
in: Kunstgeschichte Aktuell - Mitteilungen des Verbandes österreichischer Kunsthistorikerinnen und Kunsthistoriker, 3/2016
Wegweiser durch die Begriffsdiskussion.
Da das grundlegend verbindenden Merkmal der unterschiedlichen Ansätze und Herangehensweisen innerhalb dieser Diskussion die Übereinkunft ist, dass mit den Paradigmen der modernen Kunst Kunstpraxen seit den 1960er Jahren nicht mehr ausreichend erklärt werden können, bietet diese Arbeit ein Argument an, das „Zeitlichkeit als Material“ konstitutiv für die Abgrenzung der zeitgenössischen Kunst von einem Hauptstrang der modernen Kunst – dem Modernismus – setzt. Neben der Rekapitulation der theoretischen Diskussion unter den Aspekten von Synchronie, Dyschronie und Anachronie werden ebenso künstlerische Positionen (u.a. von Rimini Protokoll, Sherrie Levine, Michael Asher und Matthias Poledna) diskutiert.
A Reader on Recent Boycotts and Contemporary Art
Edited by Joanna Warsza; with associate editors Ágnes Básthy, Anna Ten, Georgia Stellin, Judith Waldmann, Katharina Brandl, Lianne Mol, Mirela Baciak, Petra Belc, Renata Cervetto, Sarah Werkmeister, Ulrike Jordan, Ursula Guttmann, Vanda Sárai
Contributions by Corina L. Apostol, Julieta Aranda, Burak Arikan, Dave Beech, Boris Buden, Brad Butler & Karen Mirza, Libia Castro & Ólafur Ólafsson, Tony Chakar, Chto Delat?, Ekaterina Degot, Galit Eilat, Charles Esche, Lara Fresko, Maria Galindo, Erdem Gündüz, Thomas Hirschhorn, Clara Ianni, Alevtina Kakhidze, Matthew Kiem, Kasper König, Vasif Kortun, Maria Kulikovska, Pablo Lafuente, Ana Lira, Vesna Madžoski, Angela Mitropoulos, Ahmet Öğüt, Andrea Phillips, Natascha Sadr Haghighian, Christoph Schäfer, Gregory Sholette, Jonas Staal, Hito Steyerl, Chen Tamir, Nato Thompson, Gabrielle de Vietri, Dmitry Vilensky, Joanna Warsza, Tirdad Zolghadr
In recent years, artists and curators have often been confronted with the political dilemma of engagement or disengagement. The ideological, economic, or ethically objectionable circumstances of certain biennials and art exhibitions have raised the question of whether to continue and, if so, under what circumstances, with what consequences, and to what ends? From 2013 to 2015, biennials in Istanbul, St. Petersburg, Sydney, and São Paulo demonstrated that curating and art production can’t just carry on as if nothing had happened.
A Reader on Recent Boycotts and Contemporary Art
Edited by Joanna Warsza; with associate editors Ágnes Básthy, Anna Ten, Georgia Stellin, Judith Waldmann, Katharina Brandl, Lianne Mol, Mirela Baciak, Petra Belc, Renata Cervetto, Sarah Werkmeister, Ulrike Jordan, Ursula Guttmann, Vanda Sárai
Contributions by Corina L. Apostol, Julieta Aranda, Burak Arikan, Dave Beech, Boris Buden, Brad Butler & Karen Mirza, Libia Castro & Ólafur Ólafsson, Tony Chakar, Chto Delat?, Ekaterina Degot, Galit Eilat, Charles Esche, Lara Fresko, Maria Galindo, Erdem Gündüz, Thomas Hirschhorn, Clara Ianni, Alevtina Kakhidze, Matthew Kiem, Kasper König, Vasif Kortun, Maria Kulikovska, Pablo Lafuente, Ana Lira, Vesna Madžoski, Angela Mitropoulos, Ahmet Öğüt, Andrea Phillips, Natascha Sadr Haghighian, Christoph Schäfer, Gregory Sholette, Jonas Staal, Hito Steyerl, Chen Tamir, Nato Thompson, Gabrielle de Vietri, Dmitry Vilensky, Joanna Warsza, Tirdad Zolghadr
In recent years, artists and curators have often been confronted with the political dilemma of engagement or disengagement. The ideological, economic, or ethically objectionable circumstances of certain biennials and art exhibitions have raised the question of whether to continue and, if so, under what circumstances, with what consequences, and to what ends? From 2013 to 2015, biennials in Istanbul, St. Petersburg, Sydney, and São Paulo demonstrated that curating and art production can’t just carry on as if nothing had happened.
A Reader on Recent Boycotts and Contemporary Art
Edited by Joanna Warsza; with associate editors Ágnes Básthy, Anna Ten, Georgia Stellin, Judith Waldmann, Katharina Brandl, Lianne Mol, Mirela Baciak, Petra Belc, Renata Cervetto, Sarah Werkmeister, Ulrike Jordan, Ursula Guttmann, Vanda Sárai
Contributions by Corina L. Apostol, Julieta Aranda, Burak Arikan, Dave Beech, Boris Buden, Brad Butler & Karen Mirza, Libia Castro & Ólafur Ólafsson, Tony Chakar, Chto Delat?, Ekaterina Degot, Galit Eilat, Charles Esche, Lara Fresko, Maria Galindo, Erdem Gündüz, Thomas Hirschhorn, Clara Ianni, Alevtina Kakhidze, Matthew Kiem, Kasper König, Vasif Kortun, Maria Kulikovska, Pablo Lafuente, Ana Lira, Vesna Madžoski, Angela Mitropoulos, Ahmet Öğüt, Andrea Phillips, Natascha Sadr Haghighian, Christoph Schäfer, Gregory Sholette, Jonas Staal, Hito Steyerl, Chen Tamir, Nato Thompson, Gabrielle de Vietri, Dmitry Vilensky, Joanna Warsza, Tirdad Zolghadr
In recent years, artists and curators have often been confronted with the political dilemma of engagement or disengagement. The ideological, economic, or ethically objectionable circumstances of certain biennials and art exhibitions have raised the question of whether to continue and, if so, under what circumstances, with what consequences, and to what ends? From 2013 to 2015, biennials in Istanbul, St. Petersburg, Sydney, and São Paulo demonstrated that curating and art production can’t just carry on as if nothing had happened.
This book arises from the 2018 activities of the MA Fine Arts program at the Zurich University of the Arts (ZHdK). It reflects the conviction that an arts school can be a pedagogic nexus dedicated to the transmission of knowledge, experimentation, and research, as much as a locus for civic and critical debate and exhibition, involved in its community, locally and globally.
Published by: VfmK – Verlag für moderne Kunst GmbH
Artists: Johanna Braun (AT), Veronika Burger (AT), Veronika Eberhart (AT), Karin Ferrari (IT/AT), Roxanne Jackson (US), Robin J. Kang (US), Ariane Koch (CH) und Sarina Scheidegger (CH), Chantal Küng (CH) und Mara Züst (CH), Katja Lell (RU) und Laura Nitsch (DE/AT), Tabita Rezaire (FR), Linda Stupart (ZA), Suzanne Treister (UK)