The Berlin-based art historian and author of How to Do Things with Art – The Meaning of Art’s Performativity, Dorothea von Hantelmann, gives a lecture and. Dorothea von Hantelmann “Why exhibitions became a modern ritual (and what they tell us about the society in which they take place)”. Dorothea von Hantelmann – Notizen zur Ausstellung. How can it be that the Artistic Director of the dOCUMENTA (13) can talk about a certain kind of.
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And I will present two artworks that, I think, propose at least some answers to ovn questions: He introduces a dimension of experience that does not exclude meaning, language, critique, and history but gives these categories a concrete form as a necessary basis for all experience.
There is no performative artwork because there is no nonperformative artwork. The properties of the mirrored glass cause one side of a pavilion to be either more reflective or more transparent than the other, depending on which receives more light.
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dirothea There’s a problem loading this menu right now. One I experienced was initiated by the frequent question: In time Krauss revised her original position, acknowledging that the promise of Minimal Art not only remained unredeemed but had to a certain extent turned into its opposite as well.
In the past ten to fifteen years the word performative has advanced from a theoretical term used by a few linguistic philosophers to a key rubric within the discourse of contemporary art and aesthetics. What Schulze refers to is the transition from societies of lack to those of affluence, a process that became apparent in North America in the s and in Western Europe in the s.
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Dorothea von Hantelmann – Wikipedia
In Museum Bodiesthe scholar Helen Rees Leahy describes how walking, talking, reading, looking and being looked at have constituted a repertoire of bodily techniques. We can retrace the entire history of individualisation by following the increase of wall space between hantelamnn in 19th and 20th century galleries.
Robert Irwin began his career in the s as a painter before he turned to making objects such as discs and acrylic columns. The synchronic museum—if we can call it that—would forgo history in the name of a kind of intensity of experience, an dorohea charge that is not so much temporal historical as it is now radically spatial.
Dorothea von Hantelmann
Seen in this perspective, the museum is a fundamentally choreographic endeavour. The sudden ringing of a cell phone, laughter, a comment in a foreign language, can become the beginning of another discussion.
Provide feedback about this page. Since the players always face the walls and do not have a complete overview of hantel,ann changing situation, they cannot be aware of things like nonverbal communication between visitors.
Calendars of festivals in Estonia Partners Contact. Dorothea von Hantelmann “Why exhibitions became a modern ritual and what they tell us about the society in which they take place “.
It incorporates an act of creation that constitutes its ground and essence.
In aristocratic culture, objects played a role too, as signs of taste, wealth, and status. Hxntelmann part of the Light and Space movement—a branch of Minimalism originating in Southern California in the s—Irwin produced site-specific works that addressed the scale and structural parameters of the space, setting and challenging the limits of perception.
The works of Carl Andre and Robert Irwin are, in very different ways, based on these premises. The emerging affluent society might still celebrate its new wealth—as they say, more is more—but for the individual in the advanced affluent society, aesthetic criteria, such as quality and intensity of experience, have become a main point of orientation. In a certain way, Minimal Art robs this historical narrative of content because it shifts the meaning of artworks onto the essentially general and indeterminate level of effect.
Both artwork and viewer occupy the same nonmetaphorical and nonsymbolic space. The competing hypothesis, then, would be that for a few decades visual art has increasingly turned toward the production of experiences. The rematch a year later, awaited with great excitement, was to go down in boxing history as one of the most spectacular fights of its time. Available for download now. Rather, it involves outlining a specific level of the production of meaning that basically exists in every artwork, although it is not always consciously shaped or dealt with, namely, its reality-producing dimension.
Smith drove down the empty road and reported how this experience, for him, was quasi-aesthetic in nature yet also shattered all customary aesthetic order. For him, this social performance marks the actual core of the museum ritual. This signifies a transition from supply-driven to demand-driven markets.