■The world’s most prestigious art shows teamed up in Europe this spring to create a European art tour that offered an unparalleled opportunity to examine contemporary art from around the world.It was an endless expe...■The world’s most prestigious art shows teamed up in Europe this spring to create a European art tour that offered an unparalleled opportunity to examine contemporary art from around the world.It was an endless experience of展开更多
In defining“the global archive,”this essay refers,first of all,to the historical development of exhibitions in Germany that address a global horizon,a distinct cultural project since at least the Enlightenment.After...In defining“the global archive,”this essay refers,first of all,to the historical development of exhibitions in Germany that address a global horizon,a distinct cultural project since at least the Enlightenment.After 1945,modem art,which had been removed from public view by the Nazi state,was reintroduced as a project of reeducation as much as aesthetics.Documenta,beginning in 1955,exhibited modem and later artists in the destroyed buildings of the city of Kassel,and expanded its formal and cultural address to a global scale over its fifty-year history.Documenta itself became a kind of continuous archive of its own exhibition history,a mode of formal presentation that increasingly relied on the works it presented.Here I read in detail the archival strategies and form of dOCUMENTA 13,arguably a highpoint of this effort to archive globality as it emerges.Theorists from Michel Foucault,Fredric Jameson,and Aijun Appadurai to the“critical regionalism”of Cheryl Herr and the“negative globality”of Alberto Moreiras assist in the project of comprehending the“archive as form,”seen in a series of artists working on a global scale.展开更多
文摘■The world’s most prestigious art shows teamed up in Europe this spring to create a European art tour that offered an unparalleled opportunity to examine contemporary art from around the world.It was an endless experience of
文摘In defining“the global archive,”this essay refers,first of all,to the historical development of exhibitions in Germany that address a global horizon,a distinct cultural project since at least the Enlightenment.After 1945,modem art,which had been removed from public view by the Nazi state,was reintroduced as a project of reeducation as much as aesthetics.Documenta,beginning in 1955,exhibited modem and later artists in the destroyed buildings of the city of Kassel,and expanded its formal and cultural address to a global scale over its fifty-year history.Documenta itself became a kind of continuous archive of its own exhibition history,a mode of formal presentation that increasingly relied on the works it presented.Here I read in detail the archival strategies and form of dOCUMENTA 13,arguably a highpoint of this effort to archive globality as it emerges.Theorists from Michel Foucault,Fredric Jameson,and Aijun Appadurai to the“critical regionalism”of Cheryl Herr and the“negative globality”of Alberto Moreiras assist in the project of comprehending the“archive as form,”seen in a series of artists working on a global scale.
