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documenta: curating the history of the present
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Inhaltstyp (RDA)
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Text
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Medientyp (RDA)
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ohne Hilfsmittel zu benutzen
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Datenträgertyp (RDA)
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Band
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1. Person/Familie
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Buurman, Nanne [HerausgeberIn]
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2. Person/Familie
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Richter, Dorothee [HerausgeberIn]
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3. Person/Familie
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Sternfeld, Nora [MitwirkendeR]
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4. Person/Familie
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Anna Sigrídur Arnar [MitwirkendeR]
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5. Person/Familie
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Bismarck, Beatrice von [MitwirkendeR]
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6. Person/Familie
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Hantelmann, Dorothea von [MitwirkendeR]
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Titel
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documenta: curating the history of the present
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Verantw.-ang.
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edited by Nanne Buurman and Dorothee Richter ; contributions by Anna Sigrídur Arnar [und 18 weitere]
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Verlagsort (RDA)
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Zürich
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Verlag (RDA)
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Institute for Cultural Studies in the Arts
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E-Jahr
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2017
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E-Jahr (RDA)
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[2017]
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Umfangsangabe
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171 Seiten : Illustrationen
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Titel der Serie
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Oncurating; 33
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Weitere Angaben
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On the occasion of documentas 14th edition, this special issue scrutinizes the ways in which the Kassel-based periodic exhibition has been contributing to curating the history of the present since its inception in 1955.
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Weitere Angaben
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Angaben vom Cover. - Text in englisch
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ISBN
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978-1-5469-4612-0
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Inhaltliche Zsfg.
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This issue of OnCurating looks at the history of documenta, the first large scale exhibition established in 1955 in Kassel, Germany. If we look at the history of documenta, discussions have notably quite often oscillated between the polarities of critique and affirmation of the status quo, distance from and immersion into reality, social relevance or lart pour lart, autonomy and heteronomy. As Harald Szeemann wrote in 1974 in his proposal for a Museum of Obsessions (with which he applied for artistic directorship of documenta 6 that went to Manfred Schneckenburger in the end), Too much has recently been written about arts social relevance or its necessary inutility.8 After Szeemanns unsuccessful attempt to include art from the GDR in documenta 5 in 1972, which had been turned down by the East German officials who were worried that the realist contributions would be othered along the lines of trivial art and art by the mentally impairedwhat today would be called outsider-art, the first and only showing of GDR artists took place in 1977 during documenta 6, where they were juxtaposed with self-reflexive meta-painting. Whereas documenta 5, with its concept of Questioning RealityPictorial Worlds Today, had performed a sort of realism insofar as it had pulled down the walls between art and non-art practices, or, between art and life, with the Media Concept, documenta 6 propagate
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Bestand
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1
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Sign-Info
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Kassel 12/Docu/48
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Hochschule für Gestaltung Offenbach am Main
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