The social turn: collaboration and its discontents - artforum.com / in print. Another turn. <a href=" turn.
</a> I WAS SURPRISED to learn from Claire Bishop ("The Social Turn: Collaboration and Its Discontents," Artforum, February 2006) that "politically engaged" collaborative art practice constitutes today's avant-garde. A more measured assessment might recognize a continuum of collaborative and "relational" practices, ranging from the work of biennial-circuit stalwarts like Rirkrit Tiravanija Rirkrit Tiravanija (b. 1961 and pronounced RICK-rit Tira-VAN-it) is a Buenos Aires-born contemporary artist who divides his time in New York, Berlin and Bangkok. WorkTiravanija's artwork explores the social role of the artist. , Thomas Hirschhorn Thomas Hirschhorn (born in Bern, 1957) is a Swiss instalations artist. In the 1980s he worked in Paris as a graphic artist. [French simplisme, from simple, simple, from Old French; see simple position. 2.
[Greek herm self-discovery like Freud's infant grandson in a game of "fort" and "da. " 2. 2. [Latin disqu 2. Left ideals. 2. 3. Claire Bishop Artificial Hells. Thanks for all your support - the sale has been a tremendous success and we hope that everyone enjoys their books!
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Kester, Claire Bishop reviewed by Eleanor Heartney Published: June 2012 Publisher: Duke University Press View Slideshow Artificial Hells: Participatory Art and the Politics of Spectatorship, by Claire Bishop, New York, Verso, 2012; 368 pages, .95.; The One and the Many: Contemporary Collaborative Art in a Global Context, by Grant H. Kester, Durham, N.C., Duke University Press, 2011; 320 pages, .95 cloth, .95 paper It's rare these days to find critics squaring off for a no-holds-barred match over matters of principle. Now the two have come out with dueling volumes that allow them to make their cases at length and in detail. Kester and Bishop actually share a good deal of common ground.
At the heart of both visions is a resistance to the apparent triumph of neoliberalism, the gospel of free market economics and privatization that is sweeping the world, from the United States, Europe, Africa and Latin America to ostensibly communist China. Claire bishop MOUSSE CONTEMPORARY ART MAGAZINE. Julia Bryan-Wilson: I want to start by asking you about your writing process.
How did you move from shorter, more polemical, critical pieces (like your well-known October article “Antagonism and Relational Aesthetics”) to this longer, more art historical book? Claire Bishop: The “Antagonism” essay was turned around very quickly after the end of my PhD thesis; it was always intended as a free-standing polemic, which I incorporated into the installation art book. This book has its core in the “Social Turn” essay/polemic in Artforum in 2006, and I knew I had to do something longer as I got so much flak for it. I felt there was a longer, non-canonical history to write around these issues, but I didn’t know at the start that it was going to turn into a cross-20th century epic. Claire Bishop Artificial Hells review. By Alexander Provan 7/18/12 9:00am It’s 1965 and you join a crowd of people being shepherded into a stadium in Montevideo as Bach’s “Mass in B Minor” blares from loudspeakers; once inside, you are girdled by motor bikes equipped with deafening sirens, confronted with fat ladies tumbling across the ground and couples strapped together with tape, bombarded with flour, lettuce and live chickens by a low-flying helicopter, and then, after eight minutes, set free.
You take a train out of Moscow in 1981, stop at a provincial station, walk into a snow-covered field where nine other people are gathered around a flat wooden board festooned with balls of white thread, take an end and walk toward a distant stand of trees until, after 20 minutes, the thread runs out, at which point you decide to return to the board, where an artist gives you what he claims is a photograph of yourself emerging from the forest; you ponder the meaning of this experience for the rest of the day.
Ms. For Ms. Seeing Mr. Re-constructed di James Thompson. Documentare nuove percezioni dello spazio di Marco Petroni Il consueto appuntamento con il Summer Show del Royal College of Art riserva sempre interessanti scoperte, progetti curiosi e insoliti.
La mostra, conclusasi il primo luglio, ha occupato sei edifici disseminati nei campus di Battersea e Kensington creando occasioni di confronto con proposte emergenti nell’ambito delle arti contemporanee. In uno spaccato di linguaggi e ricerche che vanno dal fashion all’interaction design si è fatto notare, per la sua trasversalità e profondità concettuale, il progetto di James Thompson Re-constructed spaces. Si tratta di un dispositivo ambientale che indaga le relazioni tra la materialità dello spazio e l’immaterialità del tempo.