DOROTHEA VON HANTELMANN PDF

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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How do we want to live?

What the notion of the performative brings into perspective is the contingent and elusive realm of impact and effect that art brings about both situationally—that is, in a given spatial and discursive context—and relationally, that is, in relation to a viewer or a public.

Only 1 left in stock – order soon. How does it situate its viewers? For what in the final instance is bereft of content is, Krauss suggests, the historical dimension of the art experience or, more specifically, a dimension that references the historical. With the increase in both income and leisure time, more and more people can and need to shape their lives according to their own needs and preferences. The works of Carl Andre dorotnea Robert Irwin are, in very different ways, based on these premises.

Although I am aware that a new notion will cause new problems, I want to suggest the experiential turn as a term that might be more appropriate and useful to describe these ongoing tendencies in contemporary art.

In time Krauss revised fon 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.

The Experiential Turn — On Performativity — Walker Art Center

The Experiential Turn Dorothea von Hantelmann. The poor quality of the documentary material, the interference, and the disjointed movements of dodothea figures indicate that the footage is vintage. And the realm that answers to this need is, in a secular society, no longer religion but the realm of culture.

This implies a challenge to the sensorial regime that underlies the museum and deviations to the canon that it produces. What these works by Coleman and Sehgal exemplify is the difference between artworks that produce an experience which basically any artwork does and artworks that shape experiences. Walker Art Center, A rapidly expanded market of experience trained and stabilized this rationality of experience.

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He thus determines experience in two ways. Meister Diaphanes, ; and Notes on the Exhibition: This new focus on the subject and the intersubjective goes hand in hand with a changed relation to the material world.

Dorothea von Hantelmann – Wikipedia

Rather, it involves hantlemann a specific level of the production of meaning that basically exists in every artwork, although it is not always bon shaped or dealt with, namely, its reality-producing dimension. Registration and reading materials: Her main fields of research are contemporary art and aesthetics as well as the history and social function of exhibitions.

It analyses the cultural format of the museum and the exhibition as a specifically modern ritual in the historical and contemporary context of Western liberalism.

It incorporates an act of creation that constitutes its ground and essence. Please try your request again later. There are, however, two misconceptions inherent in this critique.

Public Lecture by Dorothea von Hantelmann/ The Curatorial Course

First, he constructs the aesthetic in terms of a temporal structure, forming a discontinuous constellation of the present and the past. Get to Know Us. Instead it forms dorkthea of an external space—which it shares with its viewer—in which meaning is produced in relation to a given situational reality.

Precisely because these objects engender an experience that remains contingent and does not refer to an essentially hzntelmann subject, this hanttelmann cannot give rise to a cultural context as traditionally represented by the museum.

For the first time in the history of Western civilizations, material needs were covered for a majority of the population, a novelty that the British economist John Maynard Keynes had predicted in the s and that John Kenneth Galbraith documented in the mids. The artwork needs to become an object of reflection, just as the visitors have to become the object of the conversation that they witness; it is as if the work of art were holding up a mirror to the observer.

The dorothe is no longer seen as representing a mental, internal space or consciousness.

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The work with and on the self presupposes an engagement with outer projects odrothea content in the same way that such an engagement with projects or content also implies or leads to work on oneself. From a distance we can already hear a hollow beat fighting its way through the exhibition space like blood pumped through the body by a beating heart. They hantelmnan define the sense of life in psychophysical terms. Looking at art spaces from the 16th century to the present day as a series of decisive moments of transformation, we may find that the transformations of our epoch are asking for a new kind of ritual, after that of the exhibition.

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This change of perspective leads to encounters with the self. What kind of situation does an artwork produce? Amazon Renewed Refurbished products with a warranty. Here were artworks that you could walk on. Her main fields of research are contemporary art and theory as well as the history and theory of exhibitions.

doroteha Five responses to the question: The investigation of perception and phenomenological experience—even the exploration of art as an inquiry into the nature of thought and experience—became the core of his interventions. The experience of having had an experience? In the canon of the twenty-first century, Balanchine would be as important as Malevich.

Box is a work that very strongly cites and involves the body. English Choose a language for shopping. It is important, however, to understand this as a gradual project in a historical perspective. Any visual artwork that relates to a here-and-now, and thus in some way or another refers to the idea of performance without being a performance, is called a performative artwork.

So if bourgeois culture was essentially based on a connection between the individual and the material object, then visual art became a kind of practicing ground in which this specific connection between materiality and subjectivity was both practiced and reflected on a purpose-free level.

Even though the ecological and economic consequences of this transformation have by now reached public consciousness, the cultural impact—at least as an impact of this process—is much less present. And we can analyse the contemporary experience society on the basis of the way it transforms the white cube into time-based experiential spaces.

A new tax law enabled objects to be sold from collections; this affected the status of the museum collection, as did new spatial concepts and new museum design and presentation forms.