documenta curating the history of the present

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...

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Authors and Corporations: Buurman, Nanne (Editor), Richter, Dorothee (Editor), Anna Sigrídur Arnar (Contributor), Bismarck, Beatrice von (Contributor), Hantelmann, Dorothea von (Contributor), Grasskamp, Walter (Contributor), Oswalt, Philipp (Contributor), König, Susanne (Contributor), Handberg, Kristian (Contributor), Sternfeld, Nora (Contributor)
Title: documenta curating the history of the present edited by Nanne Buurman and Dorothee Richter ; contributions by Anna Sigrídur Arnar [und 18 weitere]
Type of Resource: Book
Language:English
published:
Zürich: Institute for Cultural Studies in the Arts, [2017]
Series: Oncurating.org ; 33.2017
Subjects: documenta , Ausstellung , Kurator <Ausstellung>
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contentsThis 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 l’art pour l’art, 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 art’s social relevance or its necessary inutility.”8 After Szeemann’s 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 impaired—what 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 Reality—Pictorial 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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footnoteOn the occasion of documenta’s 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, Angaben vom Cover. - Text in englisch
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spellingdocumenta curating the history of the present edited by Nanne Buurman and Dorothee Richter ; contributions by Anna Sigrídur Arnar [und 18 weitere], Zürich Institute for Cultural Studies in the Arts [2017], 171 Seiten Illustrationen, Text txt rdacontent, ohne Hilfsmittel zu benutzen n rdamedia, Band nc rdacarrier, Oncurating.org / Institute for Cultural Studies in the Arts (ICS) 33, On the occasion of documenta’s 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, Angaben vom Cover. - Text in englisch, 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 l’art pour l’art, 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 art’s social relevance or its necessary inutility.”8 After Szeemann’s 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 impaired—what 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 Reality—Pictorial 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, Sortierzählung maschinell geändert (GBV), Buurman, Nanne HerausgeberIn (DE-588)1058719548 (DE-627)797445714 (DE-576)414861272 edt, Richter, Dorothee 1958- HerausgeberIn (DE-588)1089563620 (DE-627)853352526 (DE-576)460047396 edt, Anna Sigrídur Arnar MitwirkendeR (DE-588)133377172 (DE-627)54403449X (DE-576)299806332 ctb, Bismarck, Beatrice von 1959- MitwirkendeR (DE-588)13385969X (DE-627)557788277 (DE-576)167786512 ctb, Hantelmann, Dorothea von 1969- MitwirkendeR (DE-588)133450880 (DE-627)633842370 (DE-576)328097039 ctb, Grasskamp, Walter 1950- MitwirkendeR (DE-588)120298139 (DE-627)080587178 (DE-576)161182399 ctb, Oswalt, Philipp 1964- MitwirkendeR (DE-588)113585292 (DE-627)601090012 (DE-576)172048907 ctb, König, Susanne MitwirkendeR (DE-588)143061593 (DE-627)704378507 (DE-576)33483998X ctb, Handberg, Kristian MitwirkendeR (DE-588)1127560239 (DE-627)881973130 (DE-576)485248794 ctb, Sternfeld, Nora 1976- MitwirkendeR (DE-588)133640256 (DE-627)550287973 (DE-576)299990362 ctb, Oncurating.org 33.2017 2017,0033,00 (DE-627)893336726 (DE-576)479977518 (DE-600)2899477-2, DE-L330 2017-08-29T12:00:33Z, DE-L242 2019-10-15T10:35:59Z, DE-15 2017-08-07T14:23:09Z 2017-11-09, DE-Ks17 2017-06-14T09:24:15Z, finc DE-1989
spellingShingledocumenta: curating the history of the present, Oncurating.org, 33.2017, 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 l’art pour l’art, 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 art’s social relevance or its necessary inutility.”8 After Szeemann’s 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 impaired—what 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 Reality—Pictorial 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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titledocumenta: curating the history of the present
title_authdocumenta curating the history of the present
title_fulldocumenta curating the history of the present edited by Nanne Buurman and Dorothee Richter ; contributions by Anna Sigrídur Arnar [und 18 weitere]
title_fullStrdocumenta curating the history of the present edited by Nanne Buurman and Dorothee Richter ; contributions by Anna Sigrídur Arnar [und 18 weitere]
title_full_unstemmeddocumenta curating the history of the present edited by Nanne Buurman and Dorothee Richter ; contributions by Anna Sigrídur Arnar [und 18 weitere]
title_in_hierarchy33.2017. documenta: curating the history of the present ([2017])
title_list_strdocumenta, curating the history of the present
title_shortdocumenta
title_sortdocumenta curating the history of the present
title_subcurating the history of the present