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Assuming asymmetries : conversations on curating public art in the 1980s and 1990s
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  • KONST - Iiv
Title Statement
  • Assuming asymmetries : conversations on curating public art in the 1980s and 1990s
Publication, Distribution, etc. (Imprint)
  • Sternberg Press, London : 2022 Konstfack, Stockholm : 2022 2022
  • 2022
  • Språk: Engelska.
SAB Classification Code
Physical Description
  • 365 sidor illustrationer 23 cm
Series Statement
  • 5
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Added Entry - Corporate Name
ISBN
  • 9783956796128
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Conversations from some of the most complex and yet underresearched European and US-American public art exhibitions of the 1980s and 1990s.

Through conversations with curators and participating artists, this book revisits some of the most groundbreaking yet under-researched European and US public art exhibitions of the 1980s and 1990s- "Konstrukcja w Procesie," an artist-driven collaboration with the Solidarnosć movement in Ł dź, 1981; "Die Endlichkeit der Freiheit," initiated by artists Rebecca Horn and Jannis Kounellis and playwright Heiner M ller on both sides of the former Berlin Wall in 1990; "Culture in Action," curated by Mary Jane Jacob in Chicago in 1993; "Sonsbeek 93" in Arnhem, curated by Valerie Smith; "Fem tr dg rdar,"curated by Carlos Capelan in Simrishamn and Ystad in 1996; "INSITE," an ongoing series of exhibitions in San Diego and Tijuana launched in 1992; "U-media," curated by VAVD Editions in Ume in 1987; and Ida Biard's "La Galerie des Locataires," which, from 1972 until today, has used the window of a Parisian apartment as an exhibition space.

Assuming Asymmetries focuses on questions central to all these projects- How can art productively navigate political tensions? How have artists and curators addressed the ethical asymmetries of the border condition, of inside and outside, working across walls and fences-whether physical, political, or social? Why is participation so hard to catalyze and conduct? How have artworks come to constitute a practice of "situated knowledge," engaging with the contexts in which they are produced or exhibited? And finally, what can we learn from the exhibitions discussed here when developing new, respectful forms of curating today?

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