The Exhibitionist #12




The Exhibitionist #12
Journal on Exhibition Making

Jens Hoffmann, Julian Myers-Szupinska, and Liz Glass
Exhibitions are a social and collective form. Whether the products of a single artist or of a group, they gather together artworks (or objects, projects, residues) and construct from them an image of a social field. Just as understanding an exhibition involves thinking about the relations that exist among, and engender the possibility of imagining, that field, no less are exhibitions produced by a group. Beyond the artists and the exhibition maker(s) involved, an exhibition radiates from an expansive network: conservators, shippers, installers, writers, editors, designers, administrative types of all sorts, interns, guards, funders, promoters, and so on. Exhibitions are, furthermore, perceived by an audience or a public—another group—who are themselves internally divided and classed, cohesive or cacophonous….


Response I: Artists and curators

Fia Backström and Anthony Huberman
Re: family dynamics

Anne Ellegood and Kerry Tribe
Long Term Relationship

Claire Fontaine and Jens Hoffmann
Artistic Bitches and Curatorial Bastards

Inés Katzenstein and Juan José Cambre

Response II: Archival

Introduced by Liz Glass
Dear King Harry
James Lee Byars: Correspondence with Harald Szeemann (1988)

La critique

Triple Candie: Let the Artists Die
Emiliano Valdés: Who Has the Power?
Nontobeko Ntombela: Remastered
Daniel Birnbaum: Hijacking the Situationists
Slavs and Tatars: The Splits of the Mind, If Not the Legs
Rachel Rose: Artist, Curator, Meaning
An Illustrated Bibliography of the exhibitionist, Issues IX–XII

The Exhibitionist #12
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