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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Instead it forms part of an external space—which it hantelmann with its viewer—in which meaning is produced in relation to a given situational reality. Although for artists like Andre, Irwin, and Graham the visual remains an important factor in art, their works dismiss a reflexive spectator-object relationship, in which meaning is determined only by the optical exchange across the visual field, in favor of a felt and lived experience of corporeality, a haptic or tactile phenomenology of the body as it encounters the physical world.

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Dorothea von Hantelmann | Contemporary Art | Hatje Cantz

With the disappearance of feudal bonds, wealth and status were no longer obtained by birthright but were earned through labor and production. Hantelmann will hold a seminar on April dorotea, Andre was interested in horizontality because it extended into, and hence revealed, its surroundings—and also because it struck at the traditional concept of sculpture as a vertical and anthropomorphic form.

In aristocratic culture, objects played a role too, dorotnea signs of taste, wealth, and status. Amazon Renewed Refurbished products with a warranty. It is important, however, to understand this as a gradual project in a historical perspective. As the comments are likely to be different, the discussions vary considerably.


One I experienced was initiated by the frequent question: In other words, we learn to contemplate objects aesthetically by observing others as they observe art works. Amazon Advertising Find, attract, and engage customers.

The stratification that Sehgal constructs with this work is a strange mix between conversation and sculpture or a social situation and its aesthetics. With Minimal Art, the focus shifts from this interior ground to an outward effect. Popularity Popularity Featured Price: Today any artwork that in some formal, thematic, or structural way alludes to ideas of embodiment, enactment, staging, or theater is called performative. And how might experience be understood as an artistic medium? Reviewing this phenomenon today, Schulze adopts a more critical tone that incorporates some of the cultural critique of the supposedly narcissistic and individualistic focus on experiences:.

The presentation and placement of these works then became more and more crucial, and Irwin eventually sought to dissolve the distinction between the edge of the sculpture and its environment. 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 dorotea specific connection between materiality and subjectivity was both hantwlmann and reflected on a purpose-free level.

Aside from things, the subject finds the theme of itself. European Year of Cultural Heritage Close.

Eesti laulu ja tantsu juubeliaasta Close. He argued that in certain cases something that was said produced an effect beyond the realm of language.

This implies a challenge to the sensorial regime that underlies vorothea museum and deviations to the canon that it produces.

Public Lecture by Dorothea von Hantelmann/ The Curatorial Course

Also available as e-book: What kind of values, conventions, ideologies, and meanings are inscribed into this situation? Abstract How are experiences shaped in and by specific artworks? The empirical data on which the book is based stem from the late s. Here were artworks that you could walk on.


The experience of having had eorothea experience? What does it mean to lead a good life today? What does it imply for art?

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Considered part of the Light and Space movement—a branch of Minimalism originating in Southern California in the s—Irwin produced site-specific works that addressed the scale and structural parameters of the space, setting and challenging the limits of perception. In his book The Birth of the Museumthe sociologist Tony Bennett postulates an intrinsic link between the museum and specific mind- and body-shaping practices. The powerful presence of these objects, she wrote, rendered the exhibition space itself the object of an experience.

This new focus on the subject and the intersubjective goes hand in hand with a changed relation to the material world. The sudden ringing of a cell phone, laughter, a comment in a foreign language, can become the beginning of another discussion. Both artwork and viewer occupy the same nonmetaphorical and nonsymbolic space.

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On Performativity

Provide feedback about this page. With these works, experiences had with the work become an integral part of the work. Amazon Drive Cloud storage from Amazon. 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. It recognizes the productive, reality-producing dimension of artworks and brings them into the discourse.