August 22, 2017, by Franziska Koch
CfP: Members J. Chin Davidson & N. Foster chair panel ” Re-Staging Exhibitions: Past, Present, Future?” at CAA Los Angeles, Feb. 2018, due: 14 Aug 2017
ReNetMoCoCA members Jane Chin Davidson and Nicola Foster will chair the panel “Re-Staging Exhibitions: Past, Present, Future?” at the 106th College Art Association Annual Conference taking place from 21 to 24 February 2018 in Los Angeles.
Their call for submissions that recently closed (14 Aug 2017) suggests a truly transcultural framing including China-related questions:
The turn of the twenty-first century is witnessing a growing number of exhibitions which explicitly claim to repeat and/or re-stage earlier exhibitions; for example, the 1989 China Avant-Garde (restaged in Berlin 1993); the 1937 Degenerate Art (re-staged LA in 1991 and NY in 2014), and many others that are less politically visible, including historical (medievalist) retrospectives. In re-staging exhibitions curators acknowledge earlier curatorial practices in order to adopt a critical approach for examining how these exhibitions re-construct, re-write and re-present the past. The methodological model was established by Amelia Jones’s study of re-enacted performance-art exhibitions in her book Perform, Repeat, Record: Live Art in History (2012), showing how reinterpretation of the past is always productive for both the present and the future. Hans Ulrich Obrist insists that “there is an entire history of unrealised art institutions, which in their dormant state have the potential to inform what an institution of the twenty-first century could be.” His use of Edouard Glissant’s theory of the museum as mondialite (globality) argues that history could be seen through the model of ‘creolisation’– the past is not only the already-narrated, but also that which has been lost/ignored in existing accounts. This session invites explorations into curatorial practices which acknowledge earlier exhibitions and therefore seek to repeat and reinterpret the past – we question how the re-staging of earlier exhibitions in different geopolitical spaces might highlight curatorial practices that were once perceived as peripheral due to cultural/political differences and to changing historical/political narratives.
For up-dates on the CAA conference see: http://www.collegeart.org/programs/conference/
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