2007/03/06
WdW
查知講者Nicolaus Schafhausen今屆Venice Biennale德國館選的是Isa Genzken,本來這星期二晚打算回老家吃飯,不去歌德聽talk(6 Mar, 7pm).但看了下引文章,看到以下抽引一段,還是覺得可以有趣吧.
Schafhausen's preference for working with small institutions
stands in marked contrast to the practices of today's free-roaming curators; ever on the lookout for new contexts and picturesque sites, they have contributed to an event culture that increasingly frustrates meaningful artistic and critical production. From Rotterdam, Schafhausen will also continue to direct the European Kunsthalle initiative in Cologne, a research project investigating the possibilities and problems of Kunsthalletype spaces in contemporary urban culture, created in response to the closing of the old Kunsthalle in Cologne and the general erosion of the city's art scene.
我長期寧支持Kunsthalle (辦展覽而沒收藏的展館),甚至Kunstverein(城市/地方性單位的藝術家同盟會/展場)方案,而非又多一座博物館,看的或正因那是depenedent curator成為可能的地方.
文章續下去處,竟還少有評價Catherine David上手攪WdW的問題:
Compared to this provisional think tank, Witte de With seems like a secure and established institution; but the situation Schafhausen faces in Rotterdam, and in the Netherlands as a whole, is nonetheless difficult. David's program at Witte de With was greeted with a mixture of disinterest and hostility bordering on xenophobia (yikes, a Frenchwoman who uses difficult words!), and she left the Netherlands denouncing the country's populist and anti-intellectual climate. The fault was hardly all on one side, however. It is true that the reception of David's activities demonstrated the near-total absence of serious discourse in Holland, but her departure might also be reasonably linked to her communication skills, or lack thereof, and to her distant attitude toward the town and country in which she worked.
In truth, David and the cultural and political context in which she had to operate were a mismatch from the start, and following her directorate was like watching a traffic accident in slow motion. Although she created a cogent program--highlights included shows by David Goldblatt (2003), Ulrike Ottinger, and Alison and Peter Smithson (both 2004), as well as the series "Contemporary Arab Representations" (2002-2003), consisting of ambitious but poorly installed shows focusing on specific cities--there were fewer exhibitions than in the past. David regarded Witte de With as a center for artistic production and critical reflection, not necessarily as an exhibition space. But Witte de With's cultural-political legitimization, and consequently its funding, are crucially dependent on its shows--the institution's most visible side. In the end, David's credit was virtually zero; when withdrawal of municipal funding seemed imminent, the novelist Van den Brink was appointed interim director. While his intimate knowledge of the Dutch cultural bureaucracy was crucial during this transitional period, it was clear from the beginning that his directorate would be an interregnum ending with the appointment of a new director steeped in contemporary art. Like David, Schafhausen also places great value on creating a strong theoretical foundation and uses art institutions to create a space for critique; but he has demonstrated a far greater awareness that support for such critical institutions is fragile and must constantly be rekindled through a variety of activities, including the mounting of convincing exhibitions.
搞藝術不展覽,似乎仍是當代藝術策展思想其一欲發展的死症,manifesta的壯烈犧牲經已是一單.
Schafhausen's preference for working with small institutions
stands in marked contrast to the practices of today's free-roaming curators; ever on the lookout for new contexts and picturesque sites, they have contributed to an event culture that increasingly frustrates meaningful artistic and critical production. From Rotterdam, Schafhausen will also continue to direct the European Kunsthalle initiative in Cologne, a research project investigating the possibilities and problems of Kunsthalletype spaces in contemporary urban culture, created in response to the closing of the old Kunsthalle in Cologne and the general erosion of the city's art scene.
我長期寧支持Kunsthalle (辦展覽而沒收藏的展館),甚至Kunstverein(城市/地方性單位的藝術家同盟會/展場)方案,而非又多一座博物館,看的或正因那是depenedent curator成為可能的地方.
文章續下去處,竟還少有評價Catherine David上手攪WdW的問題:
Compared to this provisional think tank, Witte de With seems like a secure and established institution; but the situation Schafhausen faces in Rotterdam, and in the Netherlands as a whole, is nonetheless difficult. David's program at Witte de With was greeted with a mixture of disinterest and hostility bordering on xenophobia (yikes, a Frenchwoman who uses difficult words!), and she left the Netherlands denouncing the country's populist and anti-intellectual climate. The fault was hardly all on one side, however. It is true that the reception of David's activities demonstrated the near-total absence of serious discourse in Holland, but her departure might also be reasonably linked to her communication skills, or lack thereof, and to her distant attitude toward the town and country in which she worked.
In truth, David and the cultural and political context in which she had to operate were a mismatch from the start, and following her directorate was like watching a traffic accident in slow motion. Although she created a cogent program--highlights included shows by David Goldblatt (2003), Ulrike Ottinger, and Alison and Peter Smithson (both 2004), as well as the series "Contemporary Arab Representations" (2002-2003), consisting of ambitious but poorly installed shows focusing on specific cities--there were fewer exhibitions than in the past. David regarded Witte de With as a center for artistic production and critical reflection, not necessarily as an exhibition space. But Witte de With's cultural-political legitimization, and consequently its funding, are crucially dependent on its shows--the institution's most visible side. In the end, David's credit was virtually zero; when withdrawal of municipal funding seemed imminent, the novelist Van den Brink was appointed interim director. While his intimate knowledge of the Dutch cultural bureaucracy was crucial during this transitional period, it was clear from the beginning that his directorate would be an interregnum ending with the appointment of a new director steeped in contemporary art. Like David, Schafhausen also places great value on creating a strong theoretical foundation and uses art institutions to create a space for critique; but he has demonstrated a far greater awareness that support for such critical institutions is fragile and must constantly be rekindled through a variety of activities, including the mounting of convincing exhibitions.
搞藝術不展覽,似乎仍是當代藝術策展思想其一欲發展的死症,manifesta的壯烈犧牲經已是一單.
