Exhibitionist #12

Reflection

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.

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Contents

  • Reflection

    Jens Hoffmann, Julian Myers-Szupinska, and Liz Glass

  • 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
    Agreement

  • Response II: Archival

    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