The recent development of curatorship as a museological practice, as well as its affirmation as an autonomous field of research, has brought important transformations to the practices, methodologies and models of both Art History and Art Criticism. It is not a confron- tation or an opposition, but a transformation of the configuration of the territories of each of these disciplines.
These deferrals have established an understanding of art that helped charge the art exhibition with ethical and political values beyond distinct notions of the aesthetic and the nonaesthetic. The fact that the integration of critique in the form of guides, wall texts, panel discussions and screenings, have long raised debates about the art exhibition’s shift from the aesthetic to the didactic, lets us ask about the current legitimization of “common goods” (Tyzlik-Carver) within the expanding network between artistic/ curatorial, discursive/academic, and participatory/political projects. One popular strategy is rhetoric as “learning from.../unlearning” (see e.g. the current documenta) and “test run” (see Latour) referring to the uncertainties and insecurities of the global crisis that demands new methods and concepts.
The displacement of curatorial practices from a focus on the ideas of style, authorship and historical period, to a broader political and expanded idea of exhibition, has consequences that must be identified and discussed. Transformations are verified not only in the need to redefine the different fields of the disciplines dedicated to the visual arts, but also to revise the idea of museum, art and artist.
Sabeth Buchmann is an art historian and critic who lives and works in Berlin and Vienna. She is Professor of History of Modern and Postmodern Art at the Academy of Fine Arts (Vienna). Together with Helmut Draxler, Clemens Krümmel, and Susanne Leeb she co-edits PoLyPen, a series on art criticism and political theory, published by b books, Berlin). Recent publications include: Putting Rehearsals to the Test. Practices of Rehearsal in Fine Arts, Film. Theater, Theory, and Politics (co-ed. with Ilse Lafer and Constanze Ruhm, 2016); Textile Theorien der Moderne. Alois Riegl in der Kunstkritik (ed. with Rike Frank, 2015); Hélio Oiticica, Neville D’Almeida and others: Block-Experiments in Cosmococa (with Max Jorge Hinderer Cruz, 2013); Film Avantgarde Biopolitik (ed. with Helmut Draxler and Stephan Geene, 2009); Denken gegen das Denken. Produktion – Technologie – Subjektivität bei Sol LeWitt, Yvonne Rainer und Hélio Oiticica (2007); Art After Conceptual Art (ed. with Alexander Alberrro, 2006).
Monday (29.05.) 17h–19h, Tuesday (30.05.) 14h30–18h30, Wednesday (31.05.) 11h–14h
with Sabeth Buchmann, Joana Cunha Leal and João Ribas, moderated by Jürgen Bock, Wednesday (31.05.) 18h
Auditorium Goethe-Institut Portugal
Campo dos Mártires da Pátria, 37, 1169-016 Lisbon
Campo dos Mártires da Pátria, 100 - 1º esq.
1150-227 Lisboa, Portugal
Tel: + 351 21 352 11 55
De-opacification and the Right to Opacity
Avenida António Augusto de Aguiar, 148 - 3º D
Rua Tomás del Negro, 8A
1750-105 Lisboa, Portugal
Wednesday to Sunday, 3pm to 7pm
and by appointment
Tel: + 351 21 755 15 70 | 21 352 11 55
Ao descer a escada
Há um degrau p’ra me sentar.
Não há outro degrau
Não estou lá em baixo
Nem lá em cima estou.
Estou é na escada
Onde sempre estou.
Ao subir a escada
Não estou em cima, nem em baixo.
Não estou na creche,
Nem mesmo no sopé, acho.
Ideias estranhas começam a girar
Na minha cabeça
Fora do lugar!
09.11.2019 - 02.02.2020
25.01 | 17h00 Talk with Tonio Kröner, Simon
Thompson, Jürgen Bock
Upcoming at Lumiar Cité:
29.09. - 09.12.2018
In cooperation with Lumiar Cité:
Thu Thiêm: an archaeological
project for future remembrance
08.06. - 08.09.2019
Johann Jacobs Museum
Maumaus / Lumiar Cité
is funded by Ministério da Cultura / Direção-Geral das Artes. With the support of Câmara Municipal de Lisboa and Junta de Freguesia do Lumiar