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An Exhibition Always Hides Another Exhibition is a collective portrait of Hans Ulrich Obrist composed by friends, collaborators, admirers, and inquisitors. From personal anecdotes to analytic estimations to visual representations, the contributions respond to the questions that frame the book: Who is HUO? What does HUO do? What has HUO done?
The collected essays presented here form the compartments of Hans Ulrich Obrist’s curatorial toolbox, along with elucidating his views on stewardship, patronage, and art itself. Influences and interlocutors cited and discussed here include, among others, Alexander Dorner, Édouard Glissant, Claude Lévi-Strauss, Jean-François Lyotard, Dominique de Menil, Josef Ortner, Cedric Price, Sir John Soane, and Harald Szeemann.
Everything you ever wanted to know about Hans Ulrich Obrist but were afraid to ask has been asked by the sixteen practitioners in this book.
“If art takes place in a contemporary art museum (where we expect it), what does it mean? Art should not be about filling spaces, but about necessities and urgencies.” Such are the principles conveyed by the visionary Hans Ulrich Obrist, seeking out ways to reinvent and invent museums of the 21st century.
With the global rise of a politics of shock driven by authoritarian regimes that subvert the rule of law and civil liberties, what paths to resistance, sanctuary, and change can cultural institutions offer? In this book, more than twenty leading curators and thinkers about contemporary art present powerful case studies, historical analyses, and theoretical perspectives that address the dynamics of activism, protest, and advocacy.
The applied research project and publication The Archive as a Productive Space of Conflict deals with archival practice and its spatial repercussions. Inquiring whether any accumulation and organization of knowledge is productive—to the effect that it generates a narrative and/or history—the project focuses specifically on archives becoming productive due to their spatial framework.
Today we live in a world that can be described as an “internet of things,” one that embraces digital technologies, and fulfills the dream worlds envisioned by twentieth-century writers, architects, and artists. The internet is an ever-growing storage space of information that we have come to rely on—but what does this thing called the internet really mean? And does it still exist?
The work of art has often been a battleground—its decorative and formal aspects positioned against its nature as an embodiment of cognitive acts. Leonardo da Vinci’s claim that art be a “cosa mentale” is winning at last: recent debates around art schools and their methods, of which this book is a vast survey, demonstrate that, now more than ever, art is considered the result of a thinking process.
Cybermohalla Hub, a hybrid of studio, school, archive, community center, library, and gallery is a structure that moves between Delhi and diverse art contexts. The Cybermohalla project, which takes on the meaning of the Hindi word mohalla (neighborhood), has been engaged in rethinking urban life, and reimagining and reanimating the infrastructure of cultural and intellectual life in contemporary cities.
The artists Agnieszka Kurant and Aleksandra Wasilkowska are representing Poland at the 12th International Architecture Exhibition in Venice 2010, August 29 – November 21, 2010.
What Is Contemporary Art? puts the apparent simplicity and self-evident term into doubt, asking critics, curators, artists, and writers to contemplate the nature of this catchall or default category.
Daniel Birnbaum’s The Hospitality of Presence is a study of the concept of otherness in Edmund Husserl’s phenomenology. In the late 1990s it gained international attention in academic circles. It was reviewed favorably in specialized philosophy journals such as Review of Metaphysics and quoted extensively, most notably by Paul Ricoeur in one of the legendary French thinker’s last books.
“German entrepreneurs are planning to outstrip the ancient Egyptians by building the world’s largest pyramid on a derelict site in eastern Germany – which they claim will eventually contain the remains of millions of people in concrete burial blocks.” —The Independent
Europe, as a political space, is as conflictual as its constitution. It needs to be designed and negotiated. It is longing for an architecture of strategic encounters. Based on the curation of a space at the 2007 Lyon Biennial, London-based architect and writer Markus Miessen has drawn together a group of people to lead conversations around alternative notions of participation, the clash of democratic heterogeneities, and what it means to live in Europe today.
Fully conceived by M/M, this large-format limited edition contains an interview by Hans Ulrich Obrist, an introduction by Cristina Ricupero as well as illustrations from the designers’ recent projects.
