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David Maljkovic
In 1960s Yugoslavia, the Zagreb Fair, with its numerous international pavilions, was a major economic link between East and West. In this evocative artist's book, Amsterdam-based conceptualist David Maljkovic (who was born in 1973 in Croatia) presents haunting collage works made from contemporary and vintage Fair-related images.
David Maljkovic: Also on View
Throughout an ever-shifting body of work, David Maljkovi? returns to ?the question of form,? asking how considerations of form itself might illuminate the ebb and flow of ideologies, for example, or the overlaying of past, present, and future. While embracing a wide range of media?including photography, painting, video, sculpture, and various hybrids?the Croatian artist has developed distinctive methods of incorporating, and refiguring, his own earlier works in new installations.0Along with every exhibition, Maljkovicc translates his work into the form of a book, which becomes another lively medium for the artist. For 'Also on View', he collaborated with designer Toni Uroda to channel the queries of his solo exhibition at the Renaissance Society, which brought together elements from different projects to create a new presentation tailored to the architectural space. The publication features a dynamic array of images, a rendition of the artist talk Maljkovic? delivered on opening night, and an essay by curator Karsten Lund.00Exhibition: The Renaissance Society, Chicago, USA (09.02-07.04.2019).
David Maljković
For the past 15 years, David Maljkovic has been fascinated with the French car company Peugeot and its futuristic concept cars conceived in the 1980s to modelize what the car industry would look like in the 2000s--now evidence of a long outdated belief in progress and technology. In his film Out of Projection (2009-2015), filmed at the Peugeot headquarters and innovation campus in Sochaux (eastern France), automobile prototypes accompanied by now-retired former employees unfurl before us, serving as symbolic links between past and future, and giving us an insight into our complex contemporary relationship with past forms, time, and space. Centred on this landmark work, which is unfolded thro...
David Maljković 2003-2013
Scene for new heritage 1 was the title of an impressive filmic work by David Maljkovic dating from 2004. In this work, the artist, who was born in 1973 in Rijeka, Croatia, and now lives in Zagreb, gets to grips with the political legacy of former Yugoslavia and the utopias of a bygone era.The economic and cultural changes associated with the collapse of the Communist social order and its transformation into a Capitalist social system form the background to his idiosyncratic oeuvre which fundamentally questions the methods of narrative construction and uses as its subject matter the translation of content into an artistic work or the latter's presentation in the institutional context.On the occasion of his solo exhibition at Lokremise in St.Gallen, now, for the first time, David Maljkovic has assembled his recent collages in a concentrated form in an art book designed by Toni Uroda.English and German text.
Rethinking Character in Contemporary British Theatre
The category of theatrical character has been swiftly dismissed in the academic reception of no-longer-dramatic texts and performances. However, claims on the dissolution of character narrowly demarcate what a subject is and how it may appear. This volume unmoors theatre scholarship from the regulatory ideals of liberal humanism, stretching the notion of character to encompass and illuminate otherwise unaccounted-for subjects, aesthetic strategies and political gestures in recent theatre works. To this aim, contemporary philosophical theories of subjectivation, European theatre studies, and experimental, script-led work produced in Britain since the late 1990s are mobilised as discussants on...
David Maljković
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Museums, Narratives, and Critical Histories
In response to systemic racism and institutions’ implications in histories of colonialism, nationalism, and exclusion, museum curators have embraced new ways of storytelling to face entangled memories and histories. Critical museum practices have consciously sought to unsettle established forms of representation, break with linear narratives of progress, and experiment with new modes of multivocal, multimedia, and subjective storytelling. The volume features analyses of narratives and narration in museums and heritage institutions today, as well as visions for future museum practices on a local, regional, national, transnational, and global scale. It is divided into three sections: Narrati...
Art in the Age of the Internet
Art in the Age of the Internet, 1989 to Today is the first major thematic group exhibition in the United States to examine the radical impact of internet culture on visual art. Featuring 60 artists, collaborations, and collectives, the exhibition is comprised of over 70 works across a variety of mediums, including painting, performance, photography, sculpture, video, web-based projects, and virtual reality. The exhibition is divided into five sections that explore themes such as emergent ideas of the body and notions of human enhancement; the internet as a site of both surveillance and resistance; the circulation and control of images and information; the possibilities for exploring identity...
Memorials in the Aftermath of Armed Conflict
Through case studies from Europe and Russia, this volume analyses memorials as a means for the present to make claims on the past in the aftermath of armed conflict. The central contention is that memorials are not backward-looking, inert reminders of past events, but instead active triggers of personal and shared emotion, that are inescapably political, bound up with how societies reconstruct their present and future as they negotiate their way out of (and sometimes back into) conflict. A central aim of the book is to highlight and illustrate the cultural and ethical complexity of memorials, as focal points for a tension between the notion of memory as truth, and the practice of memory as negotiable. By adopting a relatively bounded temporal and spatial scope, the volume seeks to move beyond the established focus on national traditions, to reveal cultural commonalities and shared influences in the memorial forms and practices of individual regions and of particular conflicts.
Disordered Attention
The ways we encounter contemporary art and performance is changing. Installations brim with archival documents. Dances stretch for weeks. Performances last a minute. Exhibitions are spread out over thirty venues. There are endless artworks about mid-century architecture and design. How are we expected to engage with today's diverse practise? Is the old model of close-looking still the ideal, or has it given way to browsing, skimming, and sampling? Across four essays, art historian and critic Claire Bishop identifies trends in contemporary practice- research-based installations, performance exhibitions, interventions, and invocations of modernist architecture-and their challenges to traditional modes of attention. Charting a critical path through the last three decades, Bishop pinpoints how spectatorship and visual literacy are evolving under the pressures of digital technology.
