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Artistic Research
Currently, advanced art education is in the process of developing (doctorate or PhD) research programs throughout Europe. Therefore, it seems to us urgent to explore what the term research actually means in the topical practice of art. After all, research as such is often understood as a method stemming from the alpha, beta or gamma sciences directed towards knowledge production and the development of a certain scientific domain. How is artistic research connected with those types of scientific research, taking into account that the artistic domain so far has tended to continually exceed the parameters of knowledge management? One could claim that the artistic field comprises the hermeneutic...
Artistic Research in Music: Discipline and Resistance
The Orpheus Institute celebrates 20 years of artistic research in music Artistic research has come of age, and with it the Orpheus Institute. Founded twenty years ago, the Institute’s purpose from the start has been to pursue research through the practice of musicians. The Orpheus Institute is of the same generation as the field it was established to explore. Like many young adults, artistic research and its structures are still constructing their identity within a wider world. How have they developed? How will they mature? How can they negotiate relationships with institutions, disciplines, and bodies of theory and yet retain the essence of their work—the critical perspective of the art...
Teaching Music Performance in Higher Education
Higher Music Performance Education, as taught and learned in universities and conservatoires in Europe, is undergoing transformation. Since the nineteenth century, the master-apprentice pedagogical model has dominated, creating a learning environment that emphasises the development of technical skills rather than critical and creative faculties. This book contributes to the renewal of this field by being the first to address the potential of artistic research in developing student-centred approaches and greater student autonomy. This potential is demonstrated in chapters illustrating artistic research projects that are embedded within higher music education courses across Europe, with exampl...
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Heimo Zobernig
Heimo Zobernig uses a variety of media, including painting, sculpture, video, installations, architectural interventions and performance art. His works seem to question the usual art narrative, in media such as architecture, design and theatre, by stirring up the underlying ideological positions and reinterpreting them with a characteristic economy of means, materials and methodologies. In this publication all of the works presented are traced back historically to the beginning of the 1980s with regard to their origins. Alongside a contextualising text by the exhibition's curator, Jürgen Bock, commenting on the oeuvre of this internationally renowned Austrian artist are Achim Hochdörfer on the meaning of painting, Andrew Renton on Beckettian theatricality and Gertrud Sandqvist on its art-historical aspects.
The Culture of Curating and the Curating of Culture(s)
How curating has changed art and how art has changed curating: an examination of the emergence contemporary curatorship. Once considered a mere caretaker for collections, the curator is now widely viewed as a globally connected auteur. Over the last twenty-five years, as international group exhibitions and biennials have become the dominant mode of presenting contemporary art to the public, curatorship has begun to be perceived as a constellation of creative activities not unlike artistic praxis. The curator has gone from being a behind-the-scenes organizer and selector to a visible, centrally important cultural producer. In The Culture of Curating and the Curating of Culture(s), Paul O'Neil...
The Other Side
The first major work of art history to focus on women artists and their engagement with the spirit world, by the author of The Mirror and the Palette. It's not so long ago that a woman's expressed interest in other realms would have ruined her reputation, or even killed her. And yet spiritualism, in various incarnations, has influenced numerous men—including lauded modernist artists such as Wassily Kandinsky, Piet Mondrian, Kazimir Malevich and Paul Klee—without repercussion. The fact that so many radical female artists of their generation—and earlier—also drank deeply from the same spiritual well has been sorely neglected for too long. In The Other Side, we explore the lives and wor...
New Directions in Museum Ethics
This book considers key ethical questions in museum policy and practice, particularly those related to issues of collection and display. What does a collection signify in the twenty-first century museum? How does an engagement with immateriality challenge museums’ concept of ownership, and how does that immateriality translate into the design of exhibitions and museum space? Are museums still about safeguarding objects, and what does safeguarding mean for diverse individuals and communities today? How does the notion of the museum as a performative space challenge our perceptions of the object? The scholarship represented in this volume is a testament to the range and significance of criti...
Curating Differently
Exhibitionary spaces and curatorial strategies ideologically frame the encounter between art and its publics. For more than forty years, feminist art curating, as a practice of art interpretation and a politics of display, has intersected with the diverse area of feminist art historical research and feminist artistic practices. It is only recently, however, that a theorization of feminist art curating and feminist exhibition histories as a specific field of knowledge has emerged.Curating Differently is a collection of essays that offers critical perspectives on, and analyses of, the intersections of feminisms, art exhibitions, and curatorial spaces from the 1970s onward. It brings together c...
Critique
Critic and theorist Rita Roos (1956-1996) grew up a member of Finland's indigenous Swedish-speaking minority, a population of 350,000 with a strong writing culture. When she died in her fortieth year, she left behind the essays and interviews collected here, edited on the tenth anniversary of her passing by Anders Kruger and by her twin sister, the painter Nina Roos. Rita Roos's work for Helsinki's "Hufvudstadtbladet" newspaper and for "Siksi: the Nordic Art Review," for which she was the Finnish editor, document a lively local art scene and also range over the international art world to include coverage of work by Gerhard Richter, Anish Kapoor, Rosemarie Trockel, Louise Lawler, Cindy Sherman, Laurie Simmons, and Damien Hirst. This volume is published not only as a tribute to a vibrant, committed art writer, but, as the editors write, as "an example of what journalism can be. In that sense this book can be understood as obliquely polemical in relation to the current debate about the function and quality of criticism." Roos herself asks in an interview here, "What can art say that science cannot?" and answers that question, along with many more.
