IRIT ROGOFF PDF

Bringing together a cast of influential curators, critics, and educators operating across institutional boundaries and political scales- from the book to the biennial- these lectures consider the curator- as diplomat, as researcher, as para- artist, as speculator, as provocateur, as censor- and the varying roles and forms curation itself: What defines spaces of curation today? What are the politics pressurizing the practice? What role does the emerging discipline of curatorial studies play in the institutionalization of art? What are the limits and possibilities of curation as a mode of publicity? In many ways, these are timely questions for an evolving artistic research program such as ACT.

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Rogoff, Irit. Keywords: visual culture, critique, spectatorship, historicizing Quotations: we recognize that opening up the field of vision as an arena in which cultural meanings get constituted, also simultaneously anchors to it an entire range of analyses and interpretations of the audio, the spatial, and of the psychic dynamics of spectatorship.

Thus visual culture opens up an entire world of intertextuality in which images, sounds and spatial delineations are read on to and through one another, lending ever-accruing layers of meanings and subjective responses to each encounter we might have with film, TV, advertising, art works, buildings or urban environments First, there are images that come into being and are claimed by various, and often contested histories.

Second, there are the viewing apparatuses that we have at our disposal that are guided by cultural models such as narrative or technology. Third, there are the subjectivities of identification or desire or abjection from which we view and by which we inform what we view To unframe hierarchies of excellence and of universal value that privilege one strand of cultural production while committing every other mode to cultural oblivion … does not mean that one is launching an undifferentiated universalism in which everything is equal to everything else.

Rather it opens up the possibilities for analyzing the politics that stand behind each relativist model and of differentiating between those rather than between the supposed value of objects and images … In visual culture the history becomes that of the viewer or the authorizing discourse rather than that of the object To be able to assemble a group of materials and a variety of methodological analyses around an issue that is determined out of cultural and political realities rather than out of traditions of learned arguments, seems an important step forward in the project of reformulating knowledge to deal responsibly with the lived conditions of highly contested realities 33 historic specificity is a critically important part of coming into cultural recognition and articulation.

Every movement that has attempted to liberate marginalized groups from oppressions of elision and invisibility has, to all intents and purposes, insisted on having something to say, on having a language to say it in, and on having a position from which to speak To begin with they assume that one can replace an absence … with a presence … Second, the protagonists are frozen into binary, occupying positions of victim and perpetrator, both of whom have seemingly come to a miserable end … Finally the historic trauma of the Holocaust linked to the specter of European fascism becomes the index of all political horror and consequence, imposing once again a Eurocentric index of measure and political identity on the very concept of political horror Citation [or in this case, name-drops.

Sadly, there is no further notation in the book : Barthes, Roland Lefebvre, Henri. This illusion of transparent space. Need to dig into this more. Wanting expansion.

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In collaboration with Sonic Acts. Script by Loli Acebal. Irit Rogoff is a writer, educator, researcher, and curator. Irit Rogoff explores and develops new models of research, action, and education that are activated where artistic practices meet philosophies and politics. As such, knowledge production expands beyond the boundaries of academia — whether it be universities, museums, or art schools — and merges with activism, social movements, and self-managed initiatives. In this podcast Irit Rogoff talks about ways of creating participatory, creative, and cognitive alliances that allow us to critically inhabit contemporaneity. She also calls for the need to devise processes of unlearning, inside and outside the academy, that will pave the way to new and unexpected kinds of knowledge.

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Rogoff, Irit. Keywords: visual culture, critique, spectatorship, historicizing Quotations: we recognize that opening up the field of vision as an arena in which cultural meanings get constituted, also simultaneously anchors to it an entire range of analyses and interpretations of the audio, the spatial, and of the psychic dynamics of spectatorship. Thus visual culture opens up an entire world of intertextuality in which images, sounds and spatial delineations are read on to and through one another, lending ever-accruing layers of meanings and subjective responses to each encounter we might have with film, TV, advertising, art works, buildings or urban environments First, there are images that come into being and are claimed by various, and often contested histories. Second, there are the viewing apparatuses that we have at our disposal that are guided by cultural models such as narrative or technology. Third, there are the subjectivities of identification or desire or abjection from which we view and by which we inform what we view To unframe hierarchies of excellence and of universal value that privilege one strand of cultural production while committing every other mode to cultural oblivion … does not mean that one is launching an undifferentiated universalism in which everything is equal to everything else.

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