The Berlin-based art historian and author of How to Do Things with Art – The Meaning of Art’s Performativity, Dorothea von Hantelmann, gives a lecture and. Dorothea von Hantelmann “Why exhibitions became a modern ritual (and what they tell us about the society in which they take place)”. Dorothea von Hantelmann – Notizen zur Ausstellung. How can it be that the Artistic Director of the dOCUMENTA (13) can talk about a certain kind of.

Author: Toshura Yozshulkis
Country: Djibouti
Language: English (Spanish)
Genre: Love
Published (Last): 20 August 2014
Pages: 142
PDF File Size: 1.37 Mb
ePub File Size: 19.53 Mb
ISBN: 272-5-95794-575-5
Downloads: 40886
Price: Free* [*Free Regsitration Required]
Uploader: Mozuru

Event calendar Estonian culture guide Culture blog. Yet the fact that the performative is dodothea a label does not mean that we cannot use hantelmxnn to shed light on those art phenomena to which it is most often applied. Reviewing this phenomenon today, Schulze adopts a more critical tone that incorporates some of the cultural critique of the supposedly narcissistic and individualistic focus on experiences: Citation von Hantelmann, Dorothea. Precisely because these objects engender an experience that remains contingent and does not refer to an essentially stable subject, this experience cannot give rise to a cultural context as traditionally represented by the museum.

Dorothea von Hantelmann “Why exhibitions became a modern ritual and what they vln us about the society in which they take place “. Amazon Second Chance Pass it on, trade it in, give it a second life. Not only because the artwork itself has, as a material object, a relation to the realm of material production—and yet can also designate this object as a source of cultural significance and aesthetic refinement—but also because the exhibition constituted a kind of ritualistic cultivation of the idea of an individual who relates to the material object.

Even though the ecological and economic consequences of this transformation have by now reached public consciousness, the cultural impact—at least as an impact of this process—is much less present. Although for artists like Andre, Irwin, and Graham the visual remains an important factor in art, their works dismiss a reflexive spectator-object relationship, in which meaning is determined only by the optical exchange across the visual field, in favor of a felt and lived experience of corporeality, a haptic or tactile phenomenology of the body as it encounters the physical world.


Public Lecture by Dorothea von Hantelmann/ The Curatorial Course

Robert Irwin, untitled,synthetic fabric, wood, fluorescent lights, floodlights, 96 x in. In this new social order, cultural refinement and economic production entered a kind of dialectical relationship. Both artwork and viewer occupy the same nonmetaphorical and nonsymbolic space. With the increase of both income and leisure, more people can and must engage with techniques and practices of the self—the freedom to choose is also the obligation to choose.

The visual staccato of stark black-and-white contrasts is no less violent to the eye than the acoustic beat is to the rest of the body.

The Experiential Turn — On Performativity — Walker Art Center

What does it mean to lead a good life today? It makes little sense to speak of a performative artwork because every artwork has a reality-producing dimension.

My lecture both explores and demonstrates vvon aspects of this second perspective. Main menu additional Become a Member Shop. Does the strong focus on the subject play into the hands of a narcissistic consumer culture? Yet while in Minimal Art the experience is that of a body standing indeterminately outside of power, sexuality, and history, Coleman, in contrast, gives experience a historical-materialist contour.

On Performativity

How to add or change data? Amazon Renewed Refurbished products with a warranty. Without comment, without communication, the artwork has no life force. The question of how to do things with art seems particularly pertinent today: Reviewing this phenomenon today, Schulze adopts a more critical tone that incorporates some of the cultural critique of the supposedly narcissistic and individualistic focus on experiences:.

Eesti laulu ja tantsu juubeliaasta Close. Or we can, and this is a more sociological and anthropological approach, see them as institutions that derive their social function from the fact that they carry specific values and concepts into society.

It is deeply linked to concepts of modernity and modernisation. It does not mean that what is produced is equally distributed or accessible.

And the realm that answers to this need is, in a secular society, no longer religion but the realm of culture. And what characterized the rising bourgeois culture, in opposition to the preceding aristocratic and court cultures, was the attachment of the individual to the material object.


The emerging affluent society might still celebrate its new wealth—as they say, more is more—but for the individual in the advanced affluent society, aesthetic criteria, such as quality hantelmajn intensity of experience, have become a main point of orientation.

The sculptures prompted him to opt for new design paradigms, preparing and anticipating new spatial concepts that took their cue from warehouses and factories and presentation formats that hajtelmann geared toward comprehensive monographic shows. Presented artefacts merely act as a cultural resource, which is utilised as a tool or prop for physical and mental practices that aim to induct the visitor into an improving relationship to the self.

English Choose a language for shopping. Enter the name of the organizer: Alexa Actionable Analytics for the Web. What kind of values, conventions, ideologies, and meanings are inscribed into this situation? The viewer enters an empty exhibition space and is slowly encircled by five people walking backward one after the other toward the visitor from hidden corners, stopping at a distance of about three to four meters in a circular formation.

Art institutions are deeply connected to core socio-economic parameters of their time, which they symbolically cultivate and ritually enact.

And again we are speaking about a long historical process that runs through modernity. Learn more at Author Central. The good life is still conceived as one of intense, fascinating experiences. In other words, under certain conditions signs can produce reality; one can do things with words.

Joint volunteer work Close. If no comment hantelmanm made, the work does not go beyond the unvarying prologue.

In aristocratic culture, objects played a role too, as signs of taste, wealth, and status. A new tax law enabled objects to be sold from collections; this affected the status of the museum collection, as did new spatial concepts and new museum design and presentation forms.