forces at play

A draft introduction for next week’s review on ArtSlant, but which I cut in the end.

The final form of an exhibition can be seen as a window into the processes at work in its creation. Some of these aspects become visible once a show is open to scrutiny, some remain obscure, but this crystallisation of processes through exhibition is instructive as a trace of the forces at play. In an institution such as the National Art Museum of China, perhaps because of its role as representative of national culture, these forces become far broader across sections of society outside of the artworld, and thus more significant.

SEMINAR—Framing Art—Institutional Critique

Today I made a short presentation to the Framing Art course that I’m on, based around two texts linked to the practice of Institutional Critique, one by Daniel Buren1 and one by Adrian Piper2. The question to which this is the response was:

During the seminar, students will give a short presentation of their chosen artists’ writings. This analysis must not give an overview of all the arguments contained in the two texts, it must instead be based on a single comparable argument extracted from each text and presented within a contextual framework.

The presentations must concentrate on how your chosen artist has addressed the museum.

I’ve posted the notes from which I did the talk, as well as a recording.3.

I didn’t realise I said ‘erm’ quite so much. How embarrassing. I’ve asked about presentation coaching so hopefully I will be able to improve on this.

  1. Buren, D. (1971). Function of the Museum. In McShine, K. ed., The Museum as Muse, Artists Reflect. New York: MOMA, 1999.
  2. Piper, A. (1980). Some Thoughts on the Political Character of This Situation. In McShine, K. ed., The Museum as Muse, Artists Reflect. New York: MOMA, 1999.
  3. Every few minutes you’ll hear the hard drive of the iPod spin up and down again. Although noisy, it’s still possible to hear what I’m saying.