The Exhibitionist (Issue 10)

$15.00

The Exhibitionist is a magazine made by curators, for curators, focusing solely on the practice of exhibition making.

In this issue:

Overture
Jens Hoffmann, Julian Myers-Szupinska, and Lumi Tan

Curators’ Favorites
Dominic Willsdon surveys Playgrounds: Reinventing the Square (2014), which drives him to challenge museums’ dreams of openness, play, and publicness, (“Architecture Versus the Kids”)

Wassan Al-Khudhairi traces the history of the 1994 exhibition Forces of Change: Artists in the Arab World and draws a line of influence between its argument—that there is indeed a rich culture of contemporary art in the Arab world—and her role in founding Mathaf, the first museum of modern art in Qatar, (“Forceful Change”)

Matthias Muehling describes 1937's Degenerate Art as a systematic attempt to humiliate and exterminate artworks and people that nevertheless introduced techniques that influence curatorial practice today, (“Not My Favorite”)

Back in the Day
Geir Haraldseth examines the ambitions of Poetry Must Be Made By All! Transform the World!, organized by Ronald Hunt at the Moderna Museet in 1969. By opening the museum to contemporary political speech and struggle, Hunt’s exhibition was a model of political commitment that Haraldseth argues must be retrieved from the dustbin of history (“The Lost Tribes of the Moderna: A Discord from 1969”)

Missing in Action
Jan Hoet argues against the premise of an ideal or imagined exhibition in this republished 1989 piece, contending that an exhibition is a meeting between the curator’s ambitions, the material particularities of works of art, and their real-world scenes of display, (“L’Exposition imaginaire—Contradiction in terms?”). Introduced by Chelsea Haines

Attitude
Martin Waldmeier
“I Propose, Therefore I Am”:
Notes on the Art World’s Proposal Economy

Assessments: Philippe Parreno’s Anywhere, Anywhere out of the World
Florence Ostende and Pierre-François Galpin attend carefully to the show’s dramaturgy, (“One Brain Cannot Take It All” / “Paris Spleen)

Dressen triangulates among it and two other exhibitions, (“Ménage à trois”)

Gillick produces a deadpan, technical walkthrough, (“How-To”)

Rigorous Research
Prem Krishnamurthy recovers the practice of the East German designer Klaus Wittkugel, who put advanced exhibition design to work for a Stalinist ideology in the 1950s but is today largely forgotten, (“Selling Socialism: Klaus Wittkugel’s Exhibition Design in the 1950s”)

Six × Six
Curators Zoe Butt, Nazli Gürlek, Daniel Muzyczuk, Remco de Blaaij, Patrick D. Flores, and Nicolaus Schafhausen enumerate personally influential shows

Rear Mirror
Johanna Burton and Anne Ellegood reflect on their exhibition Take It or Leave It, which looked at appropriation and institutional critique since the 1970s, (“Too Much, Never Enough: Take It or Leave It: Institution, Image, Ideology)

Sofía Hernández Chong Cuy describes how her concepts for the Mercosul Biennial unraveled and took new shapes during the biennial’s elaboration—reminding us that ideation, however strong, is bound to be revised in practice, (“Of Whether and Weather: On the 9a Bienal do Mercosul | Porto Alegre”)

Designed by Jon Sueda / Stripe

First printing, 2014
83 pages, black and white with 8 page full color insert, 8 × 11 inches

ISSN: 2038-0984