{"product_id":"echoing-exhibition-views-subjectivity-in-post-digital-times","title":"Echoing Exhibition Views - Subjectivity in Post-Digital Times","description":"\u003cp\u003e\u003cem\u003eEdited by A.R. practice (Ann Richter \u0026amp; Agnieszka Roguski), Introduction by A.R. practice (Ann Richter \u0026amp; Agnieszka Roguski), Texts by Melanie Bühler, Erika Landström, Agnieszka Roguski\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eWhen the exhibition enters the digital realm, as it is increasingly happening now when the display of art and culture can be enjoyed individually behind screens, then how does the exhibition view diffuse optically, technically, and culturally? And how does this transformation echo the new understanding of subjectivity?\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eEchoing Exhibition Views. Subjectivity in Post-Digital Times\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eexplores the different medialities and intersubjective shifts that follow the moment of seeing a physical exhibition today. It takes the digitized exhibition view as starting point for artistic and theoretic reflections on post-digital culture, hyperreality and its relation to subjectivity. Focusing on the transformative potential of the exhibition as circulating view, this publication asks how it transfers again into a subjective mode of perspective through the artistic lens. So what is at stake when an exhibition circulates as a digital view? And how does its digital presence in turn affect and transform the subjective experience of seeing a physical exhibition?\u003c\/p\u003e\n\u003cp\u003eWith images from João Enxuto \u0026amp; Erica Love, Calla Henkel \u0026amp; Max Pitegoff, New Noveta\/Yair Oelbaum, SANY, Hanna Stiegeler, Jasmin Werner, and Jonas Paul Wilisch, as well as texts by Melanie Bühler, Erika Landström, and Agnieszka Roguski, this publication gathers artists, curators, and writers who frame these questions through a variety of practices and media. It thus addresses a self-reflexive and critical approach on medium and format—understanding the exhibition as a fluid and diverse view.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMORE INFO\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eHow is our view on exhibitions influenced by their digital re-\/presentation on the internet? How can art affect the normalized, circulating installation views in a creative way––and articulate a subjective view in this way? And how, above all, do seemingly objective standards and subjectivity affect each other?\u003c\/p\u003e\n\u003cp\u003eThe publication \u003cem\u003eEchoing Exhibition Views. Subjectivity in Post-Digital Times\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003efocuses on the subjectivity of the supposedly objective exhibition documentation. It is about how artists realize a kind of subjective view when they are presenting an exhibition––in terms of performative, spatial, visual or technological aspects––and how that view can broaden, reflect or criticize the standardized claim of exhibition views.\u003c\/p\u003e\n\u003cp\u003eFor \u003cem\u003eEchoing Exhibition Views. Subjectivity in Post-Digital Times\u003c\/em\u003e, a total of seven international artistic positions articulate their personal interpretation of the ‘installation view’. Most important is their disciplinary versatility, which provides a multifaceted and complex approach to the topic. Artistic photography, illustration, conceptual art and performance art together respond to the apparent objectivity emanating from exhibition documentation and the photographic installation view.\u003c\/p\u003e\n\u003cp\u003eThe medium of display always shapes the work, therefore the form of the book becomes the venue for a visual tension between specification and ambiguity. To underline the modification as a productive act, A.R. practice interfered with book production standards and used a special RGB-three-color printing technique instead of CMYK. RGB (red green blue) is the digital color range and refers to the online format. However, it will evoke experimental effects for this analogue format.\u003c\/p\u003e\n\u003cp\u003eThe guiding principle is the idea of transformation through various media and formats. Thus, the featured artists represent a practice in which various media and spaces are crossed; from the virtual exhibition on the internet to the actual exhibition space to the photographic image from the exhibition. All works become independent exhibition practices and works of art.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTABLE OF CONTENT\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eEditorial (A.R. practice: Ann Richter \u0026amp; Agnieszka Roguski)\u003c\/p\u003e\n\u003cp\u003eEssays:\u003cbr\u003eIn Other Words, Please be True (Melanie Bühler)\u003cbr\u003eSubjective Exposure (Agnieszka Roguski)\u003cbr\u003eProfessionalized Reenactment (Erika Landström)\u003c\/p\u003e\n\u003cp\u003eFeatured work:\u003cbr\u003eJoão Enxuto \u0026amp; Erica Love “Anonymous Paintings” (2011–)\u003cbr\u003eCalla Henkel \u0026amp; Max Pitegoff “Schinkel Klause” (2016)\u003cbr\u003eNew Noveta\/Yair Oelbaum “Violent Amurg” (2017)\u003cbr\u003eSANY “Acting Untitled” (2009-2018)\u003cbr\u003eHanna Stiegeler “Untitled” (2015)\u003cbr\u003eJasmin Werner “Observational Games” (2016)\u003cbr\u003eJonas Paul Wilisch “the work: a series of installation views” (2016\/2017)\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBIOGRAPHIES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eA.R. practice is based on the conceptual and artistic collaboration of the designer Ann Richter and the curator and writer Agnieszka Roguski. Past projects include\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eEine Frage der Form\/Norm\u003c\/em\u003e, an installation within the exhibition\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eReturning to Sender\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e2014 at HKW Haus der Kulturen der Welt in Berlin (2014), and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eON VIEW – interferences of digital and physical re-\/presentations\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(2015), an exhibition project that took shape online and at the art institution KV––Kunstverein Leipzig.\u003cbr\u003eAt the core of their working method is the linkage of different practices and disciplines, which play out in thematically aligned arrangements under a socially relevant question. A.R. practice treats both designing and curating as mutual modes of thinking and doing from the very beginning of a project while traversing different types of visualities. Focussing on formats of visual display, they critically explore their ways of becoming public to create a fluid, entangled mediality. Each project can be seen as a process that aims to articulate contexts in both an analytical and creative manner. The work of A.R. practice has been widely presented in symposia and talks, such as at Louisiana Museum of Modern Art in Copenhagen (2015), Gropius Bau in Berlin (2016), the Städelschule in Frankfurt am Main (2017), the TCA Transcuratorial Academy in Phnom Penh (2018), and the HSD Hochschule Düsseldorf (2019).\u003c\/p\u003e\n\u003cp\u003eAnn Richter is co-founder of Studio Pandan, an agency for graphic design and art direction, which specializes in visual identities and publications. Their clients include cultural institutions and businesses such as Bundeskunsthalle Bonn, SKD Staatliche Kunstsammlungen Dresden, Guggenheim Museum Bilbao, Freie Universität Berlin, and the literature magazine\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eEdit\u003c\/em\u003e. She also teaches occasionally at art universities and gives talks and workshops.\u003c\/p\u003e\n\u003cp\u003eAgnieszka Roguski works at the intersection of curating and research. Her PhD thesis,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThe Self on Display\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003e(Freie Universität Berlin), focuses on visual performances of the self under post-digital conditions. Her writing has appeared in\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTexte zur Kunst, Springerin\u003c\/em\u003e, and\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eSpike Magazine\u003c\/em\u003e, among other publications. She teaches at different universities and worked at the WATTIS Institute San Francisco, PRAXES Center of Contemporary Art Berlin and the Academy of Fine Arts Leipzig, Department for Cultures of the Curatorial.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eProduct Details \u003c\/strong\u003e\u003c\/p\u003e\n\u003cdiv class=\"specs-list\"\u003e\n\u003cdl\u003e\n\u003cdt\u003e\n\u003cem\u003eType:\u003c\/em\u003e softcover\u003c\/dt\u003e\n\u003cdt\u003e\n\u003cem\u003eDimensions:\u003c\/em\u003e 170 x 240 mm \/ 6.7 x 9.5 inch (portrait\u003c\/dt\u003e\n\u003cdt\u003e\n\u003cem\u003ePages:\u003c\/em\u003e 80\u003c\/dt\u003e\n\u003cdt\u003e\n\u003cem\u003eISBN:\u003c\/em\u003e 978-94-93148-23-9\u003c\/dt\u003e\n\u003cdt\u003e\n\u003cem\u003eEditor:\u003c\/em\u003e A.R. practice\u003c\/dt\u003e\n\u003cdt\u003e\n\u003cem\u003eAuthor:\u003c\/em\u003e Melanie Bühler, Erika Landström, and Agnieszka Roguski\u003c\/dt\u003e\n\u003cdt\u003e\n\u003cem\u003eGraphic:\u003c\/em\u003e A.R. practice (Ann Richter)\u003c\/dt\u003e\n\u003cdt\u003e\n\u003cem\u003eArtist:\u003c\/em\u003e João Enxuto \u0026amp; Erica Love, Calla Henkel \u0026amp; Max Pitegoff, New Noveta\/Yair Oelbaum, SANY, Hanna Stiegeler, Jasmin Werner, Jonas Paul Wilisch\u003c\/dt\u003e\n\u003cdt\u003e\n\u003cem\u003eLanguage:\u003c\/em\u003e English\u003c\/dt\u003e\n\u003cdt\u003e\n\u003cem\u003eRelease date:\u003c\/em\u003e 2020-05-15\u003c\/dt\u003e\n\u003cdt\u003e\n\u003cem\u003eBinding:\u003c\/em\u003e perfect binding (PUR)\u003c\/dt\u003e\n\u003cdt\u003e\n\u003cem\u003ePaper: cover:\u003c\/em\u003e Invercote G 280 g\/m² , Inside pages: arctic volume whit 130 g\/m² , offset 100 g\/m² bulk 1.2\u003c\/dt\u003e\n\u003cdt\u003e\n\u003cem\u003eEdition:\u003c\/em\u003e 900\u003c\/dt\u003e\n\u003cdt\u003e\n\u003cem\u003eColor:\u003c\/em\u003e 3 spot color printing (RGB). For the 3-colour print it is Pantone Blue 072 + Red 032 + 354 For the 1-colour print it is Pantone Blue 072.\u003c\/dt\u003e\n\u003cdt\u003e\n\u003cem\u003ePrinter:\u003c\/em\u003e Tallin Book Printers, Tallin (Est.)\u003c\/dt\u003e\n\u003cdt\u003e\n\u003cem\u003eFont:\u003c\/em\u003e Basis Grotesque, Bradford LL\u003c\/dt\u003e\n\u003cdt\u003e\n\u003cem\u003eImage specs:\u003c\/em\u003e 45 images in full color (respectively in three colors), 22 images in one color\u003c\/dt\u003e\n\u003cdt\u003e\n\u003cem\u003eDetails:\u003c\/em\u003e UV spot varnish on cover\u003c\/dt\u003e\n\u003c\/dl\u003e\n\u003c\/div\u003e","brand":"Onomatopee","offers":[{"title":"Default Title","offer_id":41251086729265,"sku":"mzt1791428691491","price":13.6,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0580\/8573\/6497\/files\/echoing-exhibition-views---subjectivity-in-post-digital-times_1.png?v=1791428698","url":"https:\/\/xpsats-7g.myshopify.com\/products\/echoing-exhibition-views-subjectivity-in-post-digital-times","provider":"My Store","version":"1.0","type":"link"}