Curating the Contemporary in the Art Museum investigates the art museum as a space where the contemporary is staged - in exhibitions, collecting practices, communication, and policies.
Curating the Contemporary in the Art Museum investigates the art museum as a space where the contemporary is staged - in exhibitions, collecting practices, communication, and policies.
Malene Vest Hansen is Associate Professor in Art History in the Department of Arts and Cultural Studies, The University of Copenhagen. Contemporary art and critical curatorial and museum studies are her main research areas. Currently, she is PI of the research project Curating the Contemporary: An Exhibition History of the Museum of Modern Art as a new Bildung institution funded by the Danish Council for Independent Research. Kristian Handberg is Assistant Professor of Art History in the Department of Arts and Cultural Studies, The University of Copenhagen. He was a postdoc at SMK - National Gallery Denmark with the project Curating the Contemporary (2019-2020). He is coordinator of the research group Modernisms and researches exhibition histories of the postwar era and the contemporary musealization of modernism, currently through the research project Exhibiting Across the Iron Curtain.
Inhaltsangabe
Introduction: Curating the Contemporary in the Art Museum; Part 1: The Curatorial Now: Performing the Museum; 1. Reform(ulat)ing Infrastructures - Becoming Museum; 2. Dance, Performance and Social Media in the Postdigital Museum; 3. After Institutions; 4. Munchmuseet on the Move and the role of the Contemporary in the Art Museum; 5. Collaborative Curating: Questioning Value Production in the Art Museum through the Project 7 Walks; Part 2: Politics of Curating the Contemporary-Modern in the Art Museum; 6. NowHere: The Curatorial Contemporary; 7. The Rise and Fall of a Nordic Art Institution; 8. Torpedoes and Trees: Staging the Modern Art Collection at the Moderna galerija, Ljubljana; 9. The Politics of Contemporary Art Museums. Calouste Gulbenkian's Modern Collection in Lisbon; 10. What's Happening? Feminism, the Contemporary, and Curating in the Art Museum; 11. Contemporaneity as a Curatorial Approach: Black Models in New York, Paris and Guadeloupe; Part 3: Mapping Exhibition Histories of the Contemporary; 12. In the Ruins of the Present: Arte Contemporanea at the Galleria Nazionale in Rome, 1944-45; 13. Documenta's Chronopolitics of the Contemporary, or Un/Curating Nazi Continuities in Werner Haftmann's Historiographic Practice; 14. Moving the Museum towards the Contemporary? Art in Motion (1961) as testing ground for the "new museum" in three versions; 15. MacLeod: Curating Contrasts: Retrieving Solidarity from the Archives; 16. Escape Attempts or Institutional Transformations? On Moderna Museet's Information Center Project (1970-73) and the Filialen Experiments (1971-73); 17. "That's why we call it a model" - Restaging Exhibitions and Participation: Palle Nielsen's The Model: A Model for a Qualitative Society , 1968/2014
Introduction: Curating the Contemporary in the Art Museum; Part 1: The Curatorial Now: Performing the Museum; 1. Reform(ulat)ing Infrastructures - Becoming Museum; 2. Dance, Performance and Social Media in the Postdigital Museum; 3. After Institutions; 4. Munchmuseet on the Move and the role of the Contemporary in the Art Museum; 5. Collaborative Curating: Questioning Value Production in the Art Museum through the Project 7 Walks; Part 2: Politics of Curating the Contemporary-Modern in the Art Museum; 6. NowHere: The Curatorial Contemporary; 7. The Rise and Fall of a Nordic Art Institution; 8. Torpedoes and Trees: Staging the Modern Art Collection at the Moderna galerija, Ljubljana; 9. The Politics of Contemporary Art Museums. Calouste Gulbenkian's Modern Collection in Lisbon; 10. What's Happening? Feminism, the Contemporary, and Curating in the Art Museum; 11. Contemporaneity as a Curatorial Approach: Black Models in New York, Paris and Guadeloupe; Part 3: Mapping Exhibition Histories of the Contemporary; 12. In the Ruins of the Present: Arte Contemporanea at the Galleria Nazionale in Rome, 1944-45; 13. Documenta's Chronopolitics of the Contemporary, or Un/Curating Nazi Continuities in Werner Haftmann's Historiographic Practice; 14. Moving the Museum towards the Contemporary? Art in Motion (1961) as testing ground for the "new museum" in three versions; 15. MacLeod: Curating Contrasts: Retrieving Solidarity from the Archives; 16. Escape Attempts or Institutional Transformations? On Moderna Museet's Information Center Project (1970-73) and the Filialen Experiments (1971-73); 17. "That's why we call it a model" - Restaging Exhibitions and Participation: Palle Nielsen's The Model: A Model for a Qualitative Society , 1968/2014
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