TABLE OF CONTENTS

Kapitel in diesem Buch

1. Frontmatter 1
2. TABLE OF CONTENTS 4
3. CROSSSECTIONS PROCESSING ARTISTIC AND CURATORIAL RESEARCH 9
4. THE OPENING MOVE 13
5. THE (UN)KNOWN UNKNOWNS 16
6. PHASES / MEETINGS 18
7. THE CORE MEETINGS 20
8. MAKO ISHIZUKA'S PAGES ON THE CORE MEETINGS 24
9. WHERE ARE WE NOW? WHAT ARE WE GOING TO DO? 28
10. THE SHARE MEETINGS 31
11. TOWARDS THE REIGN OF THE CAT 32
12. THE PERIPHERAL MEETINGS 37
13. THE PUBLIC MEETINGS 39
14. RESIDENCIES 43
15. CHANGING PERSPECTIVES 44
16. INVESTING IN THE UNKONWN 46
17. A PLATFORM FOR ARTISTS AND CURATORS 47
18. PROMOTING EXPERIMENTATION, REFLECTION AND DISCUSSION 48
19. PROVOCATIVE COMMUNITIES 49
20. A PROGRAMME IN DIALOGUE 50
21. OUR DIALOGUE 51
22. EMBRACING UNCERTAINTY AND SERENDIPITY 51
23. OPEN-ENDED PROCESS 52
24. DIALOGUE AND PARTNERING 53
25. BARBARA HOLUB 55
26. SHADES AND SHADOWS OF THE SOCIAL: THE BLUE FROG SOCIETY 60
27. BEHZAD KHOSRAVI-NOORI 64
28. SYNECDOCHE, YUGOSLAVIA 66
29. BENJI BOYADGIAN 70
30. IMAGINARY 72
31. BENJI BOYADGIAN & BEHZAD KHOSRAVI-NOORI 76
32. REGULATING TIME: THE OWLS, THE QUEEN, AND THE MAQUETTISTE 78
33. BRONWYN LACE 82
34. MIRROR MIRROR 86
35. EBRU KURBAK 90
36. INTERSECTING DIMENSIONS: CHRONOLACE STUDIES 92
37. EGLE ODDO 96
38. SPLITTER 98
39. HEBA Y. AMIN 102
40. OPERATION SUNKEN SEA: FLIPPING THE HISTORICAL NARRATIVE 106
41. INMA HERRERA 110
42. DRAWING OUT NEW SOUNDS FROM ONE’S INSTRUMENT 114
43. ISA ROSENBERGER 118
44. ... THE VAST LAND FROM WHICH SHE COMES 122
45. LINA SELANDER 126
46. ON ÖVERFÖRINGSDIAGRAM NR 1 [DIAGRAM OF TRANSFER NO. 1] 128
47. MARCUS NEUSTETTER 132
48. DEFINING LINES 134
49. NIKOLAUS GANSTERER 138
50. THE GESTURE 140
51. NISRINE BOUKHARI 144
52. LANDSCAPES OF UNCERTAIN TIMES 146
53. OTTO KARVONEN 150
54. JAILBIRDS 152
55. RAMESCH DAHA 156
56. I AM HEALTHY, I CANNOT WRITE THIS LETTER MYSELF 160
57. RICARDA DENZER 164
58. RICARDA DENZER’S AUFZEICHNUNGEN 168
59. TAMSIN SNOW 172
60. SPARE FACE 174
61. TIMO TUHKANEN 178
62. SONIC INDEPENDENCE 182
63. YANE CALOVSKI 186
64. OBSESSION, THINGS, AND NARRATIVES 190
65. BAŞAK ŞENOVA 195
66. EXHIBITIONS AS CURATORIAL READYMADE FORMS OF ESCAPE 198
67. A CONSTRUCTED MODEL: THE CROSSSECTIONS EXHIBITIONS 201
68. DESIGN OF THE EXHIBITIONS 202
69. UTILIZING “TABLE” AS A DESIGN ELEMENT IN A RESEARCH-BASED CURATORIAL AND SCENOGRAPHIC PRACTICE 204
70. CROSSSECTIONS_INTERVALS: EXHIBITION WITH ENDLESS COMPLEXITIES 206
71. CROSSSECTIONS_POTENTIALS 209
72. CROSSSECTIONS_INTENSITIES 212
73. CROSSSECTIONS_INTERVALS 214
74. PERSPECTIVES 220
75. CROSSECTIONS_PERSPECTIVES 221
76. SUPPORT STRUCTURE: THOUGHTS AFTER AN OPENING 226
77. CROSSECTIONS_NOTES 227
78. THE FIRST MODEL 232
79. THE TRAVELLING MODEL 233
80. THE TRAVELLING MODEL 234
81. SHADOW OPTICS 236
82. ...THE VAST LAND FROM WHICH SHE COMES 237
83. BLUE FROG SOCIETY / A HABITAT WITHOUT TERRITORY SPEECH TO THE BLUE FROG SOCIETY IN ROMANES BY NANCY BLACK 238
84. THE WORLD IN COMMON 239
85. COMMUNITY ACTIVATION: B7L9 – BAHR LAZREG, TUNIS 240
86. ARTIST TALKS, PERFORMANCES, PRESENTATIONS, & GUIDED TOURS 244
87. GUIDE 246
88. BOOKLET 246
89. BOOK 247
90. CHRONOLACE, SEQUENCE #001 248
91. FRAGMENTS OF A FROZEN MOMENT 249
92. CHAPTER 1, CHAPTER 2, CHAPTER 3, COORDINATES 250
93. NOTES FROM THE POST-PRODUCTION PROCESS 251
94. DEPARTMENT OF DESIGN, CRAFTS AND ARTS, KONSTFACK/CROSSSECTIONS 253
95. EXPERIENCING AND EXPERIMENTING WITH THE CONDITIONS AND THE PROCESS 254
96. EXPERIENCING AND EXPERIMENTING WITH THE CONDITIONS AND THE PROCESS 254
97. CRAFT/CROSSSECTIONS 255
98. KUNSTHALLE EXNERGASSE — WERKSTÄTTEN UND KULTURHAUS (WUK)/ FEDERAL CHANCELLERY [BUNDESKANZLERAMT] & KULTURKONTAKT/CROSSSECTIONS 260
99. PARALLEL VIENNA 2018 260
100. UNIVERSITY OF APPLIED ARTS VIENNA/CROSSSECTIONS 261
101. B7L9, KAMEL LAZAAR FOUNDATION/CROSSSECTIONS 261
102. ALIEN PALACE BIRDHOUSE COLLECTION 262
103. EXHIBITION #2 264
104. EXHIBITION #4. VIENNA IS A MUSEUM 265
105. THE LOG 266
106. ACKNOWLEDGEMENTS 269
107. IMPRINT 271