The Blind Spot of Global Art? Hans Ulrich Obrist’s Ways of Curating

Kapitel in diesem Buch

1. Frontmatter 1
2. Acknowledgements 5
3. Contents 6
4. Introduction 9
5. Situating Global Art. An Introduction 11
6. Epistemological Frameworks
7. Spectres of 1989: On some Misconceptions of the ‘Globality’ in and of Contemporary Art 35
8. The Scrim, The Pistol, and the Lectern: Dis-Situating the Global Contemporary 53
9. The Aesthetics of Irony as a Form of Resistance: Zhang Peili in “Harmonious Society, 天下無事” 63
10. “A Collage of Globalization” in Documenta11’s Exhibition Catalogue 75
11. Institutional Politics
12. Lacing Places: Situationist Practices and Socio-Political Strategies in Korean Urban Art Projects 91
13. Gulf Labor: The Boycott as Political Activism and Institutional Critique 111
14. You Can’t Always Curate Your Way Out! Reflections on the Ghetto Biennale 129
15. Generation 00: The Artist as Citizen 155
16. Museological Narratives
17. How Far How Near: A Global Assemblage in the Modern Art Museum 167
18. Of Maps, Nodes and Trajectories: Changing Topologies in Transcultural Curating 191
19. Curating as Transcultural Practice. documenta 12 and the “Migration of Form” 213
20. Exhibiting Contemporary Moroccan Art: Situated Curatorial Narratives and Institutional Frames of Globalization 231
21. Practices of Self-Cultivation
22. The Art of Globalization / The Globalization of Art: Creating Trans-national, Interethnic, Cross- Gender and Interspecies Identities in the 3D Work of Miao Xiaochun 255
23. Transculturally Entangled – Qiu Zhijie’s Concept of Total Art 275
24. Globalization as an Artistic Strategy: The Case of Takashi Murakami 289
25. The Blind Spot of Global Art? Hans Ulrich Obrist’s Ways of Curating 301
26. Biographies 327