The publication as evocation: exhibition histories’ printed matter

Detalhes bibliográficos
Autor(a) principal: Imizcoz, Catalina
Data de Publicação: 2019
Tipo de documento: Artigo
Idioma: eng
Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
Texto Completo: http://hdl.handle.net/10362/116433
Resumo: This article looks at three case studies to probe into the fruitful relation between art exhibitions and the publications that follow from them. Phaidon’s Exhibitions That Made Art History are examples of the weightiness of exhibitions’ reception, and useful to analyse the ploys with which exhibition histories impact the construction of art histories. A couple of Mousse magazine issues help to expand the possibilities of documentation, criticise the reliance on images and ponder if rhizomatic histories can be woven from a plurality of voices. The exhibition catalogue of When Attitudes Become Form (2013) serves to unpack exhibitions’ “aura” and the possibility of thinking beyond their (un)repeatability. Following the idea that publications cannot be regarded as neutral evocations of exhibitions, the article traces the ways in which these two platforms of display intertwine to create exhibition histories.
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spelling The publication as evocation: exhibition histories’ printed matterExhibition studiesPublicationsEditorialPolyphonyDocumentationEstudos de exposiçãoPublicaçõesEdiçãoPolifonia documentaçãoThis article looks at three case studies to probe into the fruitful relation between art exhibitions and the publications that follow from them. Phaidon’s Exhibitions That Made Art History are examples of the weightiness of exhibitions’ reception, and useful to analyse the ploys with which exhibition histories impact the construction of art histories. A couple of Mousse magazine issues help to expand the possibilities of documentation, criticise the reliance on images and ponder if rhizomatic histories can be woven from a plurality of voices. The exhibition catalogue of When Attitudes Become Form (2013) serves to unpack exhibitions’ “aura” and the possibility of thinking beyond their (un)repeatability. Following the idea that publications cannot be regarded as neutral evocations of exhibitions, the article traces the ways in which these two platforms of display intertwine to create exhibition histories.Este artigo aborda três estudos de caso, a fim de investigar a produtiva relação existente entre exposições de arte e as publicações que delas resultam. Os volumes Exhibitions That Made Art History da Phaidon exemplificam o impacto da receção de exposições, e são aqui usados para analisar os mecanismos através dos quais a história das exposições influencia a construção de histórias da arte. Os dois números da revista Mousse, que são também abordados neste artigo, permitirão expandir as possibilidades da documentação de exposições, criticar a nossa confiança nas imagens, e ponderar de que forma histórias rizomáticas dos eventos expositivos se podem ou não tecer a partir de uma pluralidade de vozes. O catálogo da exposição When Attitudes Become Form (2013) servirá como base para desmontar a “aura” da exposição e para podermos pensar além de sua (ir)repetibilidade. Perseguindo a ideia de que as publicações não podem ser consideradas evocações neutras de exposições, o artigo examina de que forma estas duas plataformas diferentes de exibição se articulam na criação de histórias de exposições.Instituto de História da ArteRUNImizcoz, Catalina2021-04-30T11:38:00Z20192019-01-01T00:00:00Zinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttp://hdl.handle.net/10362/116433eng1646-1762info:eu-repo/semantics/openAccessreponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAP2024-03-11T04:58:56Zoai:run.unl.pt:10362/116433Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-20T03:43:04.202651Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse
dc.title.none.fl_str_mv The publication as evocation: exhibition histories’ printed matter
title The publication as evocation: exhibition histories’ printed matter
spellingShingle The publication as evocation: exhibition histories’ printed matter
Imizcoz, Catalina
Exhibition studies
Publications
Editorial
Polyphony
Documentation
Estudos de exposição
Publicações
Edição
Polifonia documentação
title_short The publication as evocation: exhibition histories’ printed matter
title_full The publication as evocation: exhibition histories’ printed matter
title_fullStr The publication as evocation: exhibition histories’ printed matter
title_full_unstemmed The publication as evocation: exhibition histories’ printed matter
title_sort The publication as evocation: exhibition histories’ printed matter
author Imizcoz, Catalina
author_facet Imizcoz, Catalina
author_role author
dc.contributor.none.fl_str_mv RUN
dc.contributor.author.fl_str_mv Imizcoz, Catalina
dc.subject.por.fl_str_mv Exhibition studies
Publications
Editorial
Polyphony
Documentation
Estudos de exposição
Publicações
Edição
Polifonia documentação
topic Exhibition studies
Publications
Editorial
Polyphony
Documentation
Estudos de exposição
Publicações
Edição
Polifonia documentação
description This article looks at three case studies to probe into the fruitful relation between art exhibitions and the publications that follow from them. Phaidon’s Exhibitions That Made Art History are examples of the weightiness of exhibitions’ reception, and useful to analyse the ploys with which exhibition histories impact the construction of art histories. A couple of Mousse magazine issues help to expand the possibilities of documentation, criticise the reliance on images and ponder if rhizomatic histories can be woven from a plurality of voices. The exhibition catalogue of When Attitudes Become Form (2013) serves to unpack exhibitions’ “aura” and the possibility of thinking beyond their (un)repeatability. Following the idea that publications cannot be regarded as neutral evocations of exhibitions, the article traces the ways in which these two platforms of display intertwine to create exhibition histories.
publishDate 2019
dc.date.none.fl_str_mv 2019
2019-01-01T00:00:00Z
2021-04-30T11:38:00Z
dc.type.status.fl_str_mv info:eu-repo/semantics/publishedVersion
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv http://hdl.handle.net/10362/116433
url http://hdl.handle.net/10362/116433
dc.language.iso.fl_str_mv eng
language eng
dc.relation.none.fl_str_mv 1646-1762
dc.rights.driver.fl_str_mv info:eu-repo/semantics/openAccess
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Instituto de História da Arte
publisher.none.fl_str_mv Instituto de História da Arte
dc.source.none.fl_str_mv reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação
instacron:RCAAP
instname_str Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação
instacron_str RCAAP
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reponame_str Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
collection Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
repository.name.fl_str_mv Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação
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