Bøger udgivet af VALIZ & VIS A VIS

Since the turn of the 21st century, there has been a significant expansion in the field of transhistorical exhibition practice--that is, exhibitions in which objects from various art-historical periods and cultural contexts are put on display together. These juxtapositions are made in an effort to question traditional museological notions like chronology, context and category in the space of the museum itself.Drawing on the expertise of a wide range of international museum professionals, The Transhistorical Museum: Mapping the Field considers a range of such transhistorical curatorial efforts, exploring the rationale behind these projects, the particular challenges they present and the particular rewards they can offer. This volume surveys the history and future potential of the phenomenon of the transhistorical museum.

This book addresses the contemporary pavilion phenomenon and those often temporary and functionless architectural structures commissioned and exhibited by art institutions around the world (including the annual Serpentine Pavilion in London, Young Architects Program at MoMA PS1 in New York and the MPavilion in Melbourne). Despite its ubiquity and popular success, the contemporary pavilion has been inconsistently theorized and frequently disparaged.In this thought-provoking book the authors reclaim the pavilion against those that would dismiss the phenomenon as symptomatic of the exhaustion of the critical potential of architecture's intersection with art. The pavilion phenomenon also occasions a timely interrogation of larger questions concerning the changing relations between culture and the economy--changes that are shifting the planes on which architecture and art meet.

Over a number of meetings, the theorist, critic, video artist and occasional curator Mieke Bal (born 1946) engaged in a conversation on the art of teaching with the cultural analyst Jeroen Lutters. Looking for a dialogue that would also touch on the role of visual art, Lutters brought in paintings by Banksy, Rembrandt, Marlene Dumas and George Deem as "teaching objects"--one for each conversation. Lutters asked Bal what these paintings might have to say about teaching.The result is this publication: a personal, meandering and precise account of Bal's pedagogy. She reveals her way of thinking through visual art and literature and her ways of exchanging ideas. How do objects speak, and how can we use them? How do they teach us to find answers to important questions, just by looking, listening and reading within the relationship between student, teacher and teaching object?

A plea for a broad education in creativity across disciplines, from acclaimed Dutch theorist Jeroen Lutters, author of In the Shadow of the Art WorkCreativity has been hailed as the driving force and most important skill of the 21st century--a power to be taught, understood and deployed on all levels of society. Debate concerning the cognitive origins and potential of creativity is mostly confined to the realms of the natural and social sciences, with insights ranging from neurology to theoretical physics to psychology and educational sciences. It seems that true understanding of creativity is barely to be found within the humanities. Here, using insights from these fields, and also delving into the ideas of Parmenides, Spinoza, Goethe, Emerson, Wittgenstein, Benjamin, Barthes, Deleuze, Baudrillard, Kripke, Bollas, Spivak, Bal and many others, Dutch theorist Jeroen Lutters--author of In the Shadow of the Art Work and The Trade of the Teacher--argues that creativity should be explicitly enforced in education and society, to open up new perspectives.

Failed Images approaches photography in terms of its divergence from the reality it would claim to show. How does the photograph transform that which exists before the camera? A variety of factors influence the way photography constructs its images--not only the technical features of the medium, but also the conventions that have sprung up within it, governing the field from the most formal portraits to the quickest "snapshots." Combining cultural theory with many case studies, Failed Images offers a different approach to photography, celebrating the medium's range of possible modes of image-making. In this book the photographic image is explored through what might seem to be its outliers--photographic practices that resist the presumed dominant approaches to the medium. These counter-practices include staged photography, blurred photography, archival photography, and under- and overexposed photography.