Kritisk kuratering. Udstillingspraksis udviklet i perspektiv af 1960- og 1970’ernes institutionskritik

Abstract This article provides a broad overview of social, economic, and cultural politics in Latin America, especially concentrating on what became known as the Latin American literary “boom” in the 1960s and 1970s, and the region’s political context - colonial past, neocolonial/neoliberal present, the role of intellectuals within the state and cultural affairs. The second part focuses on Roberto Bolaño - the writer who put Latin American literature on the world map which has not been seen since the boom years - and his novel The Savage Detectives. The aim of this article is to demonstrate that literature not only shares common elements and possible intentions with social and political critique, but that it can also be an effective form of social and political criticism. In such a case, Bolaño’s work may be read not as inferior fictional account but as a complex, intersectional investigation of socioeconomic as well as ontological condition in Latin America that other modes of inquiry may overlook.

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Conceptual and Performance Interventions

Collections ◽

10.1177/155019061100700406 ◽

2011 ◽

Vol 7 (4) ◽

pp. 405-414

Keyword(s):

Public Space ◽

Conceptual Art ◽

Curatorial Practice ◽

1960S And 1970S ◽

And Performance ◽

Performance Interventions ◽

The 1960S

Considers a variety of examples in which curatorial practice intersects and blurs with interventionism in art, including using billboards as a medium for artistic interference in public space (Shaked), translating and re-activating Regina Galindo's activist performances (Carolin), analyzing the overlapping and divergent agendas of conceptual art and curatorial practice in Zagreb and Paris during the 1960s and 1970s (Bago), and the “re-possession of perception” through curating carnival and procession (Tancons).

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Method of Designing Residential Buildings in Voronezh Using Complex Configured Block Sections

НАУЧНЫЙ ЖУРНАЛ СТРОИТЕЛЬСТВА И АРХИТЕКТУРЫ ◽

10.36622/vstu.2021.62.2.009 ◽

2021 ◽

pp. 106-116

Author(s):

С. А. Гилев

Keyword(s):

Residential Buildings ◽

Historic Center ◽

New Development ◽

1960S And 1970S ◽

The 1960S ◽

Under Construction ◽

The City ◽

Artistic Quality ◽

Mass Construction

Состояние проблемы. Улучшение архитектурно-художественного облика новой застройки города, индивидуализация ее давно стали актуальными проблемами. В шестидесятых и семидесятых годах прошлого века в Воронеже было построено немало домов по типовым проектам, которые сделали застройку новых районов города однообразной и однотипной. Новые районы в разных городах нашей страны потеряли свою индивидуальность, стали похожи друг на друга. В Воронеже однотипность и монотонность новых построенных и строящихся районов, таких как Шилово, Отрадное и другие, создали проблему весьма однообразной и безликой застройки, которая производится по типовым (повторно применяемым) проектам с весьма ограниченным перечнем типовых секций. Результаты. Методика подхода к проектированию, предложенная авторами проектов жилых комплексов, позволила сделать ряд объектов массовой застройки достаточно самобытными, не похожими друг на друга. В статье анализируются несколько построенных в Воронеже жилых комплексов массовой застройки, архитектурного своеобразия которых удалось добиться за счет разработки и применения блок-секций сложной конфигурации. Выводы. Применение секций сложной конфигурации может помочь градостроителям, работающим над проектами новых жилых комплексов, найти оригинальные объемно-планировочные решения, обеспечивающие своеобразие застройки Воронежа. Архитектурно-художественное качество новых районов при условии их неповторимости и разнообразия будет достойно исторического центра города Воронежа. Statement of the problem. Improving the architectural and artistic look of the new development of the city, its individualization have long been an problem to address. In the 1960s and 1970s in Voronezh a lot of houses were built in compliance with standard projects, which made the construction of new areas of the city monotonous and monotonous. New districts in different cities of this country have lost their individuality becoming similar to one another. In Voronezh, the uniformity and monotony of newly designed areas and those under construction, such as Shilovo, Otradnoye, etc., have led to a problem of very monotonous and impersonal construction, which is performed according to the standard (outdated) projects with a very limited list of standard sections. Results. The method of approach to design set forth by the authors of the projects of residential complexes enabled one to make a number of objects of mass construction quite original, not similar to one another. The article analyzes several mass construction complexes built in Voronezh whose architectural originality was attained by means of developing and applying complex configured block sections. Conclusions. The use of sections of complex configuration can assist urban planners working on projects of new residential complexes in finding original spatial planning solutions to provide the originality of the construction of Voronezh. The architectural and artistic quality of the new districts on condition that they are unique and diverse will be worthwhile the historic center of Voronezh.

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Cinema as Idea

Cinema Expanded ◽

10.1093/oso/9780190938635.003.0007 ◽

2020 ◽

pp. 439-521

Author(s):

Jonathan Walley

Keyword(s):

Conceptual Art ◽

Delayed Response ◽

Experimental Film ◽

Art World ◽

Avant Garde ◽

Prior Art ◽

Expanded Cinema ◽

History Of ◽

1960S And 1970S ◽

The 1960S

Chapter 6 considers works of expanded cinema that could be called “conceptual cinema.” “Conceptual,” here, refers to the belief that cinema among many avant-garde/experimental filmmakers and critics that cinema was ultimately a conceptual phenomenon, even when it took forms that seemed decidedly material. The term, or variants of it, was used in the 1960s and 1970s, often to refer to “imaginary” films, films planned or written but purposely never executed, and unprojected or unprojectable films. There are parallels between such conceptual cinematic works and conceptual art. In both cases, concepts, intentions, imagination, and discourse are taken to be as constitutive as art works as materials and physical processes. The objects of the film medium were, and continue to be, de-centered in favor of these less tangible, conceptual, or discursive dimensions of cinematic practice. While conceptual art will be a point of reference, chapter 6 will also show that a concept-based ontology of cinema emerged organically from within the history of avant-garde/experimental film. That is, it should not be thought of simply as a delayed response by filmmakers to prior art world developments, as if playing catch-up with their fellow artists.

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Towards a curatorial continuum or How to fire a gun and time-travel

10.26686/wgtn.17060459.v1 ◽

2021 ◽

Author(s):

◽

Bruce E. Phillips

Keyword(s):

Institutional Critique ◽

Power Structures ◽

Diverse Range ◽

Heritage Studies ◽

Curatorial Practice ◽

Binary Division ◽

The 1960S ◽

Alternative Practices ◽

Cross Case Analysis ◽

Do So

<p>This thesis questions the ethics of curatorial agency: an issue that has plagued the profession since the influence of institutional critique of the 1960s. The proliferation of the ‘curatorial turn’ during the 1990s developed out of this legacy of institutional critique by grouping a diverse range of alternative practices that aimed to question curatorial agency. Curator Maria Lind defines this shift by making a methodological distinction between ‘curating’ and the ‘curatorial’. This is a binary division that posits curating as conventional practice that maintains hegemonic power structures and the curatorial as progressive and emancipatory. However, critics and curators such as Paul O‘Neill and Nina Möntmann argue that methodologies of the curatorial turn have become compromised by personal, institutional, political and economic motivations. Due to this, it is apparent that a shift in methodology alone is not sufficient to question the ethics of curatorial agency and that Lind's dichotomy of curating and the curatorial requires revision. This study therefore explores how curators practice by studying different methodologies and to understand why curators practice by considering to what extent motivations influence the application of a curator’s methodology. The research specifically addresses these questions in relation to contemporary art curating within the broader framework of museum and heritage studies. To do so, I have put my own curatorial practice under scrutiny, using a range of mixed qualitative methods such as autoethnography, in order to delve deep into the decision-making process. My research consists of six exhibition case studies that pertain to one of three common exhibition forms: group, solo or process-led exhibitions. Through a cross case analysis of these different exhibitions my findings suggest that there is not a distinct division between curating and the curatorial. Instead, I reveal that there is a complex interplay between spectrums of methodology and motivation. From this perspective, I argue for a new philosophy of curating that considers curatorial practice as an emergent spectrum charged with infinite possibilities, what I call the curatorial continuum.</p>

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Towards a curatorial continuum or How to fire a gun and time-travel

10.26686/wgtn.17060459 ◽

2021 ◽

Author(s):

◽

Bruce E. Phillips

Keyword(s):

Institutional Critique ◽

Power Structures ◽

Diverse Range ◽

Heritage Studies ◽

Curatorial Practice ◽

Binary Division ◽

The 1960S ◽

Alternative Practices ◽

Cross Case Analysis ◽

Do So

<p>This thesis questions the ethics of curatorial agency: an issue that has plagued the profession since the influence of institutional critique of the 1960s. The proliferation of the ‘curatorial turn’ during the 1990s developed out of this legacy of institutional critique by grouping a diverse range of alternative practices that aimed to question curatorial agency. Curator Maria Lind defines this shift by making a methodological distinction between ‘curating’ and the ‘curatorial’. This is a binary division that posits curating as conventional practice that maintains hegemonic power structures and the curatorial as progressive and emancipatory. However, critics and curators such as Paul O‘Neill and Nina Möntmann argue that methodologies of the curatorial turn have become compromised by personal, institutional, political and economic motivations. Due to this, it is apparent that a shift in methodology alone is not sufficient to question the ethics of curatorial agency and that Lind's dichotomy of curating and the curatorial requires revision. This study therefore explores how curators practice by studying different methodologies and to understand why curators practice by considering to what extent motivations influence the application of a curator’s methodology. The research specifically addresses these questions in relation to contemporary art curating within the broader framework of museum and heritage studies. To do so, I have put my own curatorial practice under scrutiny, using a range of mixed qualitative methods such as autoethnography, in order to delve deep into the decision-making process. My research consists of six exhibition case studies that pertain to one of three common exhibition forms: group, solo or process-led exhibitions. Through a cross case analysis of these different exhibitions my findings suggest that there is not a distinct division between curating and the curatorial. Instead, I reveal that there is a complex interplay between spectrums of methodology and motivation. From this perspective, I argue for a new philosophy of curating that considers curatorial practice as an emergent spectrum charged with infinite possibilities, what I call the curatorial continuum.</p>

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Ken Russell's Wartime Imagery

Journal of British Cinema and Television ◽

10.3366/jbctv.2015.0284 ◽

2015 ◽

Vol 12 (4) ◽

pp. 539-555 ◽

Cited By ~ 1

Author(s):

Kevin M. Flanagan

Keyword(s):

Second World War ◽

World War ◽

War Films ◽

Personal Style ◽

American Cinema ◽

1960S And 1970S ◽

The 1960S ◽

Second World ◽

Wartime Experience ◽

National Experience

This article traces Ken Russell's explorations of war and wartime experience over the course of his career. In particular, it argues that Russell's scattered attempts at coming to terms with war, the rise of fascism and memorialisation are best understood in terms of a combination of Russell's own tastes and personal style, wider stylistic and thematic trends in Euro-American cinema during the 1960s and 1970s, and discourses of collective national experience. In addition to identifying Russell's recurrent techniques, this article focuses on how the residual impacts of the First and Second World Wars appear in his favoured genres: literary adaptations and composer biopics. Although the article looks for patterns and similarities in Russell's war output, it differentiates between his First and Second World War films by indicating how he engages with, and temporarily inhabits, the stylistic regime of the enemy within the latter group.

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Mind Bending, Mental Seduction and Menticide: Brainwashing in British Spy Dramas of the 1960s

Journal of British Cinema and Television ◽

10.3366/jbctv.2013.0120 ◽

2013 ◽

Vol 10 (1) ◽

pp. 27-48 ◽

Cited By ~ 2

Author(s):

Alan Burton

Keyword(s):

Cold War ◽

Thought Control ◽

Cultural Contexts ◽

Scientific Background ◽

Mind Control ◽

1960S And 1970S ◽

The 1960S ◽

The Cold War ◽

The Mind ◽

Cultural Fantasy

Brainwashing assumed the proportions of a cultural fantasy during the Cold War period. The article examines the various political, scientific and cultural contexts of brainwashing, and proceeds to a consideration of the place of mind control in British spy dramas made for cinema and television in the 1960s and 1970s. Particular attention is given to the films The Mind Benders (1963) and The Ipcress File (1965), and to the television dramas Man in a Suitcase (1967–8), The Prisoner (1967–8) and Callan (1967–81), which gave expression to the anxieties surrounding thought-control. Attention is given to the scientific background to the representations of brainwashing, and the significance of spy scandals, treasons and treacheries as a distinct context to the appearance of brainwashing on British screens.

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The ‘Modernisation’ of Scotland and its Impact on Glasgow, 1955–1979: ‘Unwanted Side Effects’ and Vulnerabilities

Scottish Affairs ◽

10.3366/scot.2016.0137 ◽

2016 ◽

Vol 25 (3) ◽

pp. 294-316 ◽

Cited By ~ 7

Author(s):

Chik Collins ◽

Ian Levitt

Keyword(s):

Side Effects ◽

Government Policy ◽

Regional Policy ◽

Excess Mortality ◽

Policy Agenda ◽

Policy Makers ◽

Uk Government ◽

1960S And 1970S ◽

The 1960S ◽

The Impact

This article reports findings of research into the far-reaching plan to ‘modernise’ the Scottish economy, which emerged from the mid-late 1950s and was formally adopted by government in the early 1960s. It shows the growing awareness amongst policy-makers from the mid-1960s as to the profoundly deleterious effects the implementation of the plan was having on Glasgow. By 1971 these effects were understood to be substantial with likely severe consequences for the future. Nonetheless, there was no proportionate adjustment to the regional policy which was creating these understood ‘unwanted’ outcomes, even when such was proposed by the Secretary of State for Scotland. After presenting these findings, the paper offers some consideration as to their relevance to the task of accounting for Glasgow's ‘excess mortality’. It is suggested that regional policy can be seen to have contributed to the accumulation of ‘vulnerabilities’, particularly in Glasgow but also more widely in Scotland, during the 1960s and 1970s, and that the impact of the post-1979 UK government policy agenda on these vulnerabilities is likely to have been salient in the increase in ‘excess mortality’ evident in subsequent years.

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The Fragmentation of the Palestinian Political Field

Contemporary Arab Affairs ◽

10.1525/caa.2018.000012 ◽

2018 ◽

Vol 11 (1-2) ◽

pp. 189-216

Author(s):

Jamil Hilal

Keyword(s):

Women Workers ◽

Political Leadership ◽

The Political ◽

Political Field ◽

Cultural Field ◽

National Representation ◽

1960S And 1970S ◽

The 1960S ◽

Palestinian National Movement ◽

The Relationship

The mid-1960s saw the beginnings of the construction of a Palestinian political field after it collapsed in 1948, when, with the British government’s support of the Zionist movement, which succeeded in establishing the state of Israel, the Palestinian national movement was crushed. This article focuses mainly on the Palestinian political field as it developed in the 1960s and 1970s, the beginnings of its fragmentation in the 1990s, and its almost complete collapse in the first decade of this century. It was developed on a structure characterized by the dominance of a center where the political leadership functioned. The center, however, was established outside historic Palestine. This paper examines the components and dynamics of the relationship between the center and the peripheries, and the causes of the decline of this center and its eventual disappearance, leaving the constituents of the Palestinian people under local political leadership following the collapse of the national representation institutions, that is, the political, organizational, military, cultural institutions and sectorial organizations (women, workers, students, etc.) that made up the PLO and its frameworks. The paper suggests that the decline of the political field as a national field does not mean the disintegration of the cultural field. There are, in fact, indications that the cultural field has a new vitality that deserves much more attention than it is currently assigned.

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