The Value of Curating Music

This article examines the practice of concert organization from an ethical perspective. By examining the field in relation to the notion of value, it explores the processes by which curators produce live acts, and the issues they face when they do so. The central argument traces a trajectory from the material to the immaterial aspects. The first part (Context and Value) shows how financial and cultural matters are embedded into live music production, and frames curatorship as the articulation of their co-dependent relations. The second part (Praxis) explores how music curators breathe value creation in their work context, by comparing interviews with the directors of Venice Biennale Musica, London Contemporary Music Festival, and No-Nation. The third part (Risk and Ethics) introduces risk-taking as a unit of value measurement, and points out the force of the curatorial in its power to confer value.

European Fantasies: Modernism and Jewish Absence at the Venice Biennale of Art, 1948–1956

This article examines how states with a fascist past – Germany, Austria and Italy – used modernism in the visual arts to rebrand national and European culture at the Venice Biennale of Art after 1945. I argue that post-war exhibitions of modern art, including those at the Biennale, reveal a vast confrontation with Jewish absence after the Holocaust. Christian Democrats and proponents of European integration attempted to reimagine modernism without the Jewish minority that had shaped it in crucial ways. Meanwhile, living Jewish artists resisted their exclusion from the post-war interpretations of modernism, as well as absorbtion of modernism as part of national heritage. Their criticisms lay bare a seeming paradox at the heart of post-war Europe: a desire to claim the veneer of pre-Nazi cosmopolitanism without returning its enabling demographic and cultural diversity. This article points to the significance of philosemitism for establishing post-war national and continental identities.

Laughing with, Laughing at

The autumn of 2019 was characterised by an eruption of global protests, including Lebanon, Iraq, Ecuador, Chile, and Egypt. The velocity with which these protests emerged nurtured a sense that the Global South ‘was on the march’. At the same time as these events were rapidly unfolding, the world’s premier mass art exhibition, the Venice Biennale, was in its final weeks. Harnessing discourse analysis, participant observation, and collaborative auto-ethnography, the authors draw together a comparative study of the Chilean and Egyptian pavilions and assess the impact of ongoing and suspended revolutionary histories of both nations. Approaching art as a form of ‘practical aesthetics’ (Bennett 2012) and focusing on humour as an aesthetic quality enmeshed in complex political temporalities, this article analyses the relationship between humour, contemporary art, and revolution, demonstrating how the laughter facilitated by these two pavilions negotiates understandings of national pasts, and uprisings in the present.

Fragile Visions of the Social: Rethinking Solidarity with the Performance Piece Faust and the TV-series Skam

The paper explores the portrayal of social relations among youth in the popular Norwegian TV-series Skam and places this analysis in relation to Anne Imhof’s award-winning performance piece Faust, which received the Golden Lion at the 2017 Venice Biennale for the German Pavilion. As expressions of how today’s youth experience social relations under the conditions of late capitalism, I examine the way in which the TV-series and the performance work respectively explore when and how ‘we’ is shaped. I argue that they provide particular insight into the limits and possibilities for the formation of relations of solidarity today.

National and Post-National Performances at the Venice Biennale: Site-specific Seeing through the Photo Essay

This article makes three contributions to research on visuality and international relations. First, it provides a theoretical framework through which sites and their politics can be understood. Sites are places where certain objects and structures are shown and engaged with. Visitors to sites experience them visually and bodily and visiting sites is a social process. Second, the article introduces the format of the photo essay as an epistemology and a method through which the seeing of sites can be captured. Photo essays about site-specific seeing select photos that convey particular, embodied experiences. Photo essays make photos as important to the analysis as text and they adopt a suggestive form of writing that encourages the reader to see and respond to images in specific ways. Third, the article introduces the Venice Biennale as a site where international relations are performed. National exhibitions called ‘pavilions’ are a central part of the Biennale. Some pavilions invoke ‘the national’ as the privileged lens on world politics, other pavilions challenge this lens. The article provides an analysis of the Serbian, Armenian and Icelandic pavilions in the 2015 Biennale and the national and post-national performances they involved. The analysis draws on an original photo essay composed from a research visit and photo shoot in May 2015.

Repositorium für die Medienwissenschaft Maud Ceuterick Post-cinematic spectatorship in virtual reality: Negotiating 3DoF and 6DoF in QUEERSKINS: ARK

Queerkins: Ark is the second chapter of a four-chapter cinematic virtual reality experience Queerskins (2018-ongoing). The piece, made by Illya Szilak and Cyril Tsiboulski in collaboration with the choreographer Brandon Powers, premiered at the Venice VR Expanded exhibition of the Mostra Interna-zionale d’Arte Cinematografica La Biennale di Venezia that took place digi-tally – in virtual reality – from 2-12 September 2020. As visitors, wearing a VR headset, enter the virtual world of the Venice Biennale, they embark on a gondola...