Hi,
I think, there was an article in Studio International at the time that
was critical of the involvement of Philip Morris. There is also this
quote in Alexander Alberro's book on conceptual art:
'We at Pillip Morris feel it is appropriate that we participate in
bringing these works to the attention of the public for there is a key
element in this "new art" which has its counterpart in the business
world. That element is innovation - without which it would be impossible
for progress to be made in any segment of society.' John Murphy,
President, Philipp Morris Europe, in Live in Your Head: When Attitude
Becomes Form, exh. cat. (Bern, Kunsthalle Bern n.p.) quoted in Alberro
2003, p. 2
Sarah, I was not aware of that aspect of Tanja's work. Generally I find
her work on immigration more important. BUt that Biennale project
highlighted the aspect of gender and power relations in art, especially
in curating. NOw, of course the term curating ahs taken on new meanings,
as everybody is curating their youtube playlist.
BTW, I also remember foundly the institute of taxonomy of the UofO and
if circumstances permit I hope to do something - with others - in the
context of the Fields project that amounts to a game of naming and
discussing categories in a kind of folksonomic and playful spirit
all best
Armin
On 03/13/2013 07:25 PM, Sarah Cook wrote:
> hi michael the conference sounds interesting and I'd love to know
> more about it... but Julian is not the first to note this, and in
> fact it is often discussed as part of the history of the show. Bruce
> Altschuler in his book 'The Avant-Garde in Exhibition' devotes pages
> to When Attitudes Become Form, and notes very clearly about the
> sponsorship, that "packs of cigarettes were given away at the
> opening" (page 254) backed up by a footnote citing 1992 interviews
> with Joseph Kosuth and Lawrence Weiner. yours, sarah
>
> p.s Armin, was it not also that case that Tanja's key goal was for
> Szeeman to see her pubic hair, groomed to be a Malevich-inspired
> black square on white? Once he relented and did so her art project of
> following him around ended?
>
>
>
> On 13 Mar 2013, at 18:01, Michael Connor wrote:
>
>> Speaking of Szeeman and transparency - Julian Myers gave a paper
>> on 'When Attitudes Become Form' and '9 at Castelli' at the
>> Exhibition as Medium conference at Harvard this past weekend, and
>> he made a fascinating point.
>>
>> All of the documentation from the opening of 'When Attitudes
>> Become Form' seems to depict artists smoking - he had plenty of
>> great example images - and the exhibition was in fact sponsored by
>> Phillip Morris, one of their first efforts in the area of art
>> sponsorship. This is a fact that is not usually discussed as part
>> of the history of this show, but somehow it seems like it's not
>> irrelevant.
>>
>> On Wed, Mar 13, 2013 at 4:40 AM, Armin Medosch
>> <[log in to unmask]> wrote:
>>> Hello,
>>>
>>> I am sure many are familiar with the performance by Serbian
>>> artist Tanja Ostovic at the biennale of Venice 2001.
>>>
>>> Quote Wikipedia: her performance "I'll Be Your Angel" involved
>>> her following around the independent curator and art historian
>>> Harald Szeemann - who had at his disposal a significant budget -
>>> for days, all the time simply smiling fondly at him.[2][7] The
>>> one-time "great subversive" Szeemann did not see the funny side
>>> of this, however, and made sure she was excluded from all his
>>> projects.
>>>
>>> best armin
>>>
>>>
>>>
>>> On 03/13/2013 12:14 PM, KathyRae Huffman wrote:
>>>>
>>>> There will be an exhibition on the curatorial work of Szeeman
>>>> at the Venice Biennale this year, The Getty Research Institute
>>>> has the archive, and the Prada Foundation is presenting and
>>>> supporting the exhibition. This will be a must-see!
>>>>
>>>> Cheers, Kathy
>>>>
>>>> On Wed, Mar 13, 2013 at 12:01 PM, Annick Bureaud
>>>> <[log in to unmask]> wrote:
>>>>>
>>>>> This sentence by Sarah
>>>>>
>>>>>>
>>>>>> I wonder if we are seeing the next stage in curatorial
>>>>>> study -- exhibitions devoted to the practice of curators.
>>>>>> Can anyone name any others? (has the Getty mounted a show
>>>>>> about Szeeman yet?)
>>>>>>
>>>>> is very important, I think.
>>>>>
>>>>> I was wandering what it means to have all those images of the
>>>>> setting up/preparation of an exhibition put online (Flikr or
>>>>> elsewhere) and being included in catalogs, books, etc.
>>>>> Transparency for whom ? Transparency of what ? Why do we want
>>>>> the audience to see "the kitchen" as we say in French when
>>>>> we (curators, artists, and everyone envolved in building a
>>>>> show) spend so much energy, time, money to "display" a work
>>>>> of art in a manner that makes sense, is respectful of the
>>>>> intention of the artist and that, precisely, hides the
>>>>> making.
>>>>>
>>>>> So, would another "next step" be an exhibition "in the
>>>>> making", without the works fully "set up" or with the crates,
>>>>> hammers and all the tools, wires, and dust also on display ?
>>>>> And then, what would it/should it look like ? and what would
>>>>> it tell ?
>>>>>
>>>>> Annick --
>>>>>
>>>>> ------------------------ Annick Bureaud ([log in to unmask])
>>>>> tel: 33/(0)1 43 20 92 23 mobile/cell : 33/(0)6 86 77 65 76
>>>>> Leonardo/Olats : http://www.olats.org Web :
>>>>> http://www.annickbureaud.net Collectif Nunc :
>>>>> http://www.nunc.com -------------------------
>>>>
>>>>
>>>>
>>>>
>>>
>>
>>
>>
>> -- Michael Connor +1 646 620 7758
>
> ------------------------------------------------
>
> Dr. Sarah Cook Reader MA Curating Module Leader
>
> Faculty of Arts, Design and Media University of Sunderland
>
> David Putnam Media Centre St. Peter's Campus Sunderland, SR7 0DD ex
> 2134
>
> Curator for the Festival of Electronic Arts and Video, Transitio_MX05
> "Biomediations", September 19-29, 2013 in Mexico City
>
> Co-editor and co-founder, The Curatorial Resource for Upstart Media
> Bliss, www.crumbweb.org
>
> Read our books:
>
> Euphoria & Dystopia: The Banff New Media Institute Dialogues.
> e-edition now available for $19.99 CAD!
> https://itunes.apple.com/ca/book/euphoria-dystopia/id597963828?mt=11&uo=4
>
> Rethinking Curating: Art After New Media.
> http://mitpress.mit.edu/catalog/item/default.asp?ttype=2&tid=12071
>
> A Brief History of Curating New Media Art, and A Brief History of
> Working with New Media Art. http://www.thegreenbox.net
>
|