The politics of contemporary art biennials: spectacles of critique, theory and art
The politics of contemporary art biennials: spectacles of critique, theory and art
复制标题
当代艺术双年展的政治：批评、理论和艺术的奇观
DOI：
10.1080/14702029.2017.1366698
复制
发表时间：
2018
期刊：
影响因子：
--
通讯作者：
B. Roberts
中科院分区：
文献类型：
--
作者：
B. Roberts
集合展示了Flechtheim的家庭风琴Der Querschnitt的封面、专栏和插图，这是一部不那么政治化、更倾向于流行文化的柏林风琴，与Herwarth Walden的Der Sturm相反。博物馆的档案冲动通过一首特别不同寻常而引人注目的对勒内·辛蒂斯的颂歌延伸出来，其中包括这位艺术家和她的铁丝狐狸的小地方照片，这些照片都是帕斯比尔德大小的小照片，是一个可爱的补充，并邀请人们对辛蒂斯的手掌大小的小马驹和狗的青铜器进行类似的近距离检查。紧张和影响的结合也许再次得到了最好的表达，贝林在1929年对世界重量级拳击冠军马克斯·施梅林的自然主义研究中-他也是弗莱希特海姆的朋友。自20世纪初以来，体育作为一个可接受的主题，已经悄悄进入了马克斯·利伯曼和罗伯特·德劳奈的现代主义绘画。与阿诺·布雷克不同，贝林对运动员体格的兴趣只是对一个更具调和力的现代世界的承认。这次展览没有指定的官方目录，但有一本优秀的随笔：斯库尔普图伦·贝·阿尔弗雷德·弗莱希特海姆(德语)，其中包括大量关于特色艺术家的章节，其中包括牛津艺术历史学家海伦·希纳(Helen Shiner)和不来梅格哈德-马克-豪斯博物馆(Gerhard-Marcks-Haus)馆长阿里·哈托格(Arie Hartog)的章节。由科尔比博物馆馆长朱莉娅·沃尔纳博士策划。
assemblage showcases covers, columns and illustrations from Flechtheim’s house organ Der Querschnitt, a less-political, more pop-culture leaning Berlin counterpoint to Herwarth Walden’s Der Sturm. The museum’s archival impulse extends through a particularly unusual and compelling ode to Renée Sintenis, incorporating tiny, Passbild-sized vernacular photos of the artist and her wire-haired fox terrier, which make a lovely complement, and invites similar close inspection of Sintenis’s palm-sized bronzes of foals and dogs. The mix of tension and influence is perhaps expressed best again by Belling in his 1929 naturalistic study of Max Schmeling, the heavyweight boxing champion of the world – who was also friends with Flechtheim. Sports as an acceptable theme had, since the beginning of the 1900s, already crept into modernist paintings by Max Liebermann and Robert Delaunay. As opposed to Arno Breker, Belling’s interest in the physiques of athletes was simply an acknowledgment of a more mediated modern world. There is not a designated official catalogue for the exhibition, but there is an excellent companion volume of essays, Sprung in den Raum: Skulpturen bei Alfred Flechtheim (in German) which includes substantial chapters about the featured artists, including chapters by Helen Shiner, the Oxford-based art historian compiling the Moissey Kogan catalogue raisonné, and Arie Hartog, director of the Gerhard-Marcks-Haus in Bremen. Curated by Dr Julia Wallner, Kolbe Museum director.