Living Documents: Embodying the afterimage of art as an agent for new and divergent forms of exhibition documentation

这个项目考察了展览文件的角色变化--从主要用于档案到一种宣传形式--在其知名度不断提高的情况下，如何对艺术实践、展览制作和批评产生了根本性的影响。作为卡姆登艺术中心(CAC)和金斯敦艺术学院之间的CDA，这项研究将主要从一个面向公众的组织内部进行，作为一种工作方法，与CAC的工作人员、参展艺术家和观众合作，讨论和产生新的和不同形式的文件。为了支持我的研究，我将利用我的策展实践，在整个20世纪和21世纪，我曾与尝试展览文件的艺术家合作。我提到的关键例子提出了主观的和具体的方法，以及批判性的反应，作为与展览文件的客观化及其在数字扭曲的当下的更广泛影响的对立面。通过质疑展览如何变成图像，这个项目探索了多种不同的视角如何丰富我们与当代艺术的接触。在这方面，我的研究旨在将展览文献重新定位为观众理解当代艺术不可或缺的一部分。如果装置镜头越来越多地代表展览，那么文档就成为公众接受的主要场所。在整个CDA中，我将把展览文件作为一种策展工具，为艺术实践、展览制作和批判性思维提供信息，并与CAC的工作人员合作，在面向公众的组织内开发平行形式的文件。我将同时在我定期投稿的杂志和期刊上发表的一系列文本中介绍我的研究进展，而该项目的最终结果将是介绍在CAC合作产生的替代文件形式。

This project examines how the changing role of exhibition documentation - from primarily archival use to a form of publicity - has had a fundamental effect on artistic practice, exhibition making, and criticism in the advent of its increased visibility. Developed as a CDA between Camden Arts Centre (CAC) and Kingston School of Art, this research will be primarily conducted from within a publicly facing organisation as a working methodology to discuss and generate new and divergent forms of documentation in collaboration with CAC staff, exhibiting artists and audience members.To support my research, I will draw on my curatorial practice in which I have worked with artists who have experimented with exhibition documentation throughout the 20th and into the 21st Century. I refer to key examples that propose subjective and embodied approaches, as well as critical responses, as counterpoints to the objectification of exhibition documentation, and its wider repercussion within a digitally inflected present. By questioning how an exhibition becomes an image, this project explores how a plurality of different perspectives can enrich our engagement with contemporary art. In this respect, my research aims to reposition exhibition documentation as integral to an audience's understanding of contemporary art. If the installation shot increasingly stands in for the exhibition, then documentation becomes the primary site for public reception. Throughout the CDA, I will approach exhibition documentation as a curatorial tool that can inform artistic practice, exhibition making, and critical thinking, and use it in collaboration with staff at CAC to develop parallel forms of documentation from within a public-facing organisation. I will simultaneously chart the development of my research in a series of texts published in magazines and journals I regularly contribute to, while the project will culminate in a presentation of alternative forms of documentation collaboratively generated at CAC.