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117Practical section – Specifi c insights Zwischen Nachbarn Photography Exhibition during “eyes on – Monat der Fotografi e” (June–December 2010) Brunnenpassage conceptualized the photography exhibition Zwischen Nachbarn (Between Neighbors) to create new possibili- ties for meeting people at Brunnenmarkt. During “eyes on – Monat der Fotografi e,” photographer Ulrich Eigner was invited by Brun- nenpassage to shoot portraits of people who live at Yppenplatz/ Brunnenviertel. The exhibition took place at Brunnenpassage in November 2010 during “eyes on – Monat der

AUSSTELLUNG EXHIBITION 38 DE Das Video zeigt zwei Polizisten, die eine Tango- version des berühmten Songs der Eurhythmics tanzen. Tango war ursprünglich vor allem ein Tanz für zwei Män- ner. Sie tanzten in Hafenbordellen. Der Tanz war ein Er- gebnis der kulturellen Vermischung von Einheimischen mit Einwanderern. Er wurde von der Kirche verboten und von höheren Gesellschaftsschichten abgelehnt, so dass er sich in armen Vororten und Slums der Arbeiterklasse entwickelte. EN The video shows two policemen dancing a tango version of the famous song performed by

Art Exhibitions through Newsreels An Avatar for Identity Politics (1945-1960) CATALINA RAVESSOUD AND GIANNI HAVER The purpose of this article is to address the subject of art exhibitions as pre- sented in cinema newsreels in different European countries. The subject is therefore not art in its broadest sense, but representations of art exhibitions in cinema newsreels. Despite the many sources referenced, the aim is how- ever not to retrace the history of exhibitions in the post-war period but to reflect on the relationship between the art exhibitions

Affect-based Exhibition Jennifer Harris, Curtin University – Australia The rapid development of affect studies leaves museology with a question concerning the private or social nature of the experience of affect in museums. In increasing numbers of exhibitions, museum curators are eliciting affective responses, that is, pre-emotional bodily intensities, but have done so without being able to answer the question: is affect a private or social experience for visitors? In developing affective exhibition strategies, are curators asking visitors to share the

The Exhibition as Collective BEATRICE VON BISMARCK Der gewandelte Status von Ausstellungen zählt zu den zentralen Fragestellungen im aktuellen Diskurs um das Kuratorische: Vom Hilfsmittel, Medium und Ver- mittlungsformat im Einsatz zum Öffentlich-Werden von Kunst und Kultur haben sich Ausstellungen zu eigenständigen Werken entwickelt. Sie haben damit ihre scheinbar dienende Neutralität aufgegeben, um stattdessen mit der eigenen Lo- gik und Struktur der Produktion, Präsentation und Distribution in Erscheinung zu treten. Eine in mehrfacher Hinsicht

Dance/Archive/Exhibition? Moving between Worlds RUTH NOACK I spent a long time thinking about what contribution I can make to this confer- ence, because it seems to me that the approach taken here stems from a genuine thirst for understanding, rather than prestige, networking or a functionary im- pulse. I understand and appreciate the need among dance experts to form theories and so I am willing to participate in this discourse, despite certain feelings of re- vulsion towards the thoroughly commodified theorizing that’s so common these days, at least

129 TACTILE TEMPTATIONS: ABOUT CONTEMPORARY ART, EXHIBITIONS, AND TACTILITY ERKKI HUHTAMO The museum institution as we know it emerged in the nineteenth century as a response to the challenge of »educating the masses.« This was also a disciplinary gesture: the new urban masses had to be »tamed« so that they would not revolt and overturn the existing order. Although the museum may not seem to have had anything to do with such institutions as spectator sports or the circus, parallels can be found. Participants were kept at one remove from the action. They were

Art in Its Regional Political Context: Exhibition and Criticism Wang Nanming As a former critic, I am often asked what criteria I use when planning ex- hibitions. As a matter of fact, the answer is to be found in the exhibitions that I have curated. In all of them I have shown art created by the artists whom I discussed in my ‘avant-avant-garde art’ theory, submitting it to the critical appraisal of academic circles. In times when there are more artists than ever before, solo exhibitions can confirm an artist and simultaneous- ly serve to present new art

75A Collage of Globalization Antigoni Memou “A Collage of Globalization” in Documenta11 ’s Exhibition Catalogue The 11th issue of documenta – the recurring international exhibition of contemporary art that has been held in Kassel, Germany since 1955 – was conceived as a critical space, within which contemporary art and its relationship to postcolonialism and globalization could be problematized. Its sheer scale preceded any previous issues of documenta: it took place over eighteen months from March 2001 to September 2002, was curated by Okwui Enwezor and

The Hazina Exhibition Challenges and Lessons for International Museum Collaboration Kiprop Lagat Background The concept of an ‘Africa in Africa’ exhibition was proposed in 2005 during celebrations to mark the 250th anniversary of the British Museum (BM), when the British government announced that it had awarded the BM a grant to fund a five-year project celebrating the link between Britain and Africa (Oluoch 2006). Whilst some of the project’s activities would happen in London, it was thought necessary that others should take place within the African