Exhibitions and Museums: When Are They Art?

Video of a talk given at the Aesthetics Research Centre of the University of Kent on April 3rd 2019.

http://aesthetics-research.org/archive/2019/elisa-caldarola-exhibitions-and-museums-when-are-they-art/

Advertisement

Talk: “Exhibitions and Museums: When Are They Art?” at Aesthetics Research Centre, University of Kent

On Wednesday 3rd of April 2019 I’ll be giving a talk at the Aesthetics Research Centre, University of Kent in Canterbury (UK).

Abstract: Marcel Broodthaer’s Museum of Modern Art, Department of Eagles (1968) confronted the public with an exhibition that criticized traditional museum practices by means of appropriating them. This work was explicitly intended to qualify as both an exhibition and a work of conceptual art. In this talk, I explore the hypothesis that the artwork status of some exhibitions might instead have remained, so far, unnoticed, even by their makers. To illustrate my view, I analyze the exhibition of pre-and proto-historic artifacts at Berlin’s Neues Museum and argue that such exhibition is a work of site-specific installation art.

Here’s the link to their full program: http://aesthetics-research.org

MPA9_accoglienza_assonometria.jpg
Palladio Museum, Vicenza, Italy

Talk: “Exhibitions and Museums: When Are They Art?” at the Aesthetics Seminar, Department of Philosophy, Uppsala University

IMG_9168.JPG
Neues Museum, Berlin, copyright: Elisa Caldarola

On February 13th 2019, I will be giving a talk at the Aesthetics Seminar in the Department of Philosophy at Uppsala University, Sweden.

http://www.filosofi.uu.se/kalendarium/evenemang/?eventId=42374

The title of the talk is “Exhibitions and Museums: When Art They Art?”.

Abstract: The claims that certain museum-exhibits and exhibitions are artworks or that they share significant resemblances with artworks are currently circulating in both art-theoretical and philosophical literature (see e.g. Carrier 2006; Hein 2006; Foster 2013; Ventzislavov 2014; Voorhies 2017). In the first part of my talk, I show how recent research on art-kinds and conventions in art-making (Lopes 2008; 2014; Xhignesse 2016; 2019 forthcoming) offers a framework for making sense of such claims. In the second part, I argue that some museum-exhibits and exhibitions are works of installation art.

References:

Carrier, David (2006), Museum Skepticism. A History of The Display of Art in Public Galleries, Duke University Press.

Foster, Hal (2013), The Art-Architecture Complex, Verso.

Hein, Hilde (2006), Public Art. Thinking Museums Differently, Altamira Press.

Lopes, Dominic (2008), “Nobody Needs a Theory of Art”, The Journal of Philosophy, 105(3): 109-27.

Lopes, Dominic (2014), Beyond Art, Oxford University Press.

Ventzislavov, Rossen (2014), “Idle Arts: Reconsidering The Curator”, The Journal of Aesthetics and Art Criticism, 72: 83-93.

Voorhies, James (2017), Beyond Objecthood: The Exhibition as a Critical Form since 1968, MIT Press.

Xhignesse, Michel (2016), Attempting Art: an Essay on Intention-Dependence, PhD Thesis submitted to McGill University, Montreal.

Xhignesse, Michel (2019), “What Makes a Kind an Art-Kind?”,TheBritish Journal of Aesthetics, forthcoming.