Updating the traditional small - town American social ritual for contemporary audiences, Robbins» Ice Cream Social shared many of the strategies of those artists associated with Relational Aesthetics, while at the same time pioneering what curator Hans Ulrich Obrist lauded as «
an expanded exhibition model.»
Night Gallery strives for
an expanded exhibition model and remains a flaneur for life.
Not exact matches
Following the successful
exhibition model that BolognaFiere has also developed for other leading global events, this year the Bologna Children's Book Fair has
expanded its reach with new and important dates for the diary in the two of the most important markets for global publishing: the USA and China.
For example, paintingassupermodel, a recent solo -
exhibition at Ameringer McEnery Yohe Gallery (New York)
expanded upon three essays in Yves - Alain Bois» book, Painting as
Model.
Through drawings, photographs, video, installations, and architectural
models drawn from MoMA's collection, the
exhibition highlights how artists have used the house as a means to explore universal topics, and how architects have tackled the design of residences to
expand their discipline in new ways.
Some of the issues to be
expanded upon are: research as artistic production; the problematic question of agency within co-production; professionalization versus the instinctual amateur; writing as curatorial practice; the
exhibition as a form of research action;
expanded notions of the curatorial and the role of research
models and methodologies within these; art writing as a curatorial form, and the distinction between research into curatorial practice /
exhibition histories and the curatorial as in itself a mode of research practice.
The
exhibition will also feature a newly
expanded presentation of Dream English Kid 1964 — 1999 AD (2015), an autobiography told through what the artist calls «found memories» that have been compiled from sources like archival television clips, YouTube videos, and eBay ephemera, as well as meticulous reconstructions of specific memories using props and
models.
Artsy reviews and
expands upon the group process that took place to conceive the Dynamic Pictorial
Models exhibition at 101 / EXHIBIT this spring.
While she is concerned about how this
expanding western
model of art
exhibitions, fairs and biennials might or might not stimulate social change, one could also argue that the deconstruction of western - centric narratives is in fact aided by this outward expansion.
The
exhibition presents a unique
model, a group
exhibition displayed as individual solo projects that unfold (or
expand) over the course of time, offering the possibility of an
exhibition as a temporal experience.