Not exact matches
As the Stedelijk's Public Program was established in a period during which the Stedelijk was reinventing itself prior
to the grand re-opening in September 2012 (during the Temporary Stedelijk series, in which the Stedelijk functioned as a temporary, nomadic institution), this new curatorial model of public programming could be freely experimented with, leading up
to pertinent questions as how public programs relate
to other institutional structures and programs (such as education) and
exhibitions, as well as questions regarding the curatorial strategies involved in public programming, audience outreach and the Stedelijk's
relation to its
building and histories.
By picking up on these
relations built over time with people we have previously been put in context with, we wish
to operate from within the structure of the group
exhibition and open up for a collective process in the forming of the show.
In her second solo
exhibition at Mixed Greens, Sonya Blesofsky continues her excavations into the unyielding architectural reinvention of New York, bringing attention
to human histories and daily experience in
relation to our
built environments.
Built on a creative and analytical examination of historical, global developments and their local implications in
relation to iconic Dutch wax cloth, curator Koyo Kouoh invites fives artists working with textile as a medium
to reflect and create new works for this
exhibition which will go on
to travel
to Dakar, Senegal.
The
exhibition was conceived in
relation to the architecture and interior spaces of the Fondation Louis Vuitton
building, allowing a compelling historical narrative across its four floors.
Referring
to the potential site of
exhibition and its neighboring institutions of federal courthouses, Clyde Atkins United States Courthouse and the James Lawrence King Federal Justice
Building near by, as well as in
relation to the new condos / future development projects in sight along Biscayne Boulevard.