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Daniel Knorr
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Another Biennale? This time in marble...
by Federica Bueti
Nevin Aladağ, Carl Andre, Libero Andreotti, Asymptote, Zorka Wollny , Artur Żmijewski, Vanessa Beecroft, Huma Bhabha, Rossella Biscotti, Leonardo Bistolfi, Monica Bonvicini, Carlos Bunga, Aldo Buttini, Giorgio Andreotta Calò, Valentin Carron, Maurizio Cattelan, Marcelo Cidade, Nemanja Cvijanović, Arturo Dazzi, Sam Durant, URS FISCHER, Lucio Fontana, Norman Foster, Yona Friedman, Massimiliano Fuksas, Cyprien Gaillard, Frank Gehry, Antony Gormley, Cai Guo-Qiang, Zaha Hadid, Thomas Houseago, Liu Jianhua, Grigor Kepinov, Daniel Knorr, Terence Koh, Grzegorz Kowalski, Daniel Libeskind, Wu Maoquan, Arturo Martini, Paul McCarthy, Fausto Melotti, Ohad Meromi, Gustav Metzger, MVRDV, Deimantas Narkevicius, Kristina Norman, Jean Nouvel, Yerbossyn Meldibekov and Nurbossyn Oris, Damián Ortega, Santiago Sierra, Alina Szapocznikow, Dymitr Szwarc, Rirkrit Tiravanija, Kevin van Braak, Bogulov Veniamin, Ingal Vladimir, Yelena Vorobyeva and Viktor Vorobyev, Gillian Wearing, Adolfo Wildt at INTERNATIONAL SCULPTURE BIENNALE OF CARRARA
July 26th, 2010 - October 31st, 2010
Posted
7/6/10
Monuments represent power and are generally speaking stand-ins for national identity; in a word, they are authoritarian. Monuments-as-objects have had their sense and meaning radically changed with an array of failure and crises across the modern historical and political panorama. We are presently plagued with the decay of monuments, a de-monumentalization of symbols and historical icons often replaced by other varieties, less governmental, more icon: TV personalities, general phemera and the omni... [more]
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Three theses on “Early Years”
by Julia Moritz
Artur Żmijewski, Yael Bartana, Wojciech Bąkowski, Tania Bruguera, Oskar Dawicki, Sharon Hayes, Sanja Iveković, Daniel Knorr, Zbigniew Libera, Anna Molska, Paulina Ołowska, Agnieszka Polska, Anna Zaradny at KW Institute for Contemporary Art
February 28th, 2010 - May 2nd, 2010
Posted
3/14/10
In his brief essay Introduction to the book of the same title, Norwegian critic Jonas Ekeberg has introduced the term “new institutionalism” to the curatorial discussion (1). Derived from new management debates, the term describes a range of experimental institutional practices that take their own conditions as a starting point for critical reconsideration of curatorial devices such as the art exhibition, the catalogue, the collection, and so on. This was in 2003. When the project... [more]
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