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以下是Frieze 杂志对来自全球各地几位策展人对于2005年最具有意义和重大的展览及艺术家的看法和意见的采访。
Looking Back: Themed Shows
frieze asked the following critics and curators from around the world to choose what they felt to be the most significant shows and artists of 2005:
Will Bradley
The Backroom, a ‘research project temporarily occupying a space in Culver City’, plays off its situation in the midst of the overheating art/property speculation complex and air-conditioned, quasi-Minimalist 1980s’ cool of LA’s latest gallery strip. Curators Magali Arriola, Kate Fowle and Renaud Proch invited artists to present the research material that their working process needs or generates, ‘to counterbalance the increasing emphasis and value placed on product’: a flashback to avant-garde Europe post-World War II, where to actually finish a painting or hold an exhibition was to surrender to the conservative forces that were reshaping the art world.
Suzanne Cotter
David A. Bailey’s ‘Back to Black: Art, Cinema and the Racial Imaginary’ at the Whitechapel opened up the frames of reference for cultural production in Britain in the 1960s and ’70s. Francesco Bonami’s ‘Universal Experience’ at the Hayward updated the grand narrative exhibition with a timely look at critical contemporary practice in terms of globalization and cultural economies. Although not a perfect show, it included some great works. I was also fascinated by ‘Regarding Terror: The RAF Exhibition’ at Kunst-Werke in Berlin. The gong for worst thematic exhibition of the year has to go to ‘Colour after Klein’ at London’s Barbican Art Gallery – a simplistic presentation of works by some of the 20th century’s great artists reduced to chromatic signifiers.
Peter Eleey
‘The Perfect Medium: Photography and the Occult’, a show of early photographic attempts to picture the paranormal, made clear yet again that most of the self-consciousness we attribute to Conceptual photography of the 1960s and Postmodernism was present in the discipline long ago.
Paulo Herkenhoff
‘Através, ou a Geometria Corrompida’ (Through, or Corrupted Geometry) Galeria Bergamin, San Paulo, curated by Lisette Lagnado, explored Brazilian Constructivism. In 1959, a conflict divided the groups of San Paulo and Rio de Janeiro. The paulistas argued for absolute objectivity and the cariocas wished to rescue subjectivity within geometry. The show included work by Lygia Clark, Hélio Oiticica and Lygia Pape; Alfredo Volpi and Mira Schendel; the designer Joaquim Tenreiro, the architect Paulo Mendes da Rocha and a young artist, Raymundo Collares. The result was heavenly.
Matthew Higgs
Curated by Bob Nickas, ‘The Painted World’ – P.S.1 Contemporary Art Center, New York, charted five decades of (mostly American) abstract painting and was less concerned with ‘how the world looks than with how the world feels’. Just filling several rooms with abstract paintings – in late 2005 – was an eccentric and possibly radical move. Nickas teased out some unlikely inter-generational dialogues in a show that was elastic enough to embrace the reductive poetics of Myron Stout, the trippy colour fields of Chris Martin, the loopy Modernism of John Tremblay and the fucked-up formalism of the late, great Steven Parrino.
Maxine Kopsa
Not that one can really qualify it as a ‘themed show’, but e-flux video rental (or EVR), which opened its Amsterdam branch in March, is one of those initiatives that, once under way, make you wonder why it hadn’t always existed. And even closer to this frank and deliberate, ‘we’re-just-doing-what-we-believe-in’ un-showiness attitude is an exhibition-cum-radio-station called Radiodays, organized by Amsterdam’s Appel curatorial class of ‘05 ([url]http://www.radiodays.org/).
Caoimhín Mac Giolla Léith
‘Open Systems: Rethinking Art c.1970’ at the Tate Modern featured a slew of canonical works as curator Donna De Salvo opted cautiously to register the widening geographic horizons of our backward look at that
germinal moment rather than risk the potential confusion of wholesale revisionism.
Chus Martinez
Nina Möntmann’s show ‘Opacity’ at UKS Gallery in Oslo was subtitled ‘Current Considerations on Art Institutions and the Economy of Desire’. It took the demise of institutional critique to re-present concerns that are crucial in the face of current privatization sprees and the phasing out of public space. ‘Opacity’ was also a group exhibition that presented a strong body of work by Kajsa Dahlberg, Sofie Thorsen, Markus Degerman, Stephan Dillemuth, Gardar Eide Einarsson and Danger Museum (Öyvind Renberg and Miho Shimizo).
Tom Morton
Tacita Dean proved that artists often make the best curators with her forest- and daydream-flavoured ‘An Aside’ at London’s Camden Arts Centre, while the Wrong Gallery’s opening of ‘Gagosian Berlin’ was a brilliant act of guerrilla franchising, made all the more biting by the fact that this bootleg gallery’s first show was a decidedly un-flashy chronicle of the friendship between the artists Emmett Williams, Dorothy Iannone and Dieter Roth.
Daniel Palmer
‘White Noise’, curated by Mike Stubbs, at the Australian Centre for the Moving Image, explored abstraction and the moving image; at the same venue I liked ‘World without End’, curated by Alessio Cavallaro and Alexie Glass. ‘Pitch Your Own Tent: Art Projects / Store 5 / 1st Floor’, curated by Max Delany at Monash University Museum of Art, examined the past two decades of Australian art through the lens of three influential artist-run spaces. ‘A Molecular History of Everything* (*Well not Everything)’, curated by Juliana Engberg at the Australian Centre for Contemporary Art, was a mock-serious curatorial bid to capture it all.
Emily Pethick
Axel John Wieder, Gertrud Berlin and Josef Strau’s exhibition ‘Now and Ten Years Ago’ at Kunst-Werke, Berlin, drew parallels to the links between artistic production and gentrification in New York in the 1980s and Berlin in the 1990s, with documentation of many subcultural, artist-led and activist activities that eventually contributed to more capitalist modes of urban development. Other highlights included Frederique Bergholtz, Annie Fletcher and Tanja Elstgeestis’ ambitious theatre festival ‘If I Can’t Dance I Don’t Want To Be Part of Your Revolution’, which included substantial new commissions developed in three parts in three different cities in the Netherlands.
Nancy Spector
Curated by Takashi Murakami for the Japan Society, ‘Little Boy: The Arts of Japan’s Exploding Subculture’ intermingled commercial objects, imagery from popular visual culture and fine art to explore a contemporary Japanese phenomenon – the prevalence of okatu, a subculture that brings together seemingly opposite sensibilities: an obsession with catastrophic violence and the predilection for all things cute, diminutive or nubile. It is Murakami’s premise that okatu has its roots in the metaphorical emasculation of Japan following Hiroshima and the subsequent American occupation. This generational trauma fuelled an already existing cultural tendency toward self-effacement. What was most fascinating about this show was less the effect of the individual art works (or, for that matter, the accumulations of Hello Kitty dolls) than how a convincing analysis of one nation’s psyche can be told through its consumer goods and cultural artefacts.
Polly Staple
‘Dada’ at the Centre Pompidou, Paris is one of the best exhibition’s I’ve ever seen – the floor plan itself is a Dada masterpiece of exhibition design. Two shows that travelled within Europe, ‘Who if not we … ?’, coordinated by Maria Hlavajova, and ‘Populism’ curated by Cristina Ricupero, Lars Bang Larsen and Nicolaus Schafhausen, were thorough and important research-based projects. I would also nominate Tanya Leighton’s thoughtful, almost academic, show at Glasgow’s CCA ‘In
Looking Back: Themed Shows
frieze asked the following critics and curators from around the world to choose what they felt to be the most significant shows and artists of 2005:
Will Bradley
The Backroom, a ‘research project temporarily occupying a space in Culver City’, plays off its situation in the midst of the overheating art/property speculation complex and air-conditioned, quasi-Minimalist 1980s’ cool of LA’s latest gallery strip. Curators Magali Arriola, Kate Fowle and Renaud Proch invited artists to present the research material that their working process needs or generates, ‘to counterbalance the increasing emphasis and value placed on product’: a flashback to avant-garde Europe post-World War II, where to actually finish a painting or hold an exhibition was to surrender to the conservative forces that were reshaping the art world.
Suzanne Cotter
David A. Bailey’s ‘Back to Black: Art, Cinema and the Racial Imaginary’ at the Whitechapel opened up the frames of reference for cultural production in Britain in the 1960s and ’70s. Francesco Bonami’s ‘Universal Experience’ at the Hayward updated the grand narrative exhibition with a timely look at critical contemporary practice in terms of globalization and cultural economies. Although not a perfect show, it included some great works. I was also fascinated by ‘Regarding Terror: The RAF Exhibition’ at Kunst-Werke in Berlin. The gong for worst thematic exhibition of the year has to go to ‘Colour after Klein’ at London’s Barbican Art Gallery – a simplistic presentation of works by some of the 20th century’s great artists reduced to chromatic signifiers.
Peter Eleey
‘The Perfect Medium: Photography and the Occult’, a show of early photographic attempts to picture the paranormal, made clear yet again that most of the self-consciousness we attribute to Conceptual photography of the 1960s and Postmodernism was present in the discipline long ago.
Paulo Herkenhoff
‘Através, ou a Geometria Corrompida’ (Through, or Corrupted Geometry) Galeria Bergamin, San Paulo, curated by Lisette Lagnado, explored Brazilian Constructivism. In 1959, a conflict divided the groups of San Paulo and Rio de Janeiro. The paulistas argued for absolute objectivity and the cariocas wished to rescue subjectivity within geometry. The show included work by Lygia Clark, Hélio Oiticica and Lygia Pape; Alfredo Volpi and Mira Schendel; the designer Joaquim Tenreiro, the architect Paulo Mendes da Rocha and a young artist, Raymundo Collares. The result was heavenly.
Matthew Higgs
Curated by Bob Nickas, ‘The Painted World’ – P.S.1 Contemporary Art Center, New York, charted five decades of (mostly American) abstract painting and was less concerned with ‘how the world looks than with how the world feels’. Just filling several rooms with abstract paintings – in late 2005 – was an eccentric and possibly radical move. Nickas teased out some unlikely inter-generational dialogues in a show that was elastic enough to embrace the reductive poetics of Myron Stout, the trippy colour fields of Chris Martin, the loopy Modernism of John Tremblay and the fucked-up formalism of the late, great Steven Parrino.
Maxine Kopsa
Not that one can really qualify it as a ‘themed show’, but e-flux video rental (or EVR), which opened its Amsterdam branch in March, is one of those initiatives that, once under way, make you wonder why it hadn’t always existed. And even closer to this frank and deliberate, ‘we’re-just-doing-what-we-believe-in’ un-showiness attitude is an exhibition-cum-radio-station called Radiodays, organized by Amsterdam’s Appel curatorial class of ‘05 ([url]http://www.radiodays.org/).
Caoimhín Mac Giolla Léith
‘Open Systems: Rethinking Art c.1970’ at the Tate Modern featured a slew of canonical works as curator Donna De Salvo opted cautiously to register the widening geographic horizons of our backward look at that
germinal moment rather than risk the potential confusion of wholesale revisionism.
Chus Martinez
Nina Möntmann’s show ‘Opacity’ at UKS Gallery in Oslo was subtitled ‘Current Considerations on Art Institutions and the Economy of Desire’. It took the demise of institutional critique to re-present concerns that are crucial in the face of current privatization sprees and the phasing out of public space. ‘Opacity’ was also a group exhibition that presented a strong body of work by Kajsa Dahlberg, Sofie Thorsen, Markus Degerman, Stephan Dillemuth, Gardar Eide Einarsson and Danger Museum (Öyvind Renberg and Miho Shimizo).
Tom Morton
Tacita Dean proved that artists often make the best curators with her forest- and daydream-flavoured ‘An Aside’ at London’s Camden Arts Centre, while the Wrong Gallery’s opening of ‘Gagosian Berlin’ was a brilliant act of guerrilla franchising, made all the more biting by the fact that this bootleg gallery’s first show was a decidedly un-flashy chronicle of the friendship between the artists Emmett Williams, Dorothy Iannone and Dieter Roth.
Daniel Palmer
‘White Noise’, curated by Mike Stubbs, at the Australian Centre for the Moving Image, explored abstraction and the moving image; at the same venue I liked ‘World without End’, curated by Alessio Cavallaro and Alexie Glass. ‘Pitch Your Own Tent: Art Projects / Store 5 / 1st Floor’, curated by Max Delany at Monash University Museum of Art, examined the past two decades of Australian art through the lens of three influential artist-run spaces. ‘A Molecular History of Everything* (*Well not Everything)’, curated by Juliana Engberg at the Australian Centre for Contemporary Art, was a mock-serious curatorial bid to capture it all.
Emily Pethick
Axel John Wieder, Gertrud Berlin and Josef Strau’s exhibition ‘Now and Ten Years Ago’ at Kunst-Werke, Berlin, drew parallels to the links between artistic production and gentrification in New York in the 1980s and Berlin in the 1990s, with documentation of many subcultural, artist-led and activist activities that eventually contributed to more capitalist modes of urban development. Other highlights included Frederique Bergholtz, Annie Fletcher and Tanja Elstgeestis’ ambitious theatre festival ‘If I Can’t Dance I Don’t Want To Be Part of Your Revolution’, which included substantial new commissions developed in three parts in three different cities in the Netherlands.
Nancy Spector
Curated by Takashi Murakami for the Japan Society, ‘Little Boy: The Arts of Japan’s Exploding Subculture’ intermingled commercial objects, imagery from popular visual culture and fine art to explore a contemporary Japanese phenomenon – the prevalence of okatu, a subculture that brings together seemingly opposite sensibilities: an obsession with catastrophic violence and the predilection for all things cute, diminutive or nubile. It is Murakami’s premise that okatu has its roots in the metaphorical emasculation of Japan following Hiroshima and the subsequent American occupation. This generational trauma fuelled an already existing cultural tendency toward self-effacement. What was most fascinating about this show was less the effect of the individual art works (or, for that matter, the accumulations of Hello Kitty dolls) than how a convincing analysis of one nation’s psyche can be told through its consumer goods and cultural artefacts.
Polly Staple
‘Dada’ at the Centre Pompidou, Paris is one of the best exhibition’s I’ve ever seen – the floor plan itself is a Dada masterpiece of exhibition design. Two shows that travelled within Europe, ‘Who if not we … ?’, coordinated by Maria Hlavajova, and ‘Populism’ curated by Cristina Ricupero, Lars Bang Larsen and Nicolaus Schafhausen, were thorough and important research-based projects. I would also nominate Tanya Leighton’s thoughtful, almost academic, show at Glasgow’s CCA ‘In
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以下是横饰带杂志对来自全球各地几位策展人对于 2005 年最具有意义和重大的展览及艺术家的看法和意见的采访。
看背面: 他们在表演
横饰带从全世界问了下列各项批评家和馆长选择他们所感觉是最重要的表演和艺术家的 2005:
决意 Bradley
Backroom,一个‘研究计画暂时在斑鸠城市中占领空间',在～之中过热艺术/财产推测实行它的情形复杂的和装有空调冷气的,类似的- 最低限要求者 1980s' LA's 最近的回廊长条冷却。馆长 Magali Arriola ，凯特 Fowle 和 Renaud Proch 邀请了艺术家呈现研究材料他们的工作程序需要或产生,‘使平均逐渐增加的强调而且评价在产品上放置': 到 avant- garde 欧洲的一个倒叙在第二次世界大战之後的, 该哪里实际上完成一幅画或者举行展览要对是 reshaping 艺术世界的保守力量投降。
Suzanne 锁
大卫 A. Bailey's ‘回到黑色: 艺术, 电影院和那人种的想像'在 Whitechapel 为文化的制造在 1960 年代和 19 70 年代中的英国打通叁考的体格。 Francesco Bonami's ‘全世界的经验' 在 Hayward 以全球化用～更新壮观的叙述展览一个～的及时面貌～紧要关头的同时代的练习和文化的经济。 虽然不一场完美的表演,它包括了一些很棒的工厂。 我也关于恐怖被‘令人入神: 英国皇家空军展览'在 Kunst- Werke 在柏林。 铜锣为年的最坏语干的展览有在 Klein 之後去‘颜色'在伦敦的 Barbican 画廊–被减少到彩色的 signifiers 的一些 20 世纪很棒的艺术家的工厂过分单纯化的发表。
彼得 Eleey
‘完美的媒体: 摄影和那神秘的', 早的照相尝试的一场表演画超过正常者, 再一次仍然做清楚我们对 1960 年代的概念上的摄影归于的大部份自我意识和 Postmodernism 很久以前在训练方面在场。
Paulo Herkenhoff
‘ Atrav é s,ou Geometria Corrompida'(穿越, 或使几何学腐烂)Galeria Bergamin, San Paulo,藉着 Lisette Lagnado 副牧师,探究巴西的构成主义。 在 1959 年，一个冲突分开了那群 San Paulo 和里约热内卢。 paulistas 为 absolute objectivity 争论，而且 cariocas 愿在几何学里面援救 subjectivity 。 表演包括了 Lygia Clark ， H é lio Oiticica 和 Lygia Pape 的工作;Alfredo Volpi 和 Mira Schendel;设计者 Joaquim Tenreiro ，建筑师 Paulo Mendes da Rocha 和一个年轻的艺术家,Raymundo Collares。 结果是天上的。
马太 Higgs
藉着鲍伯 Nickas 副牧师,‘描画的世界'– P.S.1 同时代的艺术中心 , 纽约,制成图表了五十年抽象画而且是和～有关‘的比较少量世界看如何比较由于世界感觉如何。仅仅在 2005 後期–中有抽象画–填充一些房间是一个怪人而且可能地急进份子移动。Nickas 在一场够有柔性来拥抱 Myron 烈啤酒的减少诗学，克里斯马丁的 trippy 颜色领域，约翰 Tremblay 的 loopy 现代作风的表演中欺负出一些不太可能在中间- 世代性的对话和那性交 - 向上的迟, 很棒的 Steven Parrino 的拘泥形式。
Maxine Kopsa
不一能真的取得资格它如‘他们了表演', 但是电子熔化录像带出租 ( 或 EVR), 在三月打开了它的阿姆斯特丹部门, 是那些～的其中一个率先以，一旦在方法之下，使你怀疑它为什麽没有总是存在。而且甚至更靠近到这坦白的和深思熟虑的,‘做 we're-正直的-什么-我们-相信-在'un- showiness 态度是一个称为 Radiodays 的展览-cum-广播电台,被阿姆斯特丹的 Appel ‘ 05 的 curator 的班级组织([url]http://www.radiodays.org/).
Caoimh í n Mac Giolla L é ith
‘开着的系统: 再想艺术 c.1970' 在 Tate 现代人慎重地为依教规的工厂一个回转作广告如馆长 Donna De 保留条款选择记录那弄宽我们～的向后面貌～的地理地平线那
幼芽的片刻并非危险批发的修正主义的潜在混乱。
Chus Martinez
Nina M?ntmann's 表演‘不透明'在奥斯陆中的在英国回廊被副题‘艺术机构和欲望的经济上的现在考虑'. 它带了对面对现在的私营化狂欢和定相由公众的空间是决定性的关于- 现在的关心制度的批评死亡。 ‘不透明' 呈现了 Kajsa Dahlberg ， Sofie Thorsen ， Markus Degerman ， Stephan Dillemuth ， Gardar Eide Einarsson 和危险博物馆的工作一个强壮的身体团体展览也是.(?yvind Renberg 和 Miho Shimizo)
汤姆 Morton
Tacita 院长证明艺术家时常用她的森林来制造最好的馆长- 而且做白日梦-flavoured ‘旁白 '在伦敦的 Camden 艺术中心 , 当‘ Gagosian 柏林的错误回廊打开‘ Gagosian 柏林的错误回廊打开的时候' 是游击队特权的一种灿烂的行为, 被这私卖回廊第一场表演的事实使所有的那更刺痛是在艺术家 Emmett 威廉，桃乐赛 Iannone 和减肥者 Roth 之间的友谊一确定的非 闪光的年代记。
单尼尔于掌中
‘白色噪音',被麦可 Stubbs 副牧师, 在澳洲的中心为那移动图像, 探究了抽象化和那移动图像;在我喜欢没有结束的‘世界的相同举办地点',被 Alessio Cavallaro 和 Alexie 玻璃副牧师。 ‘程度你的自己帐篷: 艺术计画 / 商店 5/一楼',在艺术的 Monash 大学博物馆被最大 Delany 副牧师,经过三有影响的艺术家跑的空间透镜调查了澳洲的艺术过去二十年。 ‘一每件事物的分子历史*(* 很好地不每件事物)',在澳洲的中心为同时代的艺术被 Juliana Engberg 副牧师,是捕获它所有的嘲笑- 严重的 curator 的竞标。
艾蜜俐 Pethick
Axel 约翰 Wieder ， Gertrud 柏林和 Josef Strau's 展览‘现在而且在十年以前'在 Kunst-Werke, 柏林,在 1990 年代内在 1980 年代和柏林中在纽约在艺术的制造和 gentrification 之间拉对联编的平行,由于许多 subcultural 的文件,艺术家引导的和最后对较多的资本家有助益都市的发展模态的活跃份子活动。如果我不能跳舞，其他的最亮区包括了 Frederique Bergholtz ，安妮 Fletcher 和 Tanja Elstgeestis' 野心勃勃的戏院节日的‘ , 我不 想要当你的革命部份', 在荷兰的三座不同的城市包括在三个部份中被发展的实质上的新佣金。
南西 Spector
藉着 Takashi Murakami 为日本社会副牧师,‘小男孩: 日本爆炸次文化的艺术'混入了商业的物体, 来自流行的视觉文化和好的艺术肖像探究同时代的日本现象– okatu 的传播,一个表面上相反的感性一起带来的次文化: 有悲惨的暴力和嗜好的一个固执为所有的事物可爱的,小或适婚的。 它是 Murakami's 前提 okatu 有它的根在广岛和后来的美国占有之后在日本的隐喻性的阉割中。 世代性的外伤 fuelled 一已经存在向不出风头的文化趋向。 是最迷人的有关这场表演的事东西是比较少量个别的艺术工厂 (或,就那件事而论, 积聚哈罗凯蒂娃娃) 的效果比较一个国家的灵魂一项使人信服的分析如何经过它的生活消费品和文化的 artefacts 能被告诉。
Mary 的昵称主要产物
‘爸爸' 在中心 Pompidou ，巴黎是最好的展览我之一曾经有看到–平面图它本身是展览设计的一个爸爸杰作。 二场在欧洲里面旅行的表演, ‘谁如果不我们… ?被 Cristina Ricupero, Lars 砰然 Larsen 和 Nicolaus Schafhausen 副牧师的 ', 协调被 Maria Hlavajova, 和‘人民党所倡的民粹主义',是完全的和重要的以研究为基础的计画。 我也会提名的 Tanya Leighton's 深思的, 几乎大学生, 在格拉斯哥的 CCA ‘在诗中大约展现爱你不写字爱';和,在歇斯底里的 ( 但是不较不深思) 差别‘ Le 航行 Interieur 中: 巴黎-伦敦'藉着 Alex Farquharson& Alexis Vaillant 在 Electra 副牧师,巴黎, 由于结束最高的展览设计究竟测试你能去多麽的远。继续的中立派出版计画-文件- 展览会‘出版并且被诅咒的艾蜜俐 Pethick's',到制造和能见的一个特别的水平和双年度‘家工厂论坛的炫耀能源和承诺'被 Christine Tohme 在贝鲁特–中某处在一个酒宴和节日的–之间副牧师在黎巴嫩中是焦点的点因为艺术的活动和超过,以富裕地不同的方式碰触关系美学的到政治上的效能，相同,历史和图像。
一月 Verwoert
藉由媒体- ocracy 的法律逐渐地统治政治和文化, 正面地向 populism 的争议演说像做的正确事物。 展览‘人民党所倡的民粹主义',在 Vilnius ，阿姆斯特丹， Frankfurt 和奥斯陆中同时的被 Nifca 举办,因此明确的作了它的点。 藉由展现使用同取出 (ular) 美学的艺术当它没有建筑的时候,它测试了 immanent 文化的批评潜在性许多艺术今天以关节连接。 藉由推动达成～的方式极端，表演也展现了它的极限。 它使你想起需要的紧急想像可以躺着超过值得看的东西逻辑的东西 。
Tirdad Zolghadr
‘人民党所倡的民粹主义' 在 Vilnius ，奥斯陆， Frankfurt 和阿姆斯特丹中是一场提出了好的问题表演甚至当制造一它本身的愚人一一点点的时候。 populism 是什么首先? 一确定的可接近的展览开发一个媒体专业术语? 大的名字和大的艺术在四座城市中工作? 或宁可是它最好的艺术家和 nicest 事件– 100 个字的艺术- 紧要关头的 Roquefort 乳酪一口的横饰带杂志计算在盐腌的之上精神错乱的? 第二额外之物- 大的语干表演价值提到 ( 即使它在它旅行的十一月 2004 日内结束在 2005) 是‘浪漫的分离'在 P.S.1, curator 的输入提供一扭歪的和使醒的在令人感到懊恼的‘回返上拿到 interiority'仍然正在今天朦胧地出现的谣言。 Tate 现代人的‘开着的系统–再想艺术 c.1970', 一回顾的另外一个类型, 一起带来主要 1970s' 计画和艺术工作再想 Minimalism 和概念论。不管 奇数的 quirky 编目方法，这是被做可接近在一个主流举办地点中不诉诸 在- 之上教导的单一化或廉宜的追求轰动效应而的纯艺术的一个稀罕的例子。
以下是横饰带杂志对来自全球各地几位策展人对于 2005 年最具有意义和重大的展览及艺术家的看法和意见的采访。
看背面: 他们在表演
横饰带从全世界问了下列各项批评家和馆长选择他们所感觉是最重要的表演和艺术家的 2005:
决意 Bradley
Backroom,一个‘研究计画暂时在斑鸠城市中占领空间',在～之中过热艺术/财产推测实行它的情形复杂的和装有空调冷气的,类似的- 最低限要求者 1980s' LA's 最近的回廊长条冷却。馆长 Magali Arriola ，凯特 Fowle 和 Renaud Proch 邀请了艺术家呈现研究材料他们的工作程序需要或产生,‘使平均逐渐增加的强调而且评价在产品上放置': 到 avant- garde 欧洲的一个倒叙在第二次世界大战之後的, 该哪里实际上完成一幅画或者举行展览要对是 reshaping 艺术世界的保守力量投降。
Suzanne 锁
大卫 A. Bailey's ‘回到黑色: 艺术, 电影院和那人种的想像'在 Whitechapel 为文化的制造在 1960 年代和 19 70 年代中的英国打通叁考的体格。 Francesco Bonami's ‘全世界的经验' 在 Hayward 以全球化用～更新壮观的叙述展览一个～的及时面貌～紧要关头的同时代的练习和文化的经济。 虽然不一场完美的表演,它包括了一些很棒的工厂。 我也关于恐怖被‘令人入神: 英国皇家空军展览'在 Kunst- Werke 在柏林。 铜锣为年的最坏语干的展览有在 Klein 之後去‘颜色'在伦敦的 Barbican 画廊–被减少到彩色的 signifiers 的一些 20 世纪很棒的艺术家的工厂过分单纯化的发表。
彼得 Eleey
‘完美的媒体: 摄影和那神秘的', 早的照相尝试的一场表演画超过正常者, 再一次仍然做清楚我们对 1960 年代的概念上的摄影归于的大部份自我意识和 Postmodernism 很久以前在训练方面在场。
Paulo Herkenhoff
‘ Atrav é s,ou Geometria Corrompida'(穿越, 或使几何学腐烂)Galeria Bergamin, San Paulo,藉着 Lisette Lagnado 副牧师,探究巴西的构成主义。 在 1959 年，一个冲突分开了那群 San Paulo 和里约热内卢。 paulistas 为 absolute objectivity 争论，而且 cariocas 愿在几何学里面援救 subjectivity 。 表演包括了 Lygia Clark ， H é lio Oiticica 和 Lygia Pape 的工作;Alfredo Volpi 和 Mira Schendel;设计者 Joaquim Tenreiro ，建筑师 Paulo Mendes da Rocha 和一个年轻的艺术家,Raymundo Collares。 结果是天上的。
马太 Higgs
藉着鲍伯 Nickas 副牧师,‘描画的世界'– P.S.1 同时代的艺术中心 , 纽约,制成图表了五十年抽象画而且是和～有关‘的比较少量世界看如何比较由于世界感觉如何。仅仅在 2005 後期–中有抽象画–填充一些房间是一个怪人而且可能地急进份子移动。Nickas 在一场够有柔性来拥抱 Myron 烈啤酒的减少诗学，克里斯马丁的 trippy 颜色领域，约翰 Tremblay 的 loopy 现代作风的表演中欺负出一些不太可能在中间- 世代性的对话和那性交 - 向上的迟, 很棒的 Steven Parrino 的拘泥形式。
Maxine Kopsa
不一能真的取得资格它如‘他们了表演', 但是电子熔化录像带出租 ( 或 EVR), 在三月打开了它的阿姆斯特丹部门, 是那些～的其中一个率先以，一旦在方法之下，使你怀疑它为什麽没有总是存在。而且甚至更靠近到这坦白的和深思熟虑的,‘做 we're-正直的-什么-我们-相信-在'un- showiness 态度是一个称为 Radiodays 的展览-cum-广播电台,被阿姆斯特丹的 Appel ‘ 05 的 curator 的班级组织([url]http://www.radiodays.org/).
Caoimh í n Mac Giolla L é ith
‘开着的系统: 再想艺术 c.1970' 在 Tate 现代人慎重地为依教规的工厂一个回转作广告如馆长 Donna De 保留条款选择记录那弄宽我们～的向后面貌～的地理地平线那
幼芽的片刻并非危险批发的修正主义的潜在混乱。
Chus Martinez
Nina M?ntmann's 表演‘不透明'在奥斯陆中的在英国回廊被副题‘艺术机构和欲望的经济上的现在考虑'. 它带了对面对现在的私营化狂欢和定相由公众的空间是决定性的关于- 现在的关心制度的批评死亡。 ‘不透明' 呈现了 Kajsa Dahlberg ， Sofie Thorsen ， Markus Degerman ， Stephan Dillemuth ， Gardar Eide Einarsson 和危险博物馆的工作一个强壮的身体团体展览也是.(?yvind Renberg 和 Miho Shimizo)
汤姆 Morton
Tacita 院长证明艺术家时常用她的森林来制造最好的馆长- 而且做白日梦-flavoured ‘旁白 '在伦敦的 Camden 艺术中心 , 当‘ Gagosian 柏林的错误回廊打开‘ Gagosian 柏林的错误回廊打开的时候' 是游击队特权的一种灿烂的行为, 被这私卖回廊第一场表演的事实使所有的那更刺痛是在艺术家 Emmett 威廉，桃乐赛 Iannone 和减肥者 Roth 之间的友谊一确定的非 闪光的年代记。
单尼尔于掌中
‘白色噪音',被麦可 Stubbs 副牧师, 在澳洲的中心为那移动图像, 探究了抽象化和那移动图像;在我喜欢没有结束的‘世界的相同举办地点',被 Alessio Cavallaro 和 Alexie 玻璃副牧师。 ‘程度你的自己帐篷: 艺术计画 / 商店 5/一楼',在艺术的 Monash 大学博物馆被最大 Delany 副牧师,经过三有影响的艺术家跑的空间透镜调查了澳洲的艺术过去二十年。 ‘一每件事物的分子历史*(* 很好地不每件事物)',在澳洲的中心为同时代的艺术被 Juliana Engberg 副牧师,是捕获它所有的嘲笑- 严重的 curator 的竞标。
艾蜜俐 Pethick
Axel 约翰 Wieder ， Gertrud 柏林和 Josef Strau's 展览‘现在而且在十年以前'在 Kunst-Werke, 柏林,在 1990 年代内在 1980 年代和柏林中在纽约在艺术的制造和 gentrification 之间拉对联编的平行,由于许多 subcultural 的文件,艺术家引导的和最后对较多的资本家有助益都市的发展模态的活跃份子活动。如果我不能跳舞，其他的最亮区包括了 Frederique Bergholtz ，安妮 Fletcher 和 Tanja Elstgeestis' 野心勃勃的戏院节日的‘ , 我不 想要当你的革命部份', 在荷兰的三座不同的城市包括在三个部份中被发展的实质上的新佣金。
南西 Spector
藉着 Takashi Murakami 为日本社会副牧师,‘小男孩: 日本爆炸次文化的艺术'混入了商业的物体, 来自流行的视觉文化和好的艺术肖像探究同时代的日本现象– okatu 的传播,一个表面上相反的感性一起带来的次文化: 有悲惨的暴力和嗜好的一个固执为所有的事物可爱的,小或适婚的。 它是 Murakami's 前提 okatu 有它的根在广岛和后来的美国占有之后在日本的隐喻性的阉割中。 世代性的外伤 fuelled 一已经存在向不出风头的文化趋向。 是最迷人的有关这场表演的事东西是比较少量个别的艺术工厂 (或,就那件事而论, 积聚哈罗凯蒂娃娃) 的效果比较一个国家的灵魂一项使人信服的分析如何经过它的生活消费品和文化的 artefacts 能被告诉。
Mary 的昵称主要产物
‘爸爸' 在中心 Pompidou ，巴黎是最好的展览我之一曾经有看到–平面图它本身是展览设计的一个爸爸杰作。 二场在欧洲里面旅行的表演, ‘谁如果不我们… ?被 Cristina Ricupero, Lars 砰然 Larsen 和 Nicolaus Schafhausen 副牧师的 ', 协调被 Maria Hlavajova, 和‘人民党所倡的民粹主义',是完全的和重要的以研究为基础的计画。 我也会提名的 Tanya Leighton's 深思的, 几乎大学生, 在格拉斯哥的 CCA ‘在诗中大约展现爱你不写字爱';和,在歇斯底里的 ( 但是不较不深思) 差别‘ Le 航行 Interieur 中: 巴黎-伦敦'藉着 Alex Farquharson& Alexis Vaillant 在 Electra 副牧师,巴黎, 由于结束最高的展览设计究竟测试你能去多麽的远。继续的中立派出版计画-文件- 展览会‘出版并且被诅咒的艾蜜俐 Pethick's',到制造和能见的一个特别的水平和双年度‘家工厂论坛的炫耀能源和承诺'被 Christine Tohme 在贝鲁特–中某处在一个酒宴和节日的–之间副牧师在黎巴嫩中是焦点的点因为艺术的活动和超过,以富裕地不同的方式碰触关系美学的到政治上的效能，相同,历史和图像。
一月 Verwoert
藉由媒体- ocracy 的法律逐渐地统治政治和文化, 正面地向 populism 的争议演说像做的正确事物。 展览‘人民党所倡的民粹主义',在 Vilnius ，阿姆斯特丹， Frankfurt 和奥斯陆中同时的被 Nifca 举办,因此明确的作了它的点。 藉由展现使用同取出 (ular) 美学的艺术当它没有建筑的时候,它测试了 immanent 文化的批评潜在性许多艺术今天以关节连接。 藉由推动达成～的方式极端，表演也展现了它的极限。 它使你想起需要的紧急想像可以躺着超过值得看的东西逻辑的东西 。
Tirdad Zolghadr
‘人民党所倡的民粹主义' 在 Vilnius ，奥斯陆， Frankfurt 和阿姆斯特丹中是一场提出了好的问题表演甚至当制造一它本身的愚人一一点点的时候。 populism 是什么首先? 一确定的可接近的展览开发一个媒体专业术语? 大的名字和大的艺术在四座城市中工作? 或宁可是它最好的艺术家和 nicest 事件– 100 个字的艺术- 紧要关头的 Roquefort 乳酪一口的横饰带杂志计算在盐腌的之上精神错乱的? 第二额外之物- 大的语干表演价值提到 ( 即使它在它旅行的十一月 2004 日内结束在 2005) 是‘浪漫的分离'在 P.S.1, curator 的输入提供一扭歪的和使醒的在令人感到懊恼的‘回返上拿到 interiority'仍然正在今天朦胧地出现的谣言。 Tate 现代人的‘开着的系统–再想艺术 c.1970', 一回顾的另外一个类型, 一起带来主要 1970s' 计画和艺术工作再想 Minimalism 和概念论。不管 奇数的 quirky 编目方法，这是被做可接近在一个主流举办地点中不诉诸 在- 之上教导的单一化或廉宜的追求轰动效应而的纯艺术的一个稀罕的例子。
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