Marcus Verhagen
Biographic Data
| ID | 3892953 |
|---|---|
| NAME | Marcus Verhagen |
| GIVEN NAMES | Marcus |
| FAMILY NAME | Verhagen |
| SIGNATURE | VERHAGEN M |
| AFFILIATIONS | Schlumberger (Ireland) |
| VERIFIED | No |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 3 |
| WORKS AS AUTHOR | 10 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1997 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
The Art of Counter-Remembrance
A Proximate Past
In a stinging critique of the work of Danh Vo, Claire Bishop argues that he reduces moments of historical significance to pretexts for ornamental displays. In stressing the need for sustained engagement with historical trauma, she aligns herself with Theodor Adorno and others who have identified a waning historical consciousness in modern society and culture. Writers descended from Adorno have put forward models for an art of remembrance, includi…
Art in a Narrow Present
As museums and galleries attempt to curate a unique ‘visitor experience’, a vitalist current in the contemporary art world—based on audience interaction and participation—is gaining traction. What is the political character of such works
Making Time
From recent reflections by Jacques Rancière on how capital partitions the time of those it controls, to a stoppage by Maria Eichhorn of her exhibition to allow workers at the gallery to articulate their own experience of labouring in it—lines of insurgent art that expose and challenge segmentations of time, even as, perforce, they illustrate them
Viewing Velocities
While galleries and museums maximize footfall with an eye on the bottom line, the artwork is often claimed as a haven from the giddy pace of experience. What are the temporalities of the contemporary art world, and how might they be affected by the coronavirus crisis
Past Participating
Th Istanbul Biennial
The Nomad and the Altermodern
Nicolas Bourriaud's 2009 Tate Triennial, titled ‘Altermodern’, claims to trace a profound shift in contemporary art. According to Bourriaud's catalogue essay, postmodernism has been superseded by a new ‘altermodern’ culture, the artist of today responding to the processes of globalisation in works that reflect his or her increasingly nomadic ways. The central problem here is that Bourriaud celebrates the artist‐nomad without considering the diver…
Conceptual Perspex
Whipstrokes
Research Article| April 01 1997 Whipstrokes Marcus Verhagen Marcus Verhagen Search for other works by this author on: This Site PubMed Google Scholar Representations (1997) 58: 115–140. https://doi.org/10.2307/2928825 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Marcus Verhagen; Whipstrokes. Repre…
The Nomad and the Altermodern
Nicolas Bourriaud's 2009 Tate Triennial, titled ‘Altermodern’, claims to trace a profound shift in contemporary art. According to Bourriaud's catalogue essay, postmodernism has been superseded by a new ‘altermodern’ culture, the artist of today responding to the processes of globalisation in works that reflect his or her increasingly nomadic ways. The central problem here is that Bourriaud celebrates the artist‐nomad without considering the diver…
Whipstrokes
Research Article| April 01 1997 Whipstrokes Marcus Verhagen Marcus Verhagen Search for other works by this author on: This Site PubMed Google Scholar Representations (1997) 58: 115–140. https://doi.org/10.2307/2928825 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Marcus Verhagen; Whipstrokes. Repre…
Conceptual Perspex
The Nomad and the Altermodern
Nicolas Bourriaud's 2009 Tate Triennial, titled ‘Altermodern’, claims to trace a profound shift in contemporary art. According to Bourriaud's catalogue essay, postmodernism has been superseded by a new ‘altermodern’ culture, the artist of today responding to the processes of globalisation in works that reflect his or her increasingly nomadic ways. The central problem here is that Bourriaud celebrates the artist‐nomad without considering the diver…
Th Istanbul Biennial
Past Participating
Viewing Velocities
While galleries and museums maximize footfall with an eye on the bottom line, the artwork is often claimed as a haven from the giddy pace of experience. What are the temporalities of the contemporary art world, and how might they be affected by the coronavirus crisis
Making Time
From recent reflections by Jacques Rancière on how capital partitions the time of those it controls, to a stoppage by Maria Eichhorn of her exhibition to allow workers at the gallery to articulate their own experience of labouring in it—lines of insurgent art that expose and challenge segmentations of time, even as, perforce, they illustrate them
A Proximate Past
In a stinging critique of the work of Danh Vo, Claire Bishop argues that he reduces moments of historical significance to pretexts for ornamental displays. In stressing the need for sustained engagement with historical trauma, she aligns herself with Theodor Adorno and others who have identified a waning historical consciousness in modern society and culture. Writers descended from Adorno have put forward models for an art of remembrance, includi…
Art in a Narrow Present
As museums and galleries attempt to curate a unique ‘visitor experience’, a vitalist current in the contemporary art world—based on audience interaction and participation—is gaining traction. What is the political character of such works
The Art of Counter-Remembrance
Art, Politics, and Modernism (4 works) · Art (3 works) · History (3 works) · Political science (3 works) · Aesthetics (2 works) · Art history (2 works) · History (2 works) · Law (2 works) · Law (2 works) · Memory, Trauma, and Commemoration (2 works)