Restaging critical exhibitions
The will to archive/memorialise/subjectivity
Bibliographic Data
| ID | 13036229 |
|---|---|
| Authors | Yu Jin Seng (0000-0001-9418-2738, corresponding author) |
| Year | 2020 |
| Volume | 10 |
| Issue | 2-3 |
| Pages | 215-237 |
| Publication date | 2020-09-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | World Art (JOURNAL) |
| Journal identifiers | ISSN: 2150-0894 • E-ISSN: 2150-0908 |
| Publisher | Taylor & Francis (PUBLISHER • GB) |
| DOI | 10.1080/21500894.2020.1802330 |
| OpenAlex | W3101270451 |
| Language | EN |
| References cited | 2 |
Why and how do we remember exhibitions, who remembers these exhibitions, what are their motivations, and what are the impulses to restage exhibitions? This paper examines the recent curatorial phenomenon of restaging a new exhibitionary mode – the critical exhibition – that first emerged from in Southeast Asia in the 1970s. The restaged critical exhibition is proposed as a new type of exhibition that reinterprets, contests, and mediates between the multiple contexts of the present and the past that inflects on the future. The term ‘restaging’ is used to evoke the stage as a metaphor and a site of memory not to represent but reflexively present the processes of remembering through memory structures such as the interplay between the memorial and history that is contested, the making of new subjectivities and the archive that resists forgetting
Aesthetics · Art · Cognitive psychology · Epistemology · Exhibition · Forgetting · Linguistics · Metaphor · Phenomenon · Subjectivity · Visual arts · Cambodian History and Society · Cultural Heritage Management and Preservation · History · Museums and Cultural Heritage · Philosophy · Psychology
| Highly cited | No |
|---|