CrossSections : : Processing Artistic and Curatorial Research / / ed. by Başak Şenova.

• Superior document: Title is part of eBook package: De Gruyter DG Ebook Package English 2020
• MitwirkendeR: Adragna, Lori,; Akgülgil, Gizem,; Bode, Mike,; Calovski, Yane,; Davies-Crook, Susanna,; Engqvist, Jonatan Habib,; Fahlström, Jennie,; Herrera, Inma,; Holub, Barbara,; Horvatinčič, Sanja,; Huuskonen, Juha,; Ivanoska, Hristina,; Karttunen, Marja,; Karvonen, Otto,; Klontz, Anne,; Kurbak, Ebru,; Labelle, Brandon,; Lace, Bronwyn,; Lantz, Maria,; Lazaar, Lina,; Löbel, Andrea,; Manen, Marti,; Mangione, Oscar,; Neustetter, Marcus,; Norberg, Björn,; Oddo, Egle,; O’Neill, Paul,; Pelzer-Montada, Ruth,; Persekian, Jack,; Pousette, Johan,; Putz-Plecko, Barbara,; Rastenberger, Anna-Kaisa,; Relander, Jukka,; Rensburg, Wilhelm Van,; Rosenberger, Isa,; Rune, Bella,; Schafler, Klaus,; Selander, Lina,; Spiegl, Andreas,; Tabakova, Nia,; Tunali, Funda Şenova,; Vakkari, Johanna,; Wege, Astrid,; Xinisteris, Koulla,; Şenova, Başak,
• HerausgeberIn: Şenova, Başak ,
• Place / Publishing House: Berlin ;, Boston : : De Gruyter, , [2020]; ©2020
• Year of Publication: 2020
• Language: English
• Series: Edition Angewandte ,
• Physical Description: 1 online resource (272 p.)
• Other title: Frontmatter --; TABLE OF CONTENTS --; CROSSSECTIONS PROCESSING ARTISTIC AND CURATORIAL RESEARCH --; THE OPENING MOVE --; THE (UN)KNOWN UNKNOWNS --; PHASES / MEETINGS --; THE CORE MEETINGS --; MAKO ISHIZUKA'S PAGES ON THE CORE MEETINGS --; WHERE ARE WE NOW? WHAT ARE WE GOING TO DO? --; THE SHARE MEETINGS --; TOWARDS THE REIGN OF THE CAT --; THE PERIPHERAL MEETINGS --; THE PUBLIC MEETINGS --; RESIDENCIES --; CHANGING PERSPECTIVES --; INVESTING IN THE UNKONWN --; A PLATFORM FOR ARTISTS AND CURATORS --; PROMOTING EXPERIMENTATION, REFLECTION AND DISCUSSION --; PROVOCATIVE COMMUNITIES --; A PROGRAMME IN DIALOGUE --; OUR DIALOGUE --; EMBRACING UNCERTAINTY AND SERENDIPITY --; OPEN-ENDED PROCESS --; DIALOGUE AND PARTNERING --; BARBARA HOLUB --; SHADES AND SHADOWS OF THE SOCIAL: THE BLUE FROG SOCIETY --; BEHZAD KHOSRAVI-NOORI --; SYNECDOCHE, YUGOSLAVIA --; BENJI BOYADGIAN --; IMAGINARY --; BENJI BOYADGIAN & BEHZAD KHOSRAVI-NOORI --; REGULATING TIME: THE OWLS, THE QUEEN, AND THE MAQUETTISTE --; BRONWYN LACE --; MIRROR MIRROR --; EBRU KURBAK --; INTERSECTING DIMENSIONS: CHRONOLACE STUDIES --; EGLE ODDO --; SPLITTER --; HEBA Y. AMIN --; OPERATION SUNKEN SEA: FLIPPING THE HISTORICAL NARRATIVE --; INMA HERRERA --; DRAWING OUT NEW SOUNDS FROM ONE’S INSTRUMENT --; ISA ROSENBERGER --; ... THE VAST LAND FROM WHICH SHE COMES --; LINA SELANDER --; ON ÖVERFÖRINGSDIAGRAM NR 1 [DIAGRAM OF TRANSFER NO. 1] --; MARCUS NEUSTETTER --; DEFINING LINES --; NIKOLAUS GANSTERER --; THE GESTURE --; NISRINE BOUKHARI --; LANDSCAPES OF UNCERTAIN TIMES --; OTTO KARVONEN --; JAILBIRDS --; RAMESCH DAHA --; I AM HEALTHY, I CANNOT WRITE THIS LETTER MYSELF --; RICARDA DENZER --; RICARDA DENZER’S AUFZEICHNUNGEN --; TAMSIN SNOW --; SPARE FACE --; TIMO TUHKANEN --; SONIC INDEPENDENCE --; YANE CALOVSKI --; OBSESSION, THINGS, AND NARRATIVES --; BAŞAK ŞENOVA --; EXHIBITIONS AS CURATORIAL READYMADE FORMS OF ESCAPE --; A CONSTRUCTED MODEL: THE CROSSSECTIONS EXHIBITIONS --; DESIGN OF THE EXHIBITIONS --; UTILIZING “TABLE” AS A DESIGN ELEMENT IN A RESEARCH-BASED CURATORIAL AND SCENOGRAPHIC PRACTICE --; CROSSSECTIONS_INTERVALS: EXHIBITION WITH ENDLESS COMPLEXITIES --; CROSSSECTIONS_POTENTIALS --; CROSSSECTIONS_INTENSITIES --; CROSSSECTIONS_INTERVALS --; PERSPECTIVES --; CROSSECTIONS_PERSPECTIVES --; SUPPORT STRUCTURE: THOUGHTS AFTER AN OPENING --; CROSSECTIONS_NOTES --; THE FIRST MODEL --; THE TRAVELLING MODEL --; SHADOW OPTICS --; ...THE VAST LAND FROM WHICH SHE COMES --; BLUE FROG SOCIETY / A HABITAT WITHOUT TERRITORY SPEECH TO THE BLUE FROG SOCIETY IN ROMANES BY NANCY BLACK --; THE WORLD IN COMMON --; COMMUNITY ACTIVATION: B7L9 – BAHR LAZREG, TUNIS --; ARTIST TALKS, PERFORMANCES, PRESENTATIONS, & GUIDED TOURS --; GUIDE --; BOOKLET --; BOOK --; CHRONOLACE, SEQUENCE #001 --; FRAGMENTS OF A FROZEN MOMENT --; CHAPTER 1, CHAPTER 2, CHAPTER 3, COORDINATES --; NOTES FROM THE POST-PRODUCTION PROCESS --; DEPARTMENT OF DESIGN, CRAFTS AND ARTS, KONSTFACK/CROSSSECTIONS --; EXPERIENCING AND EXPERIMENTING WITH THE CONDITIONS AND THE PROCESS --; CRAFT/CROSSSECTIONS --; KUNSTHALLE EXNERGASSE — WERKSTÄTTEN UND KULTURHAUS (WUK)/ FEDERAL CHANCELLERY [BUNDESKANZLERAMT] & KULTURKONTAKT/CROSSSECTIONS --; PARALLEL VIENNA 2018 --; UNIVERSITY OF APPLIED ARTS VIENNA/CROSSSECTIONS --; B7L9, KAMEL LAZAAR FOUNDATION/CROSSSECTIONS --; ALIEN PALACE BIRDHOUSE COLLECTION --; EXHIBITION #2 --; EXHIBITION #4. VIENNA IS A MUSEUM --; THE LOG --; ACKNOWLEDGEMENTS --; IMPRINT
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9783110716566; 9783110696288; 9783110696271; 9783110704655; 9783110704785; 9783110704716; 9783110704518
• ISSN: 1866-248X
• DOI: 10.1515/9783110716566
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: ed. by Başak Şenova.

Dieses Buch dokumentiert das von Başak Şenova kuratierte Projekt „CrossSections“ (2017–2019), eine interdisziplinäre Plattform zu künstlerischer Forschung, künstlerischem Dialog und künstlerischer Produktion. Unter Beteiligung von 19 Künstlerinnen und Künstlern sowie neun Institutionen wurden neue Strategien künstlerischer Forschung und neue Modelle des Ausstellungsmachens entwickelt und erprobt, mit zahlreichen Artist-in-Residence-Programmen, Ausstellungen, Performances und Präsentationen in Wien, Helsinki und Stockholm. In 56 Beiträgen untersucht das Buch alle Aspekte des Projekts „CrossSections“: Dabei werden unterschiedliche Formen und Methoden künstlerischer Praxis sowie kollaborative Modelle unter sich ständig verändernden Bedingungen und Vorzeichen nachvollzogen und präsentiert. This book documents the “CrossSections” project (2017–2019), an interdisciplinary platform for artistic research, artistic dialogue, and artistic production curated by Başak Şenova. In collaboration with 19 artists and nine institutions, Şenova developed and tested new strategies of artistic research and new ways of exhibiting, through artist-in-residence programs, exhibitions, performances, and presentations in Vienna, Helsinki, and Stockholm. In 56 contributions, the book documents all aspects of the “CrossSections” project, tracking and presenting different forms and methods of artistic practice and collaboration developed under constantly changing conditions and circumstances.