{"title":"Restaging Origin, Restaging Difference: Restaging Harald Szeemann's Work","authors":"N. Foster","doi":"10.1386/jcs_00005_1","DOIUrl":null,"url":null,"abstract":"Abstract The most common form of restaging is that of the retrospective exhibition, for it can be used to provide a platform for the museum to reaffirm the original exhibition and in turn reaffirm itself as host. For Harald Szeemann, the role of the curator was that of a\n mediator who, through the exhibition, should attempt to halt the abovementioned closed-circuit of affirmations by questioning existing boundaries and canons. His own work, however, has been repeatedly restaged in recent years. This article focuses on two restagings: the Prada Foundation's\n When Attitudes Become Form: Bern 1969/Venice 2013 (2013) and the Getty Research Institute's Harald Szeemann: Museum of Obsessions (2018). I argue that restaged exhibitions can take two different forms: they can be focused on revising traditional canons and hierarchies, or they\n can serve to reaffirm the exhibition and the hosting institution. The two forms are interdependent, however, and most restagings contain a mixture of the two.","PeriodicalId":41456,"journal":{"name":"Journal of Curatorial Studies","volume":" ","pages":""},"PeriodicalIF":0.2000,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Curatorial Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1386/jcs_00005_1","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
引用次数: 1
Abstract
Abstract The most common form of restaging is that of the retrospective exhibition, for it can be used to provide a platform for the museum to reaffirm the original exhibition and in turn reaffirm itself as host. For Harald Szeemann, the role of the curator was that of a
mediator who, through the exhibition, should attempt to halt the abovementioned closed-circuit of affirmations by questioning existing boundaries and canons. His own work, however, has been repeatedly restaged in recent years. This article focuses on two restagings: the Prada Foundation's
When Attitudes Become Form: Bern 1969/Venice 2013 (2013) and the Getty Research Institute's Harald Szeemann: Museum of Obsessions (2018). I argue that restaged exhibitions can take two different forms: they can be focused on revising traditional canons and hierarchies, or they
can serve to reaffirm the exhibition and the hosting institution. The two forms are interdependent, however, and most restagings contain a mixture of the two.
期刊介绍：
The Journal of Curatorial Studies is an international, peer-reviewed publication that explores the cultural functioning of curating and its relation to exhibitions, institutions, audiences, aesthetics and display culture. The journal takes a wide perspective in the inquiry into what constitutes ''the curatorial''. Curating has evolved considerably from the connoisseurship model of arranging objects to now encompass performative, virtual and interventionist strategies. While curating as a spatialized discourse of art objects remains important, the expanded cultural practice of curating not only produces exhibitions for audiences to view, but also plays a catalytic role in redefining aesthetic experience, framing cultural conditions in institutions and communities, and inquiring into constructions of knowledge and ideology. As a critical and responsive forum for debate in the emerging field of curatorial studies, the journal will foster scholarship in the theory, practice and history of curating, as well as that of exhibitions and display culture in general. The journal supports in-depth investigations of contemporary and historical exhibitions, case studies of curators and their engagements, and analyses of the critical dynamics influencing the production of exhibitions in art and broader display culture. The Journal of Curatorial Studies invites contributions from scholars within curatorial studies, art history, museum studies, cultural studies, and other academic disciplines. The journal publishes both thematic and open issues, and features research articles, contemporary and historical case studies, interviews with curators, artists and theorists, and reviews of books, exhibitions and conferences.
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