Category Archives: Exhibiting

Report – Art Institutions of the 21st Century

In December 2016, following the think tank Media in the Expanded Field, Montabonel & Partners released the Report Art Institutions of the 21st Century.  The publication explores the function of art institutions in the 21st century, with an eye to highlighting the blurring of

Report – Art Institutions of the 21st Century

In December 2016, following the think tank Media in the Expanded Field, Montabonel & Partners released the Report Art Institutions of the 21st Century.  The publication explores the function of art institutions in the 21st century, with an eye to highlighting the blurring of

JANE MORRIS VS TOM CHATFIELD: Taste, sound, smell: have curators gone too far?

These two comment pieces on the Tate’s Sensorium experiment were published in October 2015 in The Art Newspaper.   Two galleries recently staged shows that engaged other senses as well as vision. Our editor and a technology writer disagree on

JANE MORRIS VS TOM CHATFIELD: Taste, sound, smell: have curators gone too far?

These two comment pieces on the Tate’s Sensorium experiment were published in October 2015 in The Art Newspaper.   Two galleries recently staged shows that engaged other senses as well as vision. Our editor and a technology writer disagree on

THE ART NEWSPAPER: Digital romance blooms between art and technology

This article is a report on the use of technology at Art Basel 2015 and was published in an Art Newspaper Fair daily in June 2015. It was written by Julia Halperin Computer animation, 3D printing and aerospace software are

THE ART NEWSPAPER: Digital romance blooms between art and technology

This article is a report on the use of technology at Art Basel 2015 and was published in an Art Newspaper Fair daily in June 2015. It was written by Julia Halperin Computer animation, 3D printing and aerospace software are

THE ART NEWSPAPER: Welcome to the virtual world

This article was commissioned by Jane Morris for The Art Newspaper from Ben Luke and published in January 2016 With the ground-breaking Oculus Rift virtual-reality headset hitting the mainstream later this year, a growing number of artists and museums are

THE ART NEWSPAPER: Welcome to the virtual world

This article was commissioned by Jane Morris for The Art Newspaper from Ben Luke and published in January 2016 With the ground-breaking Oculus Rift virtual-reality headset hitting the mainstream later this year, a growing number of artists and museums are

DOMENICO QUARANTA: Solid State

Verifications. Five examples Imagine you are walking around a your city, toward an imaginary exhibition. It’s sunny outside and you take the long way from your place to the exhibition space. The first encounter takes place in the big square

DOMENICO QUARANTA: Solid State

Verifications. Five examples Imagine you are walking around a your city, toward an imaginary exhibition. It’s sunny outside and you take the long way from your place to the exhibition space. The first encounter takes place in the big square

HANNA HÖLLING: Revisions, or on the aesthetics of change

  “What is Zen for Film?,” I was asked sometime in the early fall of 2014, on the occasion of a preparatory meeting for Revisions, an exhibition to feature Zen for Film (1962–64), Nam June Paik’s “blank” film projection. Despite

HANNA HÖLLING: Revisions, or on the aesthetics of change

  “What is Zen for Film?,” I was asked sometime in the early fall of 2014, on the occasion of a preparatory meeting for Revisions, an exhibition to feature Zen for Film (1962–64), Nam June Paik’s “blank” film projection. Despite

BERYL GRAHAM: Exhibition histories and new media behaviours

 Abstract How can a history of exhibitions inform curators on the challenges of exhibiting new media art? How can histories of exhibitions dealing with interaction and participation inform the curation of new media art involving these behaviours? Exhibitions of broadly

BERYL GRAHAM: Exhibition histories and new media behaviours

 Abstract How can a history of exhibitions inform curators on the challenges of exhibiting new media art? How can histories of exhibitions dealing with interaction and participation inform the curation of new media art involving these behaviours? Exhibitions of broadly