Cătălin Gheorghe and Mick Wilson – Exhibitionary Acts of Political Imagination. Introduction
Galit Eilat – The Transparent Museum through the Looking Glass
Vasıf Kortun and Merve Elveren – What Do We Do Now?
The space of the exhibition as a space of political potential – A Conversation with Cosmin Costinaș
Marco Scotini – Not a Just Exhibition, But Just an Exhibition. The Case of Disobedience Archive
Nick Aikens – Approaching Research-Exhibition Practices
Carolina Rito – Infrastructures of the Exhibitionary
Simon Sheikh – The Problem Is Not To Make Political Exhibitions But to Make Exhibitions Politically!
Maria Lactans – Post-Exhibitionary Ruminations: Summer of 2021
Bassam El Baroni – Whither the Exhibition in the Age of Finance? Notes towards a Curatorial Practice of Leveraging
The art exhibition is the object of a wide range of critical explorations in contemporary practice and theory. Exhibition may be approached as a genre, as an apparatus and/or as a poetics (a process of worldmaking) and there is a wide and growing literature on exhibition histories and on the exhibition as a site of enquiry where these different constructions are employed. This volume seeks to add to the current wide range of scholarship, critique and curatorial experimentation that considers the affordances of exhibition. It seeks to do so with respect to the question of political imagination. Political imagination is intended here to suggest general operations of imagination in the realm of the political, and also the specific, more technical concept of the political imaginary.
“Vector – critical research in context” is an experimental publication [intentionally left undefined] based on an open editorial concept, alternatively applied as “a book of artistic/curatorial research”, “a catalogue of critical art”, “an experimental artist’s edition”, “a critical reader” […].
PARSE is a research publishing platform committed to the movement back and forth between analysis and creation, between meaning-making and the analytics of meaning, between construction and re-construction.
This book does not necessarily represents the position of the Administration of the National Cultural Fund (AFCN). AFCN is neither responsible of the project content or the way in which the project results may be used. These are entirely the responsibility of the grant beneficiary.