The digitalization of the present is advancing. We do not own hi-fi systems anymore, instead we have Spotify accounts. We have thrown out our TV sets because we have subscriptions to Netflix. Artists post their videos online on platforms like Vimeo for the eyes of a global audience. Exhibition views of museums and galleries are retrievable on sites such as Contemporary Art Daily at any time. It seems the physical presence of the artwork in a particular place is becoming increasingly less important in view of the global circulation of its manifold reproductions.
How do exhibition venues deal with this tendency of dematerialization?
L’Exposition Imaginaire is not an exhibition but a project that approaches this issue through different formats. What if the exhibition were to exist only in an imaginary form – such as the famous Imaginary Museum of André Malraux, which consisted solely of reproductions, presenting works from around the world that could never physically meet in such a dialogue? Which separated the perception of the artwork from being bound to a specific place? Today the Internet has taken over the function of providing images of artworks, videos, and virtual exhibition visits. Is this the beginning of the end of the exhibition? Or is it the beginning of a new beginning, of a completely new format?
L’Exposition Imaginaire is a symposium, a film, a series of lectures, an exhibition of a different kind. An experiment that sees the waning loyalty of art in the here and now as a constructive challenge.
The lectures and discussions can be followed via livestream.
The entrance ticket remains valid during the exhibition and allows free admission to all events.
Lectures and discussions by/with:
Defne Ayas (Director Witte de With, Rotterdam); Erika Balsom (Lecturer in Film Studies and in Liberal Arts King’s College London); Paul Barsch & Tilman Hornig (Founders of New Scenario); Dieter Bogner (Art Historian and Consultant for Museum/Exhibition planning); Manuel Borja-Villel (Director Museo Reina Sofia, Madrid); Roger Bundschuh (Architect); Stefano Cernuschi (Head of Publications Mousse Magazine); Sebastian Cichocki (Curator Museum for Modern Art, Warsaw); Mathieu Copeland (Curator and Publisher); Thomas Demand (Artist); Chris Fitzpatrick (Director Kunstverein München); Annie Fletcher (Curator Van Abbemuseum, Eindhoven); Bernhard Garnicnig, Maren Mayer-Schwieger & Fabian Faltin (Palais des Beaux Arts, Vienna); Natasha Ginwala (Curator Contour Biennale, Belgium), Dorothea von Hantelmann (Art Historian, Author, and Curator); Jörg Heiser (Art Critic, Co-Editor frieze, and Publisher frieze d/e); Alexander Horwath (Director Austrian Filmmuseum, Vienna); Daniel Hug (Director Art Cologne); Julian Irlinger (Artist); Lolita Jablonskienė (Curator Lithuanian National Gallery of Art, Vilnius); Chris Kabel (Designer); Leon Kahane (Artist); Antje Krause-Wahl (Art Historian and Literary Scientist); Raimundas Malasauskas (Curator and Author); Francesco Manacorda (Director Tate Liverpool); Thomas Meinecke (Writer, Musician, and DJ); Markus Miessen (Architect and Exhibition Designer); Nina Möntmann (Professor of Art Theory and the History of Ideas, The Royal Institute of Art, Stockholm); Forrest Nash (Founder of Contemporary Art Daily); Philippe Pirotte (Rector Staatliche Hochschule für Bildende Künste – Städelschule, Frankfurt am Main); Florian Pollack (Head of Communication & Marketing Kunsthistorisches Museum Wien); Chantal Pontbriand (Director Museum of Contemporary Art_Toronto_Canada); Christian Rattemeyer (Associate Curator Museum of Modern Art, New York); Dieter Roelstraete (Curator and Art Critic); Willem de Rooij (Artist); Bettina Steinbrügge (Director Kunstverein in Hamburg); Wolfgang Ullrich (Art Historian, Cultural Scientist, and Author); Pieternel Vermoortel (Curator and Director FormContent); Artie Vierkant (Artist); Markus Weisbeck (Graphic Designer and Professor Bauhaus-Universität Weimar)
Anne Faucheret, Lucas Gehrmann, Vanessa Joan Müller, Luca Lo Pinto, Nicolaus Schafhausen, Jan Tappe