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Vittoria Martini
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1368182Vittoria Martinihttps://www.gandhi.com.mx/vittoria-martini/phttps://gandhi.vtexassets.com/arquivos/ids/1438398/f8e88acc-178b-4095-91ec-5fac5055ed19.jpg?v=638338117996430000434529MXNHatje Cantz Verlag GmbHInStock/Ebooks/<p><em>The Bijlmer Spinoza-Festival</em> is an artwork, a sculpture, created by Swiss artist Thomas Hirschhorn in a peripheral borough of Amsterdams south-east known as the Bijlmer in 2009. This book recounts the event through the eyes of its "Ambassador", art historian Vittoria Martini, who was invited by the artist to be an eyewitness to the existence of this "precarious" work. A term Hirschhorn sees as positive and creative: a means of asserting the importance of the moment and of the place, of asserting the Here and Now to touch eternity and universality. Appreciating the art historians presence as a central element of his sculpture, Hirschhorn consciously challenged the certainties of the profession by empowering and activating the role, thus leading Martini to find a new working methodology that she calls "precarious art history". Accompanying the readers through her experience of the physical existence of <em>The Bijlmer Spinoza-Festival</em>, Martinis commentary leads to the profound understanding of how a work that no longer exists physically, can live on in the mindelsewhere, at some other timebecause in the meantime it has become universal.</p><p>Paris-based artist THOMAS HIRSCHHORN (1957, Bern) is best known for his sculptures in public spacemonuments, kiosks, and altars. Questioning the autonomy, the authorship, and resistance of a work of art, he asserts the power of art to touch and transform the other. He represented Switzerland at the 54th Venice Biennale in 2011 and received numerous awards, including the Prix Marcel Duchamp and the Joseph Beuys Stiftung Prize.</p><p>VITTORIA MARTINI (1975, Kinshasa) is an independent art historian living in Italy. She has a doctorate from Universit Ca Foscari/Universit Iuav di Venezia. Since 2013 she teaches History of exhibitions and curatorial practices and holds the Art Writing workshop at CAMPO Program of curatorial studies and practices established by the Fondazione Sandretto Re Rebaudengo (Turin, Italy). Her research focuses mainly on the institutional structures that produce exhibitions.</p>...1354956Vittoria Martini434529https://www.gandhi.com.mx/vittoria-martini/phttps://gandhi.vtexassets.com/arquivos/ids/1438398/f8e88acc-178b-4095-91ec-5fac5055ed19.jpg?v=638338117996430000InStockMXN99999DIEbook20239783775752640_W3siaWQiOiJiNWQ3ZTJiMC0zZDU4LTQ1MGYtYjY3YS05NTgzNjM3NDQzMzgiLCJsaXN0UHJpY2UiOjUyOSwiZGlzY291bnQiOjk1LCJzZWxsaW5nUHJpY2UiOjQzNCwiaW5jbHVkZXNUYXgiOnRydWUsInByaWNlVHlwZSI6Ildob2xlc2FsZSIsImN1cnJlbmN5IjoiTVhOIiwiZnJvbSI6IjIwMjUtMDYtMjRUMTg6MDA6MDBaIiwicmVnaW9uIjoiTVgiLCJpc1ByZW9yZGVyIjpmYWxzZX1d9783775752640_<p><em>The Bijlmer Spinoza-Festival</em> ist eine Skulptur des Schweizer Künstlers Thomas Hirschhorn, die 2009 in der Grosiedlung Bijlmer in der Amsterdamer Peripherie entstand. Dieses Buch beschreibt das Ereignis aus den Augen seiner Botschafterin, der Kunsthistorikerin Vittoria Martini, die vom Künstler eingeladen wurde, Augenzeugin der Existenz dieses prekren Werks zu werden. Ein Begriff, den Hirschhorn als positiv und kreativ ansieht: ein Mittel, um die Bedeutung von Augenblick und Ort zu betonen, und der zugleich über das Hier und Jetzt hinausweist. Hirschhorn, der die Prsenz der Kunsthistorikerin als eines der zentralen Elemente seiner Skulptur betont, stellt die Rolle des Berufsstandes bewusst in Frage. Indem er Martini aktiv in die Produktion einbezog, war sie gezwungen eine neue Arbeitsmethodik zu entwickeln, die sie prekre Kunstgeschichte nennt. Ihr Tagebuch begleitet die Lesenden durch ihre unmittelbare Erfahrung des <em>The Bijlmer Spinoza-Festival</em> und geht der Frage nach, wie ein Werk, das physisch nicht mehr existiert, in den Kpfen weiterleben kann an einem anderen Ort, in einer anderen Zeit indem der einzelne Augenblick ein universelles Potential entfaltet.</p><p>Der in Paris lebende Künstler THOMAS HIRSCHHORN (1957, Bern) ist vor allem für seine Skulpturen im ffentlichen Raum (bis heute mehr als siebzig) bekannt Monumente, Kioske, Altre wie sein Bataille Monument, das whrend der documenta 11 in einem Kasseler Wohngebiet aufgestellt wurde. Indem er die Autonomie, die Autorschaft und den Widerstand eines Kunstwerks in Frage stellt, behauptet er die Macht der Kunst, das Andere zu berühren und zu transformieren. Das The Bijlmer Spinoza-Festival (2009) ist eines dieser Projekte, der Gramsci Monument in der Bronx, New York (2013), und zuletzt Robert Walser-Sculpture (2019) in Biel-Bienne, Schweiz. Er vertrat die Schweiz auf der 54. Biennale di Venezia im Jahr 2011 und erhielt unter anderem den Prix Marcel Duchamp, den Joseph Beuys Stiftung-Preis und den Meret-Oppenheim-Preis.<br />VITTORIA MARTINI ist eine italienische Kunsthistorikerin mit einem Schwerpunkt auf der Geschichte von Ausstellungen und der konomie der zeitgenssischen Kunst. Ihr Hauptforschungsgebiet ist die institutionelle, topografische, kulturelle und soziale Geschichte der Biennale von Venedig.</p>...(*_*)9783775752640_<p><em>The Bijlmer Spinoza-Festival</em> is an artwork, a sculpture, created by Swiss artist Thomas Hirschhorn in a peripheral borough of Amsterdams south-east known as the Bijlmer in 2009. This book recounts the event through the eyes of its "Ambassador", art historian Vittoria Martini, who was invited by the artist to be an eyewitness to the existence of this "precarious" work. A term Hirschhorn sees as positive and creative: a means of asserting the importance of the moment and of the place, of asserting the Here and Now to touch eternity and universality. Appreciating the art historians presence as a central element of his sculpture, Hirschhorn consciously challenged the certainties of the profession by empowering and activating the role, thus leading Martini to find a new working methodology that she calls "precarious art history". Accompanying the readers through her experience of the physical existence of <em>The Bijlmer Spinoza-Festival</em>, Martinis commentary leads to the profound understanding of how a work that no longer exists physically, can live on in the mindelsewhere, at some other timebecause in the meantime it has become universal.</p><p>Paris-based artist THOMAS HIRSCHHORN (1957, Bern) is best known for his sculptures in public spacemonuments, kiosks, and altars. Questioning the autonomy, the authorship, and resistance of a work of art, he asserts the power of art to touch and transform the other. He represented Switzerland at the 54th Venice Biennale in 2011 and received numerous awards, including the Prix Marcel Duchamp and the Joseph Beuys Stiftung Prize.</p><p>VITTORIA MARTINI (1975, Kinshasa) is an independent art historian living in Italy. She has a doctorate from Universit Ca Foscari/Universit Iuav di Venezia. Since 2013 she teaches History of exhibitions and curatorial practices and holds the Art Writing workshop at CAMPO Program of curatorial studies and practices established by the Fondazione Sandretto Re Rebaudengo (Turin, Italy). Her research focuses mainly on the institutional structures that produce exhibitions.</p>...9783775752640_Hatje Cantz Verlag GmbHlibro_electonico_18748315-b03d-385b-8865-4eef097f1f57_9783775752640;9783775752640_9783775752640Neil HoltInglésMéxicohttps://getbook.kobo.com/koboid-prod-public/bookwire-epub-abc9c80f-d281-495d-981d-157398e2a0a1.epub2023-05-15T00:00:00+00:00Hatje Cantz Verlag GmbH