The reluctant narrator
Julieta Aranda ... ; [Museu Coleção Berardo, Lisbon, 15 October 2014 - 11 January 2015]
Standort:
Stiftung Galerie für Zeitgenössische Kunst Leipzig, Bibliothek
Signatur:
30.15 Lissabon Coleção Berardo 2014:1
Fernleihe:
keine Ausleihe von Bänden, nur Papierkopien werden versandt
The reluctant narrator
Julieta Aranda, Armando Andrade Tudela, Leonor Antunes, Kader Attia, Nina Beier, Derek Boshier, Aleksandra Domanovic, Dani Gal, Karl Holmqvist, Christoph Keller, David Levine, Amalia Pica, Bojan Šarcevic, John Smith, Hito Steyerl, Stephen Sutcliffe, Andreas Töpfer, Gernot Wieland ; [a survey of narrative practices across media ; Museu Coleção Berardo, Lisbon, 15 October 2014 - 11 January 2015]
Often referred to as the "narrative turn," an explosion of interest in narrative practices at the end of the twentieth century was predicated on the notion that life itself is storied, oras Jacques Ranciére put itthat the real must be fictionalized...
mehr
Standort:
Staatliche Museen zu Berlin, Preußischer Kulturbesitz, Kunstbibliothek
Fernleihe:
uneingeschränkte Fernleihe, Kopie und Ausleihe
Standort:
Verbund der Öffentlichen Bibliotheken Berlins - VÖBB
Fernleihe:
uneingeschränkte Fernleihe, Kopie und Ausleihe
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Often referred to as the "narrative turn," an explosion of interest in narrative practices at the end of the twentieth century was predicated on the notion that life itself is storied, oras Jacques Ranciére put itthat the real must be fictionalized in order to be thought. Postmodernism itself was described as a "narrative turn" in which a rekindled interest in the fictive, the chronicle, and the anecdotal upstaged the symbolic unity of high modernism. But as Susan Buck-Morss has noted, modernism and postmodernism are not historical moments, they are political positions: two poles of a recurring movement, expressing the contradictions inherent to the industrial mode of production in the identity and nonidentity between social function and aesthetic form. Rather than opposing a myriad of micro-narratives to the grand narrative of modernism, The Reluctant Narrator attempts to map the migration of narrative modes across several media, bringing together works that intertwine personal biography with historical events, or that deal with stories that fell through the crevices of history.
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The reluctant narrator
a survey of narrative practices across media : Julieta Aranda, Armando Andrade Tudela, Leonor Antunes, Kader Attia, Nina Beier, Derek Boshier, Aleksandra Domanovic, Dani Gal, Karl Holmqvist, Christoph Keller, David Levine, Amalia Pica, Bojan Šarcevic, John Smith, Hito Steyerl, Stephen Sutcliffe, Andreas Töpfer, Gernot Wieland : Museu Coleção Berardo, Lisbon, 15 October 2014-11 January 2015
Often referred to as the "narrative turn," an explosion of interest in narrative practices at the end of the twentieth century was predicated on the notion that life itself is storied, or - as Jacques Ranciére put it - that the real must be...
mehr
Standort:
Bayerische Staatsbibliothek
Fernleihe:
uneingeschränkte Fernleihe, Kopie und Ausleihe
Standort:
Zentralinstitut für Kunstgeschichte, Bibliothek
Fernleihe:
keine Ausleihe von Bänden, nur Papierkopien werden versandt
|
Often referred to as the "narrative turn," an explosion of interest in narrative practices at the end of the twentieth century was predicated on the notion that life itself is storied, or - as Jacques Ranciére put it - that the real must be fictionalized in order to be thought. Postmodernism itself was described as a "narrative turn" in which a rekindled interest in the fictive, the chronicle, and the anecdotal upstaged the symbolic unity of high modernism. But as Susan Buck-Morss has noted, modernism and postmodernism are not historical moments, they are political positions: two poles of a recurring movement, expressing the contradictions inherent to the industrial mode of production in the identity and nonidentity between social function and aesthetic form. Rather than opposing a myriad of micro-narratives to the grand narrative of modernism, The Reluctant Narrator attempts to map the migration of narrative modes across several media, bringing together works that intertwine personal biography with historical events, or that deal with stories that fell through the crevices of history.
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<<The>> reluctant narrator
Julieta Aranda, Armando Andrade Tudela, Leonor Antunes, Kader Attia, Nina Beier, Derek Boshier, Aleksandra Domanovic, Dani Gal, Karl Holmqvist, Christoph Keller, David Levine, Amalia Pica, Bojan Šarcevic, John Smith, Hito Steyerl, Stephen Sutcliffe, Andreas Töpfer, Gernot Wieland
Often referred to as the “narrative turn,” an explosion of interest in narrative practices at the end of the twentieth century was predicated on the notion that life itself is storied, or - as Jacques Ranciére put it - that the real must be...
mehr
|
Often referred to as the “narrative turn,” an explosion of interest in narrative practices at the end of the twentieth century was predicated on the notion that life itself is storied, or - as Jacques Ranciére put it - that the real must be fictionalized in order to be thought. Postmodernism itself was described as a “narrative turn” in which a rekindled interest in the fictive, the chronicle, and the anecdotal upstaged the symbolic unity of high modernism. But as Susan Buck-Morss has noted, modernism and postmodernism are not historical moments, they are political positions: two poles of a recurring movement, expressing the contradictions inherent to the industrial mode of production in the identity and nonidentity between social function and aesthetic form. Rather than opposing a myriad of micro-narratives to the grand narrative of modernism, The Reluctant Narrator attempts to map the migration of narrative modes across several media, bringing together works that intertwine personal biography with historical events, or that deal with stories that fell through the crevices of history. (Quelle: www.sternberg-press.com)
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The reluctant narrator
Julieta Aranda, Armando Andrade Tudela, Leonor Antunes, Kader Attia, Nina Beier, Derek Boshier, Aleksandra Domanovic, Dani Gal, Karl Holmqvist, Christoph Keller, David Levine, Amalia Pica, Bojan Šarcevic, John Smith, Hito Steyerl, Stephen Sutcliffe, Andreas Töpfer, Gernot Wieland ; [a survey of narrative practices across media ; Museu Coleção Berardo, Lisbon, 15 October 2014 - 11 January 2015]
Often referred to as the "narrative turn," an explosion of interest in narrative practices at the end of the twentieth century was predicated on the notion that life itself is storied, oras Jacques Ranciére put itthat the real must be fictionalized...
mehr
Standort:
Staatliche Museen zu Berlin, Preußischer Kulturbesitz, Kunstbibliothek
Fernleihe:
keine Fernleihe
Standort:
Hochschule für Bildende Künste Braunschweig, Bibliothek
Fernleihe:
uneingeschränkte Fernleihe, Kopie und Ausleihe
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Often referred to as the "narrative turn," an explosion of interest in narrative practices at the end of the twentieth century was predicated on the notion that life itself is storied, oras Jacques Ranciére put itthat the real must be fictionalized in order to be thought. Postmodernism itself was described as a "narrative turn" in which a rekindled interest in the fictive, the chronicle, and the anecdotal upstaged the symbolic unity of high modernism. But as Susan Buck-Morss has noted, modernism and postmodernism are not historical moments, they are political positions: two poles of a recurring movement, expressing the contradictions inherent to the industrial mode of production in the identity and nonidentity between social function and aesthetic form. Rather than opposing a myriad of micro-narratives to the grand narrative of modernism, The Reluctant Narrator attempts to map the migration of narrative modes across several media, bringing together works that intertwine personal biography with historical events, or that deal with stories that fell through the crevices of history.
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