Difference between revisions 31558332 and 31558407 on nlwiki

Chambres d'amis is een kunsttentoonstelling die plaatsvond in de stad. ze werd gecrueerd door jan hoet en vond plaats in 1986

==OPZET VAN DE TENTOONSTELLING==
[[Arnold Bode]] (1900-1977) was de initiatiefnemer van de eerste "wereldtentoonstelling der hedendaagse kunst" die in Kassel moest plaatsvinden. Bode was schilder en pedagoog en kwam al in mei 1933 in aanvaring met het naziregime. Zijn werk werd direct als [[Entartete Kunst]] aangemerkt.
In 1948 (her)stichtte Bode met zijn kunstvrienden uit Kassel de Kunstacademie, die al in 1932 was gesloten. Zijn plannen om in het volledig verwoeste Kassel een grote internationale kunsttentoonstelling te organiseren werd werkelijkheid in 1955,
samenvallend met de in Kassel georganiseerde Bundesgartenschau (de Duitse Floriade) en werd meteen een enorm succes.<br />
De achtereenvolgende "documenta's" groeiden uit tot een gigantisch media-evenement en een toeristische troef van de eerste orde met alle daarbij behorende [[mercantiel|mercantiele]] voordelen.

==DE TENTOONSTELLING Opzet en concept ==
=== een reactie op de bestaande context ===
The Chambre d’Amis exhibition took place in 1986 in the city of Ghent. It could be seen as an unusual exhibition as it broke out of the museum, taking place in the houses of the inhabitants of the city. This event came up reacting against the typical setting of exhibitions in the Modern age: the so-called “white cube”.1 The most known image of the white cube is the important exhibition about modern art and architecture that took place in 1929, at MOMA in New York. The place where to expose the pieces of arts was characterized by no windows, white walls, uniform lights, and no noise: a general sobriety, neutrality and pureness. The main aim was to extract the viewer from the world as the minimal frame of white was thought
to be neutral and pure, in order to not distract from reflection on the art. The white cube was a tremendously successful western export, that was brought basically everywhere through the so-called “large-scale exhibitions”. Artworks were simply brought into existing museum spaces without altering their white cubes. They are supposed to be globally replicated, always the same despite their location nor context. 2

Gradually, the loss of ability to generate surprise, the radicalization of the isolation of the work and the catalysis of authorship - typical of Modern art - were questioned.

Thus, in the late 1960s and early 1970s the site-specific art emerged.3 This fact forced a dramatic reversal of the modernism paradigm. Site-specific art took the site as an actual location, a tangible reality as it is strictly related to the physical elements of the site. While modernism sculptures were more autonomous and self-referential, transportable, placeless and nomadic; the main features of site-specific work are establishing an indivisible relationship between the work and the site and the necessity of the physical presence of the viewer for the work`s completion. Moreover, site-specificity had the aspiration of exceeding
the traditional media - like painting and sculpture - and the desire to resist the forces of the capitalism market economy, in which artworks circulate as transportable and exchangeable commodity goods.

=== concept van Jan Hoet ===
Jan Hoet (Leuven, 23 juni 1936) not only was the curator of SMAK (Stedelijk Museum voor Actuele Kunst) in Ghent, but also of some large scale exhibitions such as Chambres D'Amis (1986) and Documenta IX (1992) in Cassel. In an interview he put forward the idea for Chambres d' Amis after a discussion he had in at a symposium in Bari:

“I was at a symposium in Bari with other international curators. (…) The Americans
proposed to break down an old part of the city, and build a new museum for art. Then I reacted with a counter proposition: let’s renovate the old houses of the city and do this with architects and artists. They can work together to bring new life to the old city.

== De tentoonstelling ==
Het zwaartepunt van de eerste documenta lag evenwel niet zozeer bij de hedendaagse kunst, dat wil zeggen de na 1945 ontstane kunst, als wel tonen van het werk van die kunstenaars, die gedurende de nazi-tijd werden geassocieerd met [[Entartete Kunst]].
(contracted; show full)

However there is one theme that is considered achieved by Michael Newman: the fact the art has been transformed into a product of consumption in the museum to a wider scope where participation of citizens is what makes the exhibition works. “The idea has the potential to challenge the enclosure of the museum, the separation of public and private space, and the relation of domestic space to street and workplace, as well as to turn culture from
consumption to participation.”