ISSUE 52 (SUMMER 2017): What Exhibitions Do
ISSUE 52 (SUMMER 2017): What Exhibitions Do
ISSUE 52 (SUMMER 2017): What Exhibitions Do
ISSUE 52 (SUMMER 2017): What Exhibitions Do
ISSUE 52 (SUMMER 2017): What Exhibitions Do
ISSUE 52 (SUMMER 2017): What Exhibitions Do
ISSUE 52 (SUMMER 2017): What Exhibitions Do
ISSUE 52 (SUMMER 2017): What Exhibitions Do
ISSUE 52 (SUMMER 2017): What Exhibitions Do
ISSUE 52 (SUMMER 2017): What Exhibitions Do
ISSUE 52 (SUMMER 2017): What Exhibitions Do
ISSUE 52 (SUMMER 2017): What Exhibitions Do
  • Load image into Gallery viewer, ISSUE 52 (SUMMER 2017): What Exhibitions Do
  • Load image into Gallery viewer, ISSUE 52 (SUMMER 2017): What Exhibitions Do
  • Load image into Gallery viewer, ISSUE 52 (SUMMER 2017): What Exhibitions Do
  • Load image into Gallery viewer, ISSUE 52 (SUMMER 2017): What Exhibitions Do
  • Load image into Gallery viewer, ISSUE 52 (SUMMER 2017): What Exhibitions Do
  • Load image into Gallery viewer, ISSUE 52 (SUMMER 2017): What Exhibitions Do
  • Load image into Gallery viewer, ISSUE 52 (SUMMER 2017): What Exhibitions Do
  • Load image into Gallery viewer, ISSUE 52 (SUMMER 2017): What Exhibitions Do
  • Load image into Gallery viewer, ISSUE 52 (SUMMER 2017): What Exhibitions Do
  • Load image into Gallery viewer, ISSUE 52 (SUMMER 2017): What Exhibitions Do
  • Load image into Gallery viewer, ISSUE 52 (SUMMER 2017): What Exhibitions Do
  • Load image into Gallery viewer, ISSUE 52 (SUMMER 2017): What Exhibitions Do

ISSUE 52 (SUMMER 2017): What Exhibitions Do

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The borders of fiction and reality are slipping ever further. A lot of what is behind the images on our screens remains hidden: their political utility; the algorithms through which they appear; the source of their magic. How does that change the nature of the exhibition? Is it moving from the white cube into virtual realms, into the urban fabric, into domestic spaces? Between networks, theory and the market, where is the power of exhibitions today? Also included: Alessandro Bava on the future of exhibition spaces, a review of Documenta 14 in Athens, Liam Gillick on Rirkrit Tiravanija’s exhibition “untitled (1992) free”, and a Q&A with Benjamin H. Bratton, Adriana Lara, and Rózca Farkas, who take on Instagram, exhibition idealism, and “the feed.” Portraits include Karen Kilimnik and Brigitte Kowanz;  an essay on Virtual Reality by Ben Vickers, and Andros Zins-Browne in conversation with Asad Raza.

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