Curating Lively Objects explores the role of things as catalysts in imagining futures beyond disciplines for museums and exhibitions. Authors describe how their curatorial collaborations with diverse objects, from rocks to robots, generate new ways of organising and sharing knowledge.
Curating Lively Objects explores the role of things as catalysts in imagining futures beyond disciplines for museums and exhibitions. Authors describe how their curatorial collaborations with diverse objects, from rocks to robots, generate new ways of organising and sharing knowledge.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Lizzie Muller is a curator and researcher specialising in audience experience, reflective-curatorial practice and changing disciplinary formations in museums. She is Associate Professor at UNSW, Sydney. Caroline Seck Langill is a writer and curator who researches intersections between art and science, and the related fields of media art history. She is Professor at OCAD University, Toronto, Ontario.
Inhaltsangabe
List of Figures List of Contributors Acknowledgements Introduction Part I: Troublesome Objects: 1. Decolonising archives: killing art to write its history 2. Rendezvous with the Indigenous Art Collection: how to 'raise a flag' 3. Troublemakers in the museum: Robots, romance and the performance of liveliness 4. Curating data-driven information-based art: Outlive or let die Part II: Metabolizing Objects: 5. Digesting institutional critique 6. Curatorial care and the lively materials of biomedical art 7. Living and semi-living artefacts on display: The monster that therefore is a living epistemic thing 8. Troubling (natural) history: Bonnie Devine, Mark Dion, and Musée de la Chasse et la Nature 9. Social objects, art, and agriculture Part III: Energetic Objects: 10. Mineral materialities in contemporary art: Between intra-action, discursive magic and grief 11. Objects, energies and curating resonance across disciplines 12. Feminist new materialism, religion and perception 13. Digital-physical-emotional immersion in country: Bearing witness to the Appin massacre Index.
List of Figures List of Contributors Acknowledgements Introduction Part I: Troublesome Objects: 1. Decolonising archives: killing art to write its history 2. Rendezvous with the Indigenous Art Collection: how to 'raise a flag' 3. Troublemakers in the museum: Robots, romance and the performance of liveliness 4. Curating data-driven information-based art: Outlive or let die Part II: Metabolizing Objects: 5. Digesting institutional critique 6. Curatorial care and the lively materials of biomedical art 7. Living and semi-living artefacts on display: The monster that therefore is a living epistemic thing 8. Troubling (natural) history: Bonnie Devine, Mark Dion, and Musée de la Chasse et la Nature 9. Social objects, art, and agriculture Part III: Energetic Objects: 10. Mineral materialities in contemporary art: Between intra-action, discursive magic and grief 11. Objects, energies and curating resonance across disciplines 12. Feminist new materialism, religion and perception 13. Digital-physical-emotional immersion in country: Bearing witness to the Appin massacre Index.
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