Kunstkritik og institutionskritik i x-rummet
DOI:
https://doi.org/10.7146/periskop.v2019i21.121797Resumé
In 2013, the SMK – National Gallery of Denmark initiated a series of exhibitions that was
supposed to deal with the role of the museum in the 21st century. This article focuses on
the two first exhibitions in this series: Haim Steinbach’s The Window and Henrik Olesen’s
Abandon the Parents. The article claims that these exhibitions can be seen as working
within the tradition of institutional critique, but also after it; through curating some of
the museum’s own works and mimicking, respectively, the modernist “white cube” aesthetics
and the Wunderkammer aesthetics. As such, the exhibitions do not only present
a critique but can also be seen as pragmatic suggestions for how to curate, how to think
the collections and exhibitions. In the article, the institutional critique of Olesen’s and
Steinbach’s exhibitions will be read through another critical position: the Danish art criticism.
In other words, this article does not only focus on how the institutional critique was
visualized and performed in the exhibitions, but how this critique was discussed and read
in written art criticism. This is not to say that art criticism and institutional critique can
be wholly separated, but to see how these two forms of critique can say something about
museums today. And more specifically, what affects can be read out of the art criticism,
when the exhibitions they criticize are so clearly contextualized (by the museum) as institutional
critique?
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