| Popis: |
The thesis catches up a phenomenon in contemporary exhibition practice: the presentation of art beyond traditional platforms such as museums and galeries. It is the Berlin based nightclub Berghain that in this case study is object for an analysis of an alternative art space. The two photographies Ostgut Freischwimmer rechts and Ostgut Freischwimmer links of the german artist Wolfgang Tillmans were to be seen there after being sold to art museums in Switzerland exhibited together with other works of the collection at Fondation Beyeler. The comparison of the club as the new and alternative and the museum as the traditional and institutional is the specific concern of the work: on which institutional structures is the staging of art based on and how can they be altered and contrasted by means of place and exhibition features. The meaning of art is determined by its physical setting and the institutional and ideological constituencies that are lying behind it. This interconnection is examined by terms of Henri Lefebvre social space and Arthur C. Danto and George Dickie. Contextualisation, categorisation and the creation of an aura of theory as well as established roles and hirarchies determine the institutionalized artwold and are reverted in the attempt to create an alternative space. The creation of the new is based on its differentiation from the traditional and is therefore to be seen as a concept, a repetition of structures that is filled with new contents. In his function of curator to both of the exhibitions, Wolfgang Tillmans extends his artistical practice over the medium of photography - by this way, the pictures meaning is transcending its visuality and interacts with the space, communicating different values in different situations. The comparison of the the two exhibition sites shows: silence is replaced by sound, contemplation is replaced by movement, history and context by nowness and momentarity. But still is the exhibition of art is bound to structures. The question therefore should not concentrate on finding an alternative beyond institutional structures, but on which kind of institution it could be that expresses the intended meaning of an art work. By this terms, the argument can be traced back to Wolfgang Tillmans himself and both his personal, artistic and curatorial world view: imagining an anti-hirarchical culture in which no one is to claim the truth further than in its own immediate moment of experiencing it |
