Edited by A.R. practice (Ann Richter & Agnieszka Roguski), Introduction by A.R. practice (Ann Richter & Agnieszka Roguski), Texts by Melanie Bühler, Erika Landström, Agnieszka Roguski

When the exhibition enters the digital realm, as it is increasingly happening now when the display of art and culture can be enjoyed individually behind screens, then how does the exhibition view diffuse optically, technically, and culturally? And how does this transformation echo the new understanding of subjectivity?

Echoing Exhibition Views. Subjectivity in Post-Digital Times explores the different medialities and intersubjective shifts that follow the moment of seeing a physical exhibition today. It takes the digitized exhibition view as starting point for artistic and theoretic reflections on post-digital culture, hyperreality and its relation to subjectivity. Focusing on the transformative potential of the exhibition as circulating view, this publication asks how it transfers again into a subjective mode of perspective through the artistic lens. So what is at stake when an exhibition circulates as a digital view? And how does its digital presence in turn affect and transform the subjective experience of seeing a physical exhibition?

With images from João Enxuto & Erica Love, Calla Henkel & Max Pitegoff, New Noveta/Yair Oelbaum, SANY, Hanna Stiegeler, Jasmin Werner, and Jonas Paul Wilisch, as well as texts by Melanie Bühler, Erika Landström, and Agnieszka Roguski, this publication gathers artists, curators, and writers who frame these questions through a variety of practices and media. It thus addresses a self-reflexive and critical approach on medium and format—understanding the exhibition as a fluid and diverse view.

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How is our view on exhibitions influenced by their digital re-/presentation on the internet? How can art affect the normalized, circulating installation views in a creative way––and articulate a subjective view in this way? And how, above all, do seemingly objective standards and subjectivity affect each other?

The publication Echoing Exhibition Views. Subjectivity in Post-Digital Times focuses on the subjectivity of the supposedly objective exhibition documentation. It is about how artists realize a kind of subjective view when they are presenting an exhibition––in terms of performative, spatial, visual or technological aspects––and how that view can broaden, reflect or criticize the standardized claim of exhibition views.

For Echoing Exhibition Views. Subjectivity in Post-Digital Times, a total of seven international artistic positions articulate their personal interpretation of the ‘installation view’. Most important is their disciplinary versatility, which provides a multifaceted and complex approach to the topic. Artistic photography, illustration, conceptual art and performance art together respond to the apparent objectivity emanating from exhibition documentation and the photographic installation view.

The medium of display always shapes the work, therefore the form of the book becomes the venue for a visual tension between specification and ambiguity. To underline the modification as a productive act, A.R. practice interfered with book production standards and used a special RGB-three-color printing technique instead of CMYK. RGB (red green blue) is the digital color range and refers to the online format. However, it will evoke experimental effects for this analogue format.

The guiding principle is the idea of transformation through various media and formats. Thus, the featured artists represent a practice in which various media and spaces are crossed; from the virtual exhibition on the internet to the actual exhibition space to the photographic image from the exhibition. All works become independent exhibition practices and works of art.

TABLE OF CONTENT

Editorial (A.R. practice: Ann Richter & Agnieszka Roguski)

Essays:
In Other Words, Please be True (Melanie Bühler)
Subjective Exposure (Agnieszka Roguski)
Professionalized Reenactment (Erika Landström)

Featured work:
João Enxuto & Erica Love “Anonymous Paintings” (2011–)
Calla Henkel & Max Pitegoff “Schinkel Klause” (2016)
New Noveta/Yair Oelbaum “Violent Amurg” (2017)
SANY “Acting Untitled” (2009-2018)
Hanna Stiegeler “Untitled” (2015)
Jasmin Werner “Observational Games” (2016)
Jonas Paul Wilisch “the work: a series of installation views” (2016/2017)

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Claudia Pagès’ writing emerges from the agora and the marketplace, where language is passed back and forth alongside coins and vegetables, jokes and greetings swapped like counterfeit underwear and bags of pork gelatine. Her writing explores how, around the daily exchange of daily goods, a people and culture form and define themselves. Between the cities of Barcelona and London she searches for an example of this personal, bodily commerce—a swatch of discarded human or synthetic hair, lost or abandoned back to the street. From this point, Pagès seeks more encounters with the industry and ideology of human hair.

Her Hair is a poetic catalogue of those experiences, as Pagès begins a personal exploration of the production and exchange of both hair and language, braided together through process of creation and exploitation. In doing so she produces something between text and textile, as her language grows, is cropped, is unruly, is epilated and is shorn through contact with hair and its discontents.

- Huw Lemmey

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