دانلود کتاب CrossSections: Processing Artistic and Curatorial Research

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TABLE OF CONTENTS\nCHAPTER 1. INTRODUCTION\nCROSSSECTIONS\nCROSSSECTIONS PROCESSING ARTISTIC AND CURATORIAL RESEARCH\nTHE OPENING MOVE\nTHE (UN)KNOWN UNKNOWNS\nCHAPTER 2. THE PROCESS\nPHASES / MEETINGS\nTHE CORE MEETINGS\nMAKO ISHIZUKA\'S PAGES ON THE CORE MEETINGS\nWHERE ARE WE NOW? WHAT ARE WE GOING TO DO?\nTHE SHARE MEETINGS\nTOWARDS THE REIGN OF THE CAT\nTHE PERIPHERAL MEETINGS\nTHE PUBLIC MEETINGS\nRESIDENCIES\nCHAPTER 3. REFLECTIONS OF THE PARTNERS\nCHANGING PERSPECTIVES\nINVESTING IN THE UNKONWN\nA PLATFORM FOR ARTISTS AND CURATORS\nPROMOTING EXPERIMENTATION, REFLECTION AND DISCUSSION\nPROVOCATIVE COMMUNITIES\nA PROGRAMME IN DIALOGUE\nOUR DIALOGUE\nEMBRACING UNCERTAINTY AND SERENDIPITY\nOPEN-ENDED PROCESS\nDIALOGUE AND PARTNERING\nCHAPTER 4. THE CONTENT\nARTISTS, ARTISTIC RESEARCHES, PROJECTS, CURATOR\nBARBARA HOLUB\nSHADES AND SHADOWS OF THE SOCIAL: THE BLUE FROG SOCIETY\nBEHZAD KHOSRAVI-NOORI\nSYNECDOCHE, YUGOSLAVIA\nBENJI BOYADGIAN\nIMAGINARY\nBENJI BOYADGIAN & BEHZAD KHOSRAVI-NOORI\nREGULATING TIME: THE OWLS, THE QUEEN, AND THE MAQUETTISTE\nBRONWYN LACE\nMIRROR MIRROR\nEBRU KURBAK\nINTERSECTING DIMENSIONS: CHRONOLACE STUDIES\nEGLE ODDO\nSPLITTER\nHEBA Y. AMIN\nOPERATION SUNKEN SEA: FLIPPING THE HISTORICAL NARRATIVE\nINMA HERRERA\nDRAWING OUT NEW SOUNDS FROM ONE’S INSTRUMENT\nISA ROSENBERGER\n... THE VAST LAND FROM WHICH SHE COMES\nLINA SELANDER\nON ÖVERFÖRINGSDIAGRAM NR 1 [DIAGRAM OF TRANSFER NO. 1]\nMARCUS NEUSTETTER\nDEFINING LINES\nNIKOLAUS GANSTERER\nTHE GESTURE\nNISRINE BOUKHARI\nLANDSCAPES OF UNCERTAIN TIMES\nOTTO KARVONEN\nJAILBIRDS\nRAMESCH DAHA\nI AM HEALTHY, I CANNOT WRITE THIS LETTER MYSELF\nRICARDA DENZER\nRICARDA DENZER’S AUFZEICHNUNGEN\nTAMSIN SNOW\nSPARE FACE\nTIMO TUHKANEN\nSONIC INDEPENDENCE\nYANE CALOVSKI\nOBSESSION, THINGS, AND NARRATIVES\nBAŞAK ŞENOVA\nCHAPTER 5. THE PROCEEDINGS\nEXHIBITIONS\nEXHIBITIONS AS CURATORIAL READYMADE FORMS OF ESCAPE\nA CONSTRUCTED MODEL: THE CROSSSECTIONS EXHIBITIONS\nDESIGN OF THE EXHIBITIONS\nUTILIZING “TABLE” AS A DESIGN ELEMENT IN A RESEARCH-BASED CURATORIAL AND SCENOGRAPHIC PRACTICE\nCROSSSECTIONS_INTERVALS: EXHIBITION WITH ENDLESS COMPLEXITIES\nCROSSSECTIONS_POTENTIALS\nCROSSSECTIONS_INTENSITIES\nCROSSSECTIONS_INTERVALS\nPERSPECTIVES\nCROSSECTIONS_PERSPECTIVES\nSUPPORT STRUCTURE: THOUGHTS AFTER AN OPENING\nCROSSECTIONS_NOTES\nMODELS\nTHE FIRST MODEL\nTHE TRAVELLING MODEL\nTHE TRAVELLING MODEL\nSOLO EXHIBITIONS\nSHADOW OPTICS\n...THE VAST LAND FROM WHICH SHE COMES\nBLUE FROG SOCIETY / A HABITAT WITHOUT TERRITORY SPEECH TO THE BLUE FROG SOCIETY IN ROMANES BY NANCY BLACK\nTHE WORLD IN COMMON\nCROSSSECTIONS IN CLIMBING THROUGH THE TIDE EXHIBITION\nCOMMUNITY ACTIVATION: B7L9 – BAHR LAZREG, TUNIS\nARTIST TALKS, PERFORMANCES, PRESENTATIONS, & GUIDED TOURS\nGUIDE\nBOOKLET\nBOOK\nARTIST BOOKS\nCHRONOLACE, SEQUENCE #001\nFRAGMENTS OF A FROZEN MOMENT\nSCREENING PROGRAMME\nCHAPTER 1, CHAPTER 2, CHAPTER 3, COORDINATES\nNOTES FROM THE POST-PRODUCTION PROCESS\nCHAPTER 6. EDUCATIONAL AND CREATIVE CHANNELS\nCO-TEACHING AND CO-PRODUCING\nDEPARTMENT OF DESIGN, CRAFTS AND ARTS, KONSTFACK/CROSSSECTIONS\nEXPERIENCING AND EXPERIMENTING WITH THE CONDITIONS AND THE PROCESS\nEXPERIENCING AND EXPERIMENTING WITH THE CONDITIONS AND THE PROCESS\nCRAFT/CROSSSECTIONS\nALTERNATIVE CHANNELS\nKUNSTHALLE EXNERGASSE — WERKSTÄTTEN UND KULTURHAUS (WUK)/ FEDERAL CHANCELLERY [BUNDESKANZLERAMT] & KULTURKONTAKT/CROSSSECTIONS\nPARALLEL VIENNA 2018\nUNIVERSITY OF APPLIED ARTS VIENNA/CROSSSECTIONS\nB7L9, KAMEL LAZAAR FOUNDATION/CROSSSECTIONS\nTHE CROSSSECTIONSHUB\nALIEN PALACE BIRDHOUSE COLLECTION\nEXHIBITION #2\nEXHIBITION #4. VIENNA IS A MUSEUM\nTHE LOG\nACKNOWLEDGEMENTS\nIMPRINT