Bringing together newly commissioned essays predominantly from an emerging generation of research... more Bringing together newly commissioned essays predominantly from an emerging generation of researchers and writers, this reader focuses on conceptual and experimental artistic, curatorial and institutional practices that have rarely or never been brought into relation with parallel developments outside their respective context, in this case Latvia, Slovenia, Croatia, Hungary, Chile, Peru, Poland and Romania. What is discussed in Removed from the Crowd: Unexpected Encounters I are practices that were in search of new methodologies, exploring the interstices between the collective and individual, private and public, action and escapism, art and non-art, artist and curator, nature and the urban space, the visible and the invisible. Many of them took place in private spaces, in solitude, in nature, or camouflaging themselves as non-art, as part of everyday life, a protest, a crowded street, radically redefining or ignoring the idea of audience. They rather counted (consciously or not) on ‘an audience to come’ and so could be said to have been meant for the future. The art historians invited to contribute to this book are thus today their ‘delayed public’, approaching these phenomena from both historical and contemporaneous perspectives, shaped by their own preoccupations and urgencies.
Bringing together newly commissioned essays predominantly from an emerging generation of research... more Bringing together newly commissioned essays predominantly from an emerging generation of researchers and writers, this reader focuses on conceptual and experimental artistic, curatorial and institutional practices that have rarely or never been brought into relation with parallel developments outside their respective context, in this case Latvia, Slovenia, Croatia, Hungary, Chile, Peru, Poland and Romania. What is discussed in Removed from the Crowd: Unexpected Encounters I are practices that were in search of new methodologies, exploring the interstices between the collective and individual, private and public, action and escapism, art and non-art, artist and curator, nature and the urban space, the visible and the invisible. Many of them took place in private spaces, in solitude, in nature, or camouflaging themselves as non-art, as part of everyday life, a protest, a crowded street, radically redefining or ignoring the idea of audience. They rather counted (consciously or not) on ‘an audience to come’ and so could be said to have been meant for the future. The art historians invited to contribute to this book are thus today their ‘delayed public’, approaching these phenomena from both historical and contemporaneous perspectives, shaped by their own preoccupations and urgencies.
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