Ettore Spalletti’s work is often discussed in terms of spirituality thanks to his capacity to translate material into spatial and emotional experience. Here, the author discusses Spalletti as a painter who uses space as his medium.
But Szeemann still stands almost alone as a model of contemporary art curating. With that in mind, Grandfather’s restaging connects—maybe unintentionally—contemporary art curating to notions of fine art that presumably are long gone.
Reliving events experienced in nature, geometric constructions, and sensorial spheres, In Real Life follows a sort of circular and directionless path where visitors are encouraged to navigate and perceive disparate situations.
Further on we encounter a group of objects scattered on a floor titled eBay sculpture. To make it, Bader bought a complete lot of items offered by an eBay seller in Germany and arranged them in this form. Bader constantly visits digital aggregators of goods and images such as eBay and Amazon, continuing Marcel Duchamp’s anti-aesthetic discourse, and the Conceptualism that followed, by depleting the artwork’s bourgeois aspect and activating instead a new form of intangible consumption economy—namely, the language of contemporary art.
This essay highlights works of video art that critically and creatively engage the closed caption. These works toy with the caption’s limited capacity to translate, the importance of providing access, and present the caption as a generative site for poetic, humorous, and critical perspectives. The author presents video art as an important site for experimenting with new forms of so-called “audiovisual media” that do not presume sighted and hearing audiences and do not treat access as an afterthought that can be turned on and off.