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Exhibiting 'Migration'

Examples from Vienna

Danila Mayer

In the last decade or so, several projects to exhibit 'migration' were staged in Austria's capital, Vienna. They were undertaken in various contexts: in museums, as part of art shows and in art festivals. These efforts are taken under scrutiny by the author, regarding their production, their way of enabling participation and articulation, and the new perspectives they opened. It is argued that through efforts of formerly excluded groups a change came about in how the figure of the 'migrant', and the various processes of migration, are perceived.

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Should the Sociological Analysis of Art Festivals Be Neo-Durkheimian?

Jean-Louis Fabiani

Durkheim's Aesthetics: A Neglected Argument? For quite some time now, Durkheimian sociology has been viewed as paying scant attention to art. Indeed, one can imagine that Durkheim was too busy establishing the fundamentals of his discipline to indulge in the more recreational aspects of social life. Sociologists build theories and consider serious topics (e.g. capital, division of labour, rationality and so on) and do not give extra-time to what's happening after the working day. If we look at indices and textbooks, this lack of interest is obvious. The upgrading of culture as a central feature of sociological investigation is a rather recent phenomenon (Alexander 2003, Fabiani 1993). In many ways this has to do with the emergence of cultural industries, which forced sociologists to analyze, first in a very critical manner, social changes brought about by the mass consumption of symbolic commodities. Today the sociology of art and culture has moved from the periphery to the centre. In France in particular, these topics have been taken up so as to renew theories and build intellectual reputations. Durkheim, of course, never planned to draw up any sociological aesthetics, as Bourdieu attempted to do in Distinction (1979). Although from today's perspective Bourdieu's book may be considered as a partial failure, one cannot deny the panache and inventiveness it involved, largely based as it was upon the recognition of the high sociological significance of cultural and artistic matters. Bourdieu's interest in art and literature was central from the very beginning of his career, and one of his first attempts to define the concept of field (champ) appeared in a paper devoted to literature (Bourdieu 1967). Things are obviously very different with Durkheim.

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Why Curate a Festival Without an Audience?

How to Mis(behave), or a Case Study of the Gan and Gan International Xingwei Yishu Festival in Jiangxi, China

Raimund Rosarius

monument heralding new life behind transhistorical walls. The poster announces the 2018 edition of the GAN&GAN International Performance Art Festival in a mixture of English and Classical Chinese. 1 As one of the invited artists, I entered the town hall

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Labmovel

Media Arts on Wheels

Gisela Domschke and Lucas Bambozzi

Labmovel/Mobile Lab is a joint initiative developed in Amsterdam by the Netherlands Media Art Institute (NIMk) and in Brazil by Vivo arte.mov, an International Mobile Media Art Festival, with the support of Telefonica’s Program of Art and Technology (BR) and Th e Mondriaan Foundation (NL). It consists of specially designed street vehicles equipped with features of digital media developed in the cities of Amsterdam and São Paulo. In 2012, artists from both countries submitted residency proposals that integrated the development of art projects, workshops, and cultural events as the Mobile Labs went on tour in the Netherlands and Brazil.

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Mobilizing a “Spiritual Geography”

The Art and Child Artists of the Carrolup Native School and Settlement, Western Australia

Ellen Percy Kraly and Ezzard Flowers

ago) in the Katanning library as part of the celebration of Noongar culture during the 2006 Perth International Art Festival. They were welcomed back to country with great ceremony in a celebration of Noongar heritage and remembrance. With poignancy

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Common Purpose

Performance and Curation as Allied Socially Engaged Practices

Brogan Bunt

Sydney, Australia. KSCA began in 2016 as an outgrowth of the Cementa Festival , 2 an environmentally focused socially engaged art festival that has been running in Kandos on a biennial basis since 2013 and was initiated by arts workers Anne Finnegan

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Echo and the Ecumene

Grasping the Estonian National Museum

Art Leete and Patrick Laviolette

International Art Festival ( Nicholls 2003 ). Figures 2 and 3 are still images taken from this promotional video. We have selected them to reveal subsequent passages of text. They are separated by thirty seconds of music and behind-the-scenes sequences of

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Jerusalem’s Alternative Collective Memory Agents

Menachem Klein

disrupt the spatial order that Israel created after 1948, whereas the Germans promote acceptance of existing socio-political and spatial orders. In its 2018 exhibition, Manofim, an annual Jerusalem art festival, included interactive exhibits about former

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New Research

Breaking the Refugee Mold Through Curation; Beyond Mystery and Authority; To Repeat also Means Getting Ahead; Curatorial Crisis On Display

Emmanuel Chima, Subthiga Mathanamohan, Abdullahi Yussuf, Brandon Farnsworth, Cassandre Langlois, and Amritha Sruthi Radhakrishnan

interdisciplinary art festival wherein dance is presented as a capsule in the overall manifestation of a promised experience, it transforms the city of Panaji, in the state of Goa, into a tourist destination. Assuring a luxurious experience, SAF is the brainchild of