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The Paris Opera Ballet Dancing Offstage

Work, Grace, and Race

Tessa Ashlin Nunn


The spaces in which amateur and professional dancers practiced their art greatly changed during the Covid-19 pandemic due to the closures of theaters and dance studios, yet dance continued to bring people together online. This article studies the media presence of the Paris Opera Ballet (POB) between March 2020 and May 2021 to analyze how the aesthetic and moral concept of grace has evolved. During this difficult year, dance took on a therapeutic role as POB dancers offered free online classes and performed in video work, in addition to taking on a political role as discussions about racism in ballet sparked public debates.

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Pushing the Boundaries

Curating LuYang, a Global Artist Embedded in Local Situatedness

Nora Gantert and Malte Lin-Kröger

presentations of contemporary art from China in major German art institutions, such as exhibitions of Yin Xiuzhen at Kunsthalle Düsseldorf in 2012/13 ( Kunsthalle Düsseldorf 2012 ), Cao Fei at K21 Düsseldorf in 2018/19 ( Kunstsammlung Nordrhein-Westfalen 2018

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Contextualizing the Artistic Repertoire in Museums

The Role of Nonartistic Factors

Liora Aldes and Tally Katz-Gerro

case looks at art museums in Israel, which receive public funding but also rely on additional sources of income. Structural Aspects: Between “Center” and “Periphery” Art institutions in major cities enjoy many economic benefits over those in the

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Book Reviews

Ed McKeon and Juan Menchero

programming inevitably conflicts with a number of issues relative to the social value of art institutions. Or, in fact, to what Walker Art Center's senior curator of performing arts Philip Bither identifies in his interview as the different economies of art

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Book Reviews

Louise Jashil R. Sonido and Ed McKeon

refuse art institutional demands for accumulation, visibility of the self, and hyper-productivity and the consequential extraction of “surplus care” of the curator after considerations of personal health and responsibilities for others. Contrasting the

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Common Purpose

Performance and Curation as Allied Socially Engaged Practices

Brogan Bunt

contributed to the development of socially engaged art practice. It has had significant support from aspects of the art institution. In a review of the history of performance exhibition at the Tate Museum, Jonah Westerman and Catherine Wood (2020) provide a

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An Otaku with Chinese Characteristics?

Localizing Japanese ACG Currents in Lu Yang's The Beast

Fred Shan

problematize contemporary art's dialogue with Chinese otaku culture and consider how the latter becomes reterritorialized within the transnational networks of neoliberal economy, art institutions and nation-states. Figure 1. Stills from Yang, Lu. 2012

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Aesthetic politics in contemporary India

Nikita Simpson

case. For Tilche, aesthetic politics is present in the formal curatorial projects of Gujarat's tribal museums and art institutions where Adivasis seek to preserve and renew public interest in tribal culture. It is also present in the informal curatorial

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“They don’t even know how to copy”

The discourse on originality in Albania’s art world

Sofia Kalo

1961 , quoted in Bunzl 2014: 5–6 ). Art institutions are complicit in all of this. Having become bigger and more corporatized, they have ceased to support progressive art, opting instead to present what can be easily digestible by the masses (4–5). The

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The Artist is Absent, or The Birth of Seven Documented Performances by Yan Xing

Meiling Cheng, Andy Campbell, Hendrik Folkerts, Amelia Jones, and Xing Yan

call cannot be monitored or recorded. He seems to be still typing. What do you think … ? AC: So I'm trying to understand it … Same for you, Hendrik? HF: Yeah, I need to understand it almost spatially: you're in a museum or art institution and