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Equilibrium? Royden Rabinowitch Historical Turning Points and Artists’ Solidarity

Equilibrium? Royden Rabinowitch Historical Turning Points and Artists’ Solidarity Curated by Christa-Maria Lerm Hayes Organised with assistance from Politics Plus At Golden Thread Gallery Belfast, January 2014.

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Equilibrium? Royden Rabinowitch Historical Turning Points and Artists’ Solidarity

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  1. Equilibrium? RoydenRabinowitch Historical Turning Points and Artists’ Solidarity Curated by Christa-Maria Lerm Hayes Organised with assistance from Politics Plus At Golden Thread Gallery Belfast, January 2014

  2. The GTG realised the exhibition in January 2014, following its cancellation at the Ulster Museum the previous Summer. It had been scheduled there as separate, titled section of the collection’s new hang. The thought of “challenging” politicians in the museum ultimately proved to risky to the director.

  3. RoydenRabinowitch’s Greased Cone (1965) 2014 and Barrel Construction, 2014 were at the centre of the exhibition.

  4. Rabinowitch, James Joyce Tower, 2013, Greased Cone (M) 1964, 2013

  5. From Schiller (1st edition of Collected Writings with Letters Upon the Aesthetic Education of Man) via Warsaw 1988/89 to Beuys in Belfast 1974 and Beuys and Rabinowitch: instances of artists’ solidarity at times of change.

  6. Beuys’ last multiple Joyce with Sled, 1985 (in frame) and publication by Rabinowitch proposing the Greased Cone as an address to Brancusi’s Portrait J. Joyce ca. 1928

  7. Background reading on Rabinowitchandtheoreticalpositions on artists’ solidarityandart’srelationshipto violent contextsandtimes of change (from Schiller andAdornotoRanciere, Demos et al. The exhibitionprovided a spacefor the workshop withpoliticians, but also a site of teaching andindividualstudy.

  8. Directors of a transitional justice research institute and a cross-community youth organization and two performance artists (with the curator)

  9. Workshop with politicians and party support staff from the Northern Ireland Assembly. We discussed the fragility of the Barrel Construction and the cone as a symbol of hierarchy, as well as the grease as both attractive and discusting – and the importance of disgust in democracy (according to Martha Nussbaum). The drawing for the cone (instructions) became the inaugural work of contemporary art in the Northern Ireland Assembly at Stormont.

  10. The The central artwork (Greased Cone, 1965) was intended to enter a public collection in Northern Ireland. The Ulster Museum was not interested, the Arts Council did not respond to the letter offering it. The work became “homeless”. Other versions of it are collected by the Guggenheim Museum, NYC, the Neue Nationalerie, Berlin etc. In 2017, the work and all archival materials relating to the exhibition and the workshop entered the collection of the Van Abbemuseum, Eindhoven.

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