Bøger af Jens Hoffmann

Writings by exhibition maker and writer Jens Hoffmann, charting a highly unique curatorial trajectory.This volume brings together a wide selection of writings by exhibition maker and writer Jens Hoffmann that outline his deep understanding of the interconnections among art, curating, theater, film, and literature. The nearly fifty texts include essays on artists, exhibitions, and curating; reviews of large-scale international group exhibitions; catalogue texts from exhibitions Hoffmann curated; and interviews and conversations with artists and other cultural practitioners. Collectively, these texts map the development of Hoffman's thoughts and agenda, articulating a highly unique curatorial trajectory.

This publication documents the exhibition "United States of Latin America," held at the Museum of Contemporary Art Detroit (MOCAD), in collaboration with the Kadist Art Foundation. Bringing together their shared and ongoing engagement with artistic practices from Latin America, Jens Hoffmann and Pablo León de la Barra have assembled one of the most significant contemporary survey's of recent art from the region. Hoffmann and de la Barra's project draws attention not only to the geographic territories of Latin America itself, but also to its relation within the wider scope of the Americas, and its position in a global artistic context. This book offers a framework for critical insight into artworks dealing with crucial social, industrial, or ecological concerns, and also for interrogating the very categories and terminologies used to construct the notion of Latin America. This catalogue includes a conversation between Stefan Benchoam, Fernanda Brenner, Eduardo Carrera, Camila Marambio, and Marina Reyes Franco (moderated by Heidi Rabben), a glossary, a reflective essay by Hoffmann "after the fact," and images from the exhibition.Copublished with Museum of Contemporary Art Detroit and Kadist Art FoundationContributorsStefan Benchoam, Fernanda Brenner, Eduardo Carrera, Jens Hoffmann, Pablo Léon de la Barra, Camila Marambio, Heidi Rabben, Marina Reyes Franco

The Museum of Contemporary Art Detroit's show 99[ or Less gathers 99 American artists addressing Detroit's ongoing economic crisis, its 2013 bankruptcy and its role as an industrial powerhouse. The participating artists, among them John Baldessari, Brian Belott, Sarah Crowner, Michelle Grabner, Rob Pruitt and Amy Sillman, use materials from 99 cent stores.

The landmark Jewish Museum exhibition Primary Structures offered the first presentation of Minimalist sculptures in the United States, in 1966. The accompanying catalogue by Kynaston McShine became a key resource on artists such as Donald Judd, Carl Andre, Dan Flavin, and Sol LeWitt, who were virtually unknown at the time. Other Primary Structures is a long-overdue reintroduction of this classic, out-of-print text. This two-volume set includes a replica of the original catalogue, plus a new companion volume by Jens Hoffmann that offers a global survey of early Minimalist sculpture during the 1960s and 1970s, featuring important sculptors from Asia, Africa, Latin America, and Eastern Europe, and complementing the earlier catalogue's focus on American and British artists. Beautifully designed, this publication comes enclosed in a clear jacket that pays homage to the original catalogue's iconic cover. Other Primary Structures is invaluable for the study of modern art history and provides an authoritative survey of Minimalist sculpture in the 1960s. Distributed for the Jewish Museum, New York Exhibition Schedule: The Jewish Museum, New York (03/14/14-08/03/14)

This monumental new book explores the recent history of exhibition-making, looking at the radical shifts that have taken place in the practice of curating contemporary art over the last 20 years. Tracing a history of curating through its most innovative shows, renowned curator Jens Hoffmann selects the 50 key exhibitions that have most significantly shaped the practice of both artists and curators. Chosen from the plethora of exhibitions, biennials and art events that have sprung up across the world since the 1990s, each exhibition reviewed here has triggered profound changes in curatorial practice, and reanimated the potential of contemporary art. The book includes an international roster of curators, and exhibition venues that span the globe, from the USA, Mexico, Brazil and South Africa to France, Germany, the Netherlands, Turkey and Spain. It is comprised of nine themed sections, including: "New Lands" (on shows such as Magiciens de la Terre, The Short Century and After the Wall); "Biennial Years" (which documents influential biennials such as the Documentas [10, 11, 13] and the Berlin and São Paulo Biennials); "New Forms" (including experiments in exhibition-making such as Do It and NowHere); "Others Everywhere" (on 'identity politics' shows such as In a Different Light, Phantom Sightings and the 1993 Whitney Biennial); "Tomorrow's Talents Today" (on influential group exhibitions of emerging artists such as Helter Skelter and Sensation); and "History" (on historical surveys such as Inside the Visible, Global Conceptualism and WACK!). A bold proposition for the future of exhibition culture as well as a means of making the recent past accessible, Show Time is essential reading for any student of curating or museum studies, for professional curators and for all those interested in one of today's most dynamic forms of cultural production. Jens Hoffmann is an exhibition maker and writer based in New York. He is Deputy Director and Head of Exhibitions and Public Programs at The Jewish Museum, New York. He has curated and co-curated a number of large-scale exhibitions, including the 2nd San Juan Triennial (2009), the 12th Istanbul Biennial (2011) and the 9th Shanghai Biennial (2012).

Americana: 50 States, 50 Months, 50 Exhibitions was a long-term presentation consisting of 50 displays, each approximately one month long, exhibited between January 2011-May 2012 and coorganized by Wattis Institute director Jens Hoffmann and CCA's Graduate Program in Curatorial Practice. The title is a reference to an exhibition of the same name that was curated by the artist collective Group Material at the 1985 Whitney Biennial. Each month's display examined an American state, in alphabetical order by state name. Through artworks, historical artifacts, curiosities and other elements, Americana focuses on overlooked and little-known aspects of each state. Americana examines the states as they are today, looking at how America's social and political imperatives condition the production, presentation and interpretation of art and exhibition making. The brisk pace of the 50 displays reflects the varied and constantly changing fabric of this relatively young country and its multilayered, shifting national identity.

Seminar paper from the year 2019 in the subject Economics - Monetary theory and policy, Heilbronn University of Applied Sciences, language: English, abstract: According to conventional wisdom, the cryptocurrency Bitcoin exhibits several improvements compared to the traditional banking system, namely its decentralized structure and a proof-of-work consensus mechanism. However, authors frequently discover problems and propose all kinds of fundamental changes, such as completely new consensus mechanisms by which they want to replace the existing system. That raises the question of how the further development of Bitcoin has to be promoted. We review the most relevant literature concerning Bitcoin¿s current role and future potential from different angles. By putting ourselves in the position of involved actors, we find out what they expect from the Bitcoin network and how desirable additional regulatory measures are for them. Although it is generally accepted that appropriate governance can contribute to a more stable and secure currency, cryptocurrencies¿ unique characteristics add a new dimension to this idea. That is why we sporadically throw in comparisons to local currency schemes already in existence in order to conclude how the question of regulating a decentralized currency must be addressed.

Sonic Rebellion: Music as Resistance is inspired by the vital history of music in Detroit and the legacy of the 1967 Detroit Rebellion. It connects Detroit's musical and political histories with a wide range of artworks, music ephemera and artifacts to offer a listening space for the rebellion's reverberations. This historic event is related to more recent social movements, from Occupy to Black Lives Matter, illustrating threads between past protests and the unresolved racial politics in the United States today. One major thread is the role of music as a catalyst for social change and empowerment. Artists include Andrea Bowers, Tim Davis, Emory Douglas, Juliana Huxtable, Rashid Johnson, Glenn Ligon, Leni Sinclair and Mickalene Thomas.

An unprecedented look at the wide-ranging artistic work of one of the 20th century's most significant landscape architects

"Stalking" ist mittlerweile ein bekannter Fachbegriff, der synonym mit "obsessiver Verfolgung" und "obsessiver Belästigung" gebraucht wird. - Aber was genau ist "Stalking"? Endlose Briefe, Telefonate und E-Mails, Auflauern und Verfolgen, Drohungen und Liebesbekundungen: Es gibt keine spezifische Verhaltensweise, die bei Stalking immer präsent ist - aber im Kern geht es immer um ein einseitiges Kontaktstreben: Einer will, dass der andere an ihn denkt, der andere möchte ihn aus dem Gedächtnis verbannen.Hoffmann, der als der deutsche Stalking-Experte gilt, zeigt die unterschiedlichen Facetten von Stalking auf. Als theoretischer Hintergrund dienen psychologische Theorien der Bindungsforschung und Lerntheorie. Für Fachleute und Betroffene relevant sind die Analysen, wie gefährlich Stalking in extremen Ausprägungen werden kann und was dagegen getan werden kann.