Bøger af Sabine Folie

This book is published on occasion of Ulrike Grossarth's eponymous retrospective at the Generali Foundation in Vienna. Both the book and the exhibition trace the evolution of Gossarth's practice, with a particular emphasis on her training as a dancer in the 1970s, to draw connections between the early years with her sculptural settings and actions and her most recent work, which engages with history more generally. In her contributing essay, Ulrike Gossarth states that the title--Were I Made of Matter, I Would Color--is a counter-model to the fundamental Descartian formula "I think therefore I am," a position which exists between consciousness and disembodiment, in a state of incompleteness. Rainer Borgemeister discusses the artist's actions from 1978 to 1987, which were preceded by her critical engagement with modern dance. Further contributions from Mieke Bal, Michael Glasmeier, and Elliot R. Wolfson discuss Grossarth's practice in relation to history, the body, and polymorphism.Copublished with the Generali Foundation, ViennaContributorsMieke Bal, Rainer Borgemeister, Sabine Folie, Michael Glasmeier, Ulrike Grossarth, Dietrich Karner, Elliot R. Wolfson

In her essay "Writing Turned Image: An Alphabet of Pensive Language," Sabine Folie writes, "An idea...explored in Stéphane Mallarmé's Un coup de dés (A roll of the dice) of 1897 has in the twentieth century become an integral part of the poetological and, more generally, the avant-gardist vocabulary: the idea of unmasking language as a convention whose purpose it is to discipline the individual and to subject it to a regulated system of capitalist exploitation as well as to guarantee orientation in the world... Writing was released from the textual ensemble of the book and integrated into the flow of its media--as a disturbance, a deconstruction of meaning." The ideas of Symbolist poet and galvanizing nineteenth-century intellectual Stéphane Mallarmé are discussed in this text-heavy volume in relation to works by Robert Barry, Lothar Baumgarten, Marcel Broodthaers, Theresa Hak Kyung Cha and Rodney Graham, among others. Scholarly essays by Sabine Folie, Anna Sigridur Arnar, Jacques Rancière, Gabriele Mackert and Michael Newman accompany a generous selection of images by each of the artists.

From 2008 to 2014 Sabine Folie was the director of the Generali Foundation--more than twenty-years after (plus que 20 ans après) the collection and exhibition venue formed in 1988. She helped establish the institution's reputation for generating new critical discussion on contemporary art through revisiting modernism. This survey publication, richly illustrated with photographs and source materials, indexes and contextualizes the works acquired for this definitive collection during Folie's tenure, along with giving insight into how the corresponding exhibitions were curated.Reviewing the collection's relation to recent art-historical discourse, the essays selected for the publication, written by theorists and artists, reflect on themes in contemporary art including linguistic devices, the dismantling of representation and the reorganization of pictorial space, the changing roles of the artist and the museum throughout modernity, the relationship between the subject and the environment under conditions of globalization and postcolonialism, and the artistic processing of history and the production of memorial culture. Commentary and works are featured by Lothar Baumgarten, Marcel Broodthaers, Ernst Caramelle, Peter Downsbrough, Harun Farocki, Morgan Fisher, Stéphane Mallarmé, Klaus Scherübel, Josef Strau, Ana Torfs, Joëlle Tuerlinckx, and Ian Wallace, among others.The artworks in the Generali Foundation, some of which have never been exhibited before, are organized here as an exhibition in book form. Moreover, a key focus of both artistic production and the collection during Folie's directorship was on "the book" as work and medium. The book is not only a topical medium that historicizes Conceptual art, but also a means to place the interests of this collection in focus--namely, revisions of modernity in the context of the contemporary proliferation of the reproduced image and modes of display. Copublished with Generali Foundation, ViennaContributorsAnna Sigrídur Arnar, Christa Blümlinger, Georges Didi-Huberman, Sabine Folie, Rachel Haidu, Tom Holert, Gabriele Mackert, Michael Newman, Elisabeth von Samsonow

Der Katalog erscheint anlässlich der Ausstellung "Das entwendete Meisterwerk. Bilder als Zeitmaschinen" in der Gemäldegalerie der Akademie der bildenden Künste Wien, die der gängigen Praxis der Schausammlung ein transhistorisches Modell gegenüberstellt, das die historischen Kunstsammlungen der Akademie - Gemäldegalerie, Kupferstichkabinett und Glyptothek - mit zeitgenössischen Werken in Konversation treten lässt. Die Ausstellung schöpft aus dem Reichtum der Sammlungen und greift eine Auswahl der vielen möglichen Bildprogramme, Typologien und allegorischen Formeln heraus, die die Sammlungen bereitstellen, um sie mit anderen Werken aus anderen Zeiten lose zu verweben. Vertiefende Essays zum Thema des Schiffs /Meeres, des Trompe l'oeil, der visuellen Erkenntnis von 1500 bis 1700, des Rahmens sowie der Subjektkonstitutionen im Rahmen gesellschaftlicher und technologischer Veränderungen über die Jahrhunderte und deren Niederschlag im Bild werden mit bildmächtigen Ansichten der Ausstellung verwoben.Text: Claudia Koch, René Schober, Allan Sekula, Bernhard Siegert, Victor I. Stoichita