OVERVIEW

The course aims to provide students with the notions and methodological tools necessary for the understanding of the main issues related to contemporary art, the history of exhibitions and the evolution of the display, and, in general, the linking between curator, artist, audience, and institutions in recent decades.

After a general overview of the most significant exhibitions of the Twentieth century and the last two decades, we are going to analyze case studies that are particularly relevant for problematizing the role of display within so-called exhibition studies and visual studies. The course also aims to critically reflect on the 'spectacular' condition of the contemporary art system, highlighting idiosyncrasies and potentialities that characterize the triadic complex artist-curator-exhibition.

AIMS AND CONTENT

LEARNING OUTCOMES

The teaching covers the history of contemporary art from the early decades of the twentieth century to the most recent trends, focusing on the historical evolution of exhibitions, exhibition spaces, their set-ups, as well as the concept of 'display' from the point of view of exhibition design. In addition to offering multiple practical insights into the design and preparation of exhibition events, the course's main aim is to provide students with a solid historical-critical knowledge and awareness of essential elements in the training of the art historian, of those who curate art exhibitions and coordinate the artistic planning of the exhibition spaces.

PREREQUISITES

Basic knowledge of contemporary art history (Twentieth Century)

TEACHING METHODS

Lectures articulated with the support of multimedia materials and designed to encourage discussion on the topics addressed. Meetings with artists and specialists in the field are planned.

Attendance, although not mandatory, is strongly recommended.

SYLLABUS/CONTENT

The course program will cover the following topics:

1. General outlines of the history of exhibitions and specific insights on case studies (from Documenta 5, 1972, up to the 2000s). Specific focus on key-figure curators such as Harald Szeemann, Nicolas Bourriaud, Lea Vergine, Achille Bonito Oliva

2. The exhibition as a medium: history of the so-called Institutional Critique

3. The “display” as an exhibition strategy and the origin of the concept of the white cube and presentation of its exhibition specificities: between genealogies, limits, and new experiments

4. Contemporary exhibitions: the art show as a practical tool for “diplomatic negotiation” and feminism as a narrative-exhibition solution

RECOMMENDED READING/BIBLIOGRAPHY

Bibliography:

1) Brian O'Doherty, Inside the White Cube. L'ideologia dello spazio espositivo, Milan, Johan&Levi, 2012 and subsequent editions, pp. 15-34; 55-72; 129-133. Of course it is allowed to study the essay in O'Doherty's original publication in English.

2) David Balzer, Curatori d’assalto. L’irrefrenabile impulso alla curatela nel mondo dell’arte e in tutto il resto, Milano, Johan&Levi, every further edition is fine (solo “Introduzione”, “Prologo” e “Parte Prima: Valore”). Of course it is allowed to study the essay in Balzer's English publication.

3) Analysis of at least one exhibition from among those presented within the monographic issue On Display of the journal Mousse (vol. 61, December 2017-January 2018). A brief powerpoint presentation is warmly suggested.

Note: The slides provided in class are an integral part of the program.

These texts are available in the DIRAAS library (Balbi 4, 3rd floor) and at the Archivio d'Arte Contemporanea (AdAC - Balbi 4, 5th floor)

Additional literature and background material will be provided during the course. We reserve the possibility to slightly modify the bibliographic plan during the course of the course according to the thematic development of the course. Depending on the students' interests, it will be possible to agree with the lecturer a specific in-depth program on topics covered in class.

Non-attending students are required to supplement the above bibliographic plan with the following text:

Antonello Negri, L'arte in mostra. A history of exhibitions, Milan, Mondadori, 2011.

TEACHERS AND EXAM BOARD

Exam Board

PAOLA VALENTI (President)

ALESSANDRO FERRARO

LUDOVICO BALDELLI (Substitute)

STELLA CATTANEO (Substitute)

LESSONS

LESSONS START

March 24th, 2025

Class schedule

The timetable for this course is available here: Portale EasyAcademy

EXAMS

EXAM DESCRIPTION

Oral evalutation

ASSESSMENT METHODS

The exam is passed with a passing grade if the student shows a basic knowledge of the syllabus provided/lessons covered. Higher and excellent ratings will be awarded through the verification of the student's ability to grasp critical aspects, cultural connections and interdisciplinary issues in the topics addressed in the course and discussed in the recommended texts.

Extensive gaps in art-historical knowledge, poor comprehension and analytical skills, inappropriate language, lack of reference points regarding the topics presented in class or regarding the most basic art-historical lineaments of contemporaneity will be evaluated negatively.

Exam schedule

FURTHER INFORMATION

Students with disabilities or learning disorders are entitled specific adjustments, provided they upload the relevant certifications and documents on the University's dedicated webpage. See http://servizionline.unige.it under rubric 'Students'. The documents will be validated by the relevant office within the University (Settore servizi per l'inclusione degli studenti con disabilità e con DSA dell'Ateneo) (https://rubrica.unige.it/strutture/struttura/100111).

At least 10 days before the exam, students will have to email the instructor, Cc'ing the aforementioned office, as well as the School's deputy for matters concerning students with disabilities and learning disorders (elisabetta.colagrossi@unige.it). Please specify the following in your email:

- name, surname, student number
- course name and number
- date of your exam
- adjustments required

Once the School's representative confirms your eligibility, you will liaise with your instructor to finalize the details. The final decision on what adjustments are acceptable rests with your instructor.

Please note that any request must be sent at least 10 days before your exam, to successfully complete the process in time. Please also note that the mind maps to be used on the day of your exam have to be significantly more concise than those you use when you study.

For further information, please see:
https://unige.it/sites/unige.it/files/2024-05/Linee%20guida%20per%20la%20richiesta%20di%20servizi%2C%20di%20strumenti%20compensativi%20e_o%20di%20misure%20dispensative%20e%20di%20ausili%20specifici%20Maggio%202024.pdf