CV and Portfolio


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David Goldenberg

 

D.Goldenberg selected work 1989 – 2013

Selected Work 1987-2018, books, short CV and Reviews

Complete CV

 

Post Autonomy

 

 

 

Text on Post Autonomy Parts 1 & 2 Between Revolution and Heresy

PAVILION 17  Reader of Bucharest Bianniale 

 

Short history of Post Autonomy

 

short history

 

Published and unpublished texts and lectures 2007 – 12  examining Post Autonomy

Presented in Mongolia; Baku, Azerbaijan; Arts Depot, Vienna, Austria; TS-1, Belgrade, Serbia

 

text&scripts

 

Publications

Booklet-1 Negations and Mixes

Booklet-2-New-Historic-Moment

Booklet-3-Delivering-Obsolescence

Booklet-4-Freeports

Booklet-5-Interviews For Whitehot Contemporary art & Exhibart

Booklet-6-Portfolio-of-images

Mobile Documenta

Topology_of_PA

The transformation of art, text for Venice Biennial 2013

 

Contact David Goldenberg dged03@hotmail.com

This Historical Moment


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*Please note this page is under construction and further information will follow shortly

 

 

 

 

 

 

 

 

 

 

Neoliberalism has destroyed what exists leaving a blank, a clearing, a new space.

In a sense we can say we have entered a moment where it is possible to re-imagine art again for the 1st time in 200 years

How do we meet this challenge?

We can pose the question another way “If you were offered the opportunity to shape art and thinking would you take up the challenge?”

Is it possible to coordinate a situation where cultures and peoples meet to exchange ideas to contest existing thinking and positions to reshape  centres of cultural power?

 

This opening is where art and thinking starts again

 

 

 

 

This is stage one in developing a project, whose extent and breadth will develop and become apparent over time.

 

What are the issues that require to be looked at, who is interested in engaging and exchanging ideas and what form should this exchange take?

 

 

A series of introductions to This Historical Moment through developing a non-visual practice 

 

 

What is a non-visual practice?

 

How do we discuss, analyse and break with neoliberalism from within neoliberalism?

 

What is a Participating Culture?

 

 

 

5 Years Gallery, London, UK

Sunday 27th May 4-5 pm

 

 

*Material on the event will be published in a 5 Year publication later in the year

 

 

Documentation of the event

 

 

 

 

 

 

 

 

Art as Global Currency

 

 

 

 

Molecular images

 

 

 

Simple Cluster 3

 

Drunken Walk Algorithm used in the stock Market,

Descartes “I think therefore l am”, location of folders on

my desk top, Art about nothing

 

 

Plotting the rise of the Right wing, Arts links to the Art Market, excavating Western Ontology as the root and core of Western Global White Supremacism

 

 

Art as Global Currency in 10 parts comprising 10 clusters of multiple images

 

 

How do we assemble a work that is capable of operating today within the existing complexity, what issues and aspects does it need to assimilate?

 

What is the context against which we exist and produce culture and which art and culture contributes in shaping?

A work assembled from 10 x clusters of screen shots of images extracted from Multiple internet sites. Selected images from the Mining the internet series 2014-18, building a picture of total power. Key figures who contributed to the conceptualisation and shaping of the Post Historical environment we exist in and against which art functions and promotes.

Figures who shaped the British Empire and who went onto assist in the rebranding of the British Empire into the British Commonwealth, the formation of a Global Government, writing of British History. The formation of the EU, Nonlinear Warfare, images of the end of history and political historical events.

The texture of post Global Market collapse 2008, the financialization of art, arts link to the art market, and arts role in Globalisation, and the capacity of art to address this complexity.

 

 

 

Tate Liverpool Exchange, Liverpool, UK

 

Organised by Art-e-motion VV 7

 

“Production – Process – collaboration”

28th July – 5th August

in parallel to the Liverpool Biennial

                           The talk and project take place in the Tate Exchange main space

 

I will give a talk on Saturday August 4th, 3 pm on

 

“What is a Participating Culture?”

 

with the curator Camilla Boemio, introduction by the organiser  Marina Marinio

 

The catalogue will follow shortly

 

Texts examining Participating Cultures

 

 

Details to follow

 

Tour of North England

Details to follow

 

 

For further information, dates and names of venues,  ideas for engaging with the concept and joining a debate, and suggestions for  responding  to the material, please look through the material below

Generic text

Introduction

Invitation to contributors

Summary

 

Contribution to the material

The start of any contribution and contact should be in the form of statements and diagrams on local newspapers

 

 

 

Then statements from different contributions will be extracted to make something similar to Luthers 95 thesis

 

 

From this beginning other forms are planned, for instance

 

How do we translate these ideas into a way of living for a place and setting for experimental living?

David Goldenberg visiting Uddebo

 

Realising ideas in the village of Uddebo, Sweden

 

 

Please email material or enquiries to David Goldenberg on

dged03@hotmail.com

News 2018

 

Forthcoming events

 

2019

February

 

Decreation Part 2 tour

University of Kent, Canterbury, UK

 

2018

 

 

My 2nd text to explore Agamben and Tiqqun’s ideas of the body

 

 

 

 

 

The catalogue for the Odessa Biennial has just been published

 

Please see below

 

 

March

 

 

3rd March Din Dins sonic event organised by Seth Guy, East London, UK

 

8th – 15th March

 

Nomad air residency Oslo, Norway and Uddebo, Sweden

 

 

April

 

 

 

Poster for nGbk

 

View of presentation at nGbk in Berlin with our poster  “This Historical Moment” with concept and visualisations

 

May

I have material included in Steve Willats exhibition of Control Magazine, Tate Liverpool exchange

25th April – May 16th

 

 

Sunday 27th May 4 pm

 

“Being together is not enough”

 

5 Years Gallery, London, UK

 

 

 

Introduction to a long term project This Historical Moment

 

Within neoliberalism

Documentation will follow shortly and a transcript of the event will be available later in the year

 

New interview

 

Interviewed by Manuela Johanna Covini

 

To be published in September

 

Below is a rather crude and unedited reply to a series of questions that Manuela sent me that formed the basis for her film interview.

 

Interview 5.12 12pm

 

June

2nd June

 

 

I will show an excerpt from a 2014 slide show for the NGCA, Bucharest, Romania, re adapted for the new context and renamed as Global Currency

 

At sunset

Decreation tour

organised by 51zero

Outdoor Cinema

Artists

David Goldenberg, Dan Rees, Smadar Dreyfus, Sung Tieu, Bas Jan Ader, Nikita Kadan, Sarah Cameron, Derek Ogbourne, The Play, Semiconductor

Whitstable Biennial Off site project

The Old Neptune Pub

Marine Terrace

Whitstable

CT5  1EJ

 

August

 

August 3rd

Benetton Foundation

Imagomundi

Salone degli Incanti, Trieste, Italy

 

 

Surplus Value 2018

 

 

4th August 2 pm

 

Tate Liverpool exchange project, Liverpool, UK + tour

Presentation

 

Introduction to Participating Cultures

 

Further information will follow shortly

 

 

 

e-meio-n3

 

My new interview is just about to be published in Meio 3, a Dutch Brazilian publication. It is basically a short autobiographical text that traces my interest in art since the age of 7 and allows me to clarify recent thinking and concepts.

 

 

Reviews of my work for the Odessa Biennial

 

 

 

 

Reviews of 51 zero Festival

 

 

51zero Festival of Moving Image and installation

Decreation

New coordinates

 

Rochester Cathedral, Guildhall Museum, Huguenot Museum, Kent University, Rochester, Kent

 

PV Rochester Cathedral Friday 27th October 7 – 9 pm

 

27th October – 2nd November 2017

 

Co-curated by David Goldenberg

 

View of work clustered into a series of 4 displays inside the Guildhall Museum

 

 

 

 

Programme notes for the Festival

decreation

 

With Bas Jan Ader, Acconci, Dan Rees, Nikita Kadan, Sung Tieu, Alia Syed, Derek Ogbourne, Maria Khierkhah, Smadar Dreyfus

 

Friday 27th Opening Rochester Cathedral, Sunday 29th October Opening of the Guildhall Museum with a day of discussions titled New Coordinates, Tuesday 31st October Talk around an installation, Wednesday 1st November Developing a new script, Thursday 2nd November Decreation and new coordinates and developing a new script for art.

 

 

 

 

 

 

 

Download Odessa Biennial digital Catalogue here

Museum-of-Odessa-Modern-Art-5

 

 

 

 

Photos of opening speeches

 

My contribution to the 5th Odessa Biennial fleshes out ideas first proposed for Distributing Obsolescence: Food bank, Art bank, Technology bank last year for Villa Capri, Italy, that sought to establish a set of coordinates to situate contemporary art.

The new project is structured through a series of negations, it is untitled and without a press release and the material is inserted into an existing installation across two rooms, using a found Russian press release juxtaposed with press releases I have amassed over the past few years which are changed each day. The work sought to develop a whole idea around change, which forces are stopping development and ideas for taking thinking and art forward.

The work sought to develop a whole idea around change, which forces are stopping development and ideas for taking thinking and art forward, reflected in the change of register in the material across the two rooms.

 

 

 

 

 

 

 

 

Below is just a trial area and will undergo considerable changes over the next few weeks. The files are low resolution, but if anyone wants copies of high-resolution material please email dged03@hotmail.com

 

Below are a series of publications to accompany the installation for Odessa and are intended to provide detailed background information on the new installation/visual essay. Booklet 3 is currently being designed and the 9th Booklet of recent texts will also be produced,  while the 4 books designed with Ioana Pioaru in 2012 that summarised the history and ideas behind Post Autonomy is also available again. Booklet 10 on the language of the body is under development and will be published soon

 

Publications to accompany the installation for the Odessa Biennial

 

Booklet 1

Booklet 2 New Historic Moment

Booklet 3 Catalogue  currently in the process of being designed

Booklet 4 Delivering obsolescence

Booklet 5 Free ports

Booklet 6 Selected Works, CV and Press

Booklet 7 Interviews

Booklet 8 Portfolio of images

 

 

Publications on Post Autonomy

 

mdocumenta

Topology of PA

short history of PA

text&scripts

 

 

5th Odessa Biennial of Contemporary Art – Turbulence. August 26th –  September 3oth, 2017

Curated by Mikhail Rashkovetsky and Semen Kantor, The Museum of Odessa Modern Art, Odessa, Ukraine

 

Including Dan Prejovschi, special section  to include Boris Mikhailov,  and a special section curated by Monika Szewczyk with Artur Zmijewski

Zanny Begg, Kristina Paustian, Renee Ridgway, Ghost of a Dream, Nikita Kadan & Yuri Leiderman, Martinka Bobrikova & Oscar de Carmen

 

 

Special Section

The “Delivering Obsolescence. Art Bank, Data Bank, Food Bank” project

Curated by  Camilla Boemio, with Fabio Lattanzi Antinori and David Goldenberg

 

TURBULENCE AREA

 

The following information on the Biennial is the English translation of a text on the Biennial website

 

” The Odessa Biennial once again confronts artists with Global problems. That, according to many authoritative experts, is one of the signs of provincialism and marginality. However, in the era of fundamental crisis, and even more so – a crisis of fundamentals, the true outline of the future often encountered in the margins of canonic texts, at the boundaries, are melting in the fire of innovations.

Half a century later after “Future Shock” by Alvin Toffler outstanding sales manager discovered that we are shaped by turbulent flows of V.U.C.A, volatility, uncertainty, complexity and ambiguity.

If earlier turbulence in culture has been defined as a crisis or transition with their spatial-temporal boundaries, now the state of turbulence claims to be boundless. The ancient curse “May you live in an era of change” becomes meaningless as contemporary culture fails to reach a state of stability. Out put from turbulent area is considered a catastrophe that could end human existence as a whole.

Unity and opposition, private and the general enter into the most dangerous zone of risk. Radical design modeling is urgently needed as permanent change accelerates exponentially. One such means has been art. A daily challenge of art at all times has been working with universal relationships, including dynamic ones. Value’s of this function in turbulent zone trends to infinity. We are once again called to look into the essence of social problems from the specific and universal art optics. But we exist at a moment where audiences for contemporary art are isolated ( which is a generation of a postindustrial society) becomes unbearable. ” The Odessa Bienniale is curated by Mikhail Rashkovetsky and Semen Kantor

 

http://2017.odesa-biennale.org.ua/

 

 

Text and images from Distributing Obsolescence: Food Bank. Art Bank. Technology Bank show, background information for the new installation in the Odessa Biennial can be found in the following publication

https://view.joomag.com/startup-2/0225386001471983048?

   

 

 

Article by Camilla Boemio

 

 

 

Forthcoming events and projects in 2017/18

 

 

 

July 2018 Tate Liverpool, talks, workshops, performances

 

Early 2018 Vinyl Factory, organised by 1000 miles an hour, London, UK

 

Early 2018 Imago Mundi Highlights, Imago Mundi Museum, supported by the Benetton Foundation and Fabrica, Teviso, Italy. [Cata]

 

December a new interview is to be published by Meio, a Dutch Brazillian Journal

 

 

My text for Iris republished in Imagista

 

 

New text for Reflektor M

 

 

 

La Cuisine Allmonde, galeriedutableau. Marseille, France

 

 

October/November Medway Arts Festival, Rochester, UK

 

November 3rd Ghost Pavilion, organised by Reflektor M, Museum Villa Stuck, Munich, Germany

 

October Venice Biennial, Venice, Italy

 

Artists´ Books for Everything

An exhibition of the Centre for Artists´ Publications

Juni 3rd  – August 6th  2017

Centre for Artists´ Publications / Weserburg

Museum für Moderne Kunst
Teerhof 20
28199 Bremen

Germany

 

2017

 

6th December, What happens to us,  curated by Marsha Bradfield and Amy McDonnell, Welcome at the Same Table with CINZIA CREMONA. Wimbledon Space, Wimbledon School of art, London, UK.

 

23rd November I have work in Art-e-motion, presented by Marina Moreno, Palazzo Mora, Venice, Italy

 

Three new texts  2016/2017

January 2017 new version of “After the catastrophe” for the Catalogue of “Diane La Chasseresse” Iris Brosch, Published by Editions Rue de Temple

 

 

 

 

 

“After the catastrophe” Published by Normal Magazine

 

“Switch on and off (new version) ” Published by Pavilion Magazine

 

http://pavilionmagazine.org/david-goldenberg-switch-on-and-off/

 

 

pavillion text

 

 

 

 

Excerpt from my text on Participatory Practices written for Fillip Journal No 8 quoted by Fabiola Hanna 3.6.2017

 

 

                                                                                                                   

 

 

 

 

Pavilion homepage                                                 New book on Art after Autonomy  

 

TAKE-PART_10_2016

Text by Suzana Milevska “Infelicitous” Participatory Acts on the Neo Liberal stage, Participatory art’s promises and hopes for Democratization of Society, with reference to my Fillip 8 article and A short history of Post Autonomy

 

AND Journal 27 & 28

 

AND No 27

AND No 28

 

Texts from the early 1990’s on Microwaves and Frozen stills and Flexible Response

 

 

10th November Talk on recent work at The University of the Arts Canterbury

 

 

Gallery

Art Bank, Food Bank, Technology Bank

One person show at Villa Caprile, Pesaro, Italy

Curated by Camilla Boemio with AAC Platform

 

Sponsored by Ioana Pioaru and Sistemi2000 Srl

https://aniconics.wordpress.com/2016/07/16/delivering-obsolescence-art-bank-data-bank-food-bank

 

In 2 parts: installation as an archaeology of the conditions  for staging art today and a found Press release.

 

 

Grouping together a wide range of elements car delivering materials View of obsolete technology from the side jpgblack bin liner, art works, archaeological finds s

Large waste bin View of central technology stack- developing an idea of a technology bank

 

 

Found press release

 

 


-- Download Art Bank, Food Bank, Technology Bank as PDF --


News

Exhibitions 2016/17

 

 

Sept

Art Riot Exhibition and book launch, Chelsea School of Art, London, UK

PV 5th September

5-9th September

Room A119a

 

July 2016

 

“Delivering Obsolescence: Art bank, Data bank, food bank” One person show at the Palace of Villa Caprile, Le Marche, Italy. Curated by Camilla Boemio and AAC Platform

 

art bank, data bank, food bank

 

 

July 2016, Group show, Kunst Altonale 18, Hamburg, Germany

 

 

Stasis and Looping

 

Title: Stasis and Looping, 2016

 

A new work  “A visual essay on the effectiveness of art against the background of a protest against austerity”

 

 

Delivering obsolescence. Art Bank, Data Bank, Food Bank – Installazione site-specific di David Goldenberg

 

Research Seminar: David Goldenberg

Event Date May 4, 2016 3:30 p.m. – 5 p.m.

Location – ATRiuM, Cinema (CA B205)

Assembling a platform to stage Participating Cultures

Chair: Inga Burrows (University of South Wales)

The term Participating Cultures originated in a lecture that I delivered for the 2010 Mongolian Land Art Biennial, as a critique of participatory practices and the Biennial form as a platform for staging art in a Global context. Then expanded and visualised in installations for the Venice Biennial and the Caspian Sea Biennial, and more recently in a text for the Pavilion Journal in 2014 where Participating Cultures is recognised as the second term in the formulation of the scheme of Post Autonomy.

In the new lecture I propose to provide a general introduction that covers the initial steps towards the conceptualisation and visualisation of Participating Cultures, beginning with how to translate the concepts into recognisable forms and language that makes the ideas understandable to a wider audience and contributors. And at the same time establish a platform to both discuss and stage a project examining Participating Cultures against a background of stasis and obsolescence and the current state of sociopolitical emergency, that forefronts the health and capacity for art and thinking to register this state of affairs? As a term it is intended to signal and trigger re-imagining starting again, leading to re-configuring the spatial global role of art. Yet before this possible any discussion of change, starting again, and reconfiguration is only possible through a general understanding of the space of art and cultural power.

Da­vid Gol­den­berg, (Hit­chin, Hertfordshire, UK, 1956) is an im­portant Eng­lish con­cep­tu­al ar­tist. For ye­ars, his re­se­arch has been con­cen­tra­ted on the Post Au­to­no­my con­cept, which he has de­ve­l­o­ped in a num­ber of shows held at im­portant in­ter­na­tio­nal in­sti­tu­ti­ons, stan­douts amongst which are the re­cent (2012) The Sce­na­ri­os of Post Au­to­no­my, Glen­da Cin­que­gra­na: the Stu­dio, Mi­lan, Ita­ly; Tem­pla­te – Mo­bi­le Do­cu­men­ta, Chisenha­le Stu­di­os, Lon­don (2011), The Space of Post Au­to­no­my, Arts De­pot, Vi­en­na (2011), Plau­si­ble Art­worlds, Ba­se­kamp, Phil­adel­phia (2010), Mo­bi­le Do­cu­men­ta, Ford­ham Gal­le­ry, Lon­dra (2009), The Time of Post Au­to­no­my is Now, Your space, Van Ab­be­mu­se­um, Eind­ho­ven, Hol­land (2009), The Space of Post Au­to­no­my, Lo­cal Ope­ra­ti­ons, Ser­pen­ti­ne Gal­le­ry, Lon­don (2007).

 

Review of Condo by David Goldenberg

New text in collaboration with Maria Inez Plaza

Social share

New text on Participating Cultures for Reflector M

Participating Cultures

 

 

Here, There and Everywhere: Eurasian Cities

 

Project Director, Project Artist Kyong Park

JIHOI LEE, CURATOR

Asia Culture Center, ACC Creation, in Gwangju, South Korea,

from November 25th, 2015 to July 5th, 2016

 

Poster work South Korea small

 


 

Installation shots Asia Culture Center, ACC Creation, in Gwangju, South Korea

 

Guide

http://imaginingneweurasia.org/exhibition/programs/

http://imaginingneweurasia.org/main/

eMuseum

 

I have three text/poster works

Collapse

Fiction

From Art into Politics and from Politics into Art

 

Opening of European Promise 11th December

European Promise

 

New text on Curating degree zero in OnCurating issue 26

Curating degree zero

 

Arts Initiative Tokyo,
Rosanne Altstatt,
Amasté,
Artlab,
Anthony Auerbach,
B+B: Sophie Hope & Sarah Carrington,
Marius Babias,
Basekamp,
 Ute Meta Bauer,
Lorenzo Benedetti,
Tobias Berger,
Ursula Biemann,
Beatrice Von Bismarck,
Blok,
Lionel Bovier,
Tim Brennan,
c a l c,
camouflage,
Ele Carpenter,
Daniela Cascella,
Vaari Claffey,
Barbara Clausen,
consonni,
 Copenhagen Free University,
CRUMB,
Alice Creischer & Andreas Siekmann, D.A.E: Peio Aguirre & Leire Vergara, Catherine David,
Joshua Decter,
 Clémentine Deliss,
Claire Doherty,
Barnaby Drabble,
Sergio Edelsztein,
 Eichelmann, Faiers & Rust, EIPCP, Octavian Esanu, Jacob Fabricius, Elena Filipovic, Fiteiro Cultural, Freee, Mark Garry, Sönke Gau, Catalin Gheorghe, GMK, David Goldenberg, Horst Griese, Frederikke Hansen,
Kent Hansen,
Maria Hlavajova,
Justin Hoffmann,
Manray Hsu,
Andrew Hunt, Per Hüttner, Instant Coffee,
International 3, K&K, Christoph Keller, Alexander Koch, Annette Kosak, Holger Kube Ventura, Kuda.org, Kuratorisk Aktion, Daniel Kurjakovic, Simon Lamunière, Kelly Large, Maria Lind, Locus +, Chus Martínez, Bernd Milla, Elke aus dem Moore, Nina Möntmann, Heike Munder, Lise Nellemann, Tone Olaf Nielsen, Hans Ulrich Obrist, NEID, Paul O’Neill, Marion von Osten, Sarah Pierce/The Metropolitan Complex, Planet22, Tadej Pogacar, Prelom, Aisling Prior, Protoacademy, Catherine Queloz, Reinigungsgesellschaft, RELAX, Dorothee Richter,
Maria Riskova, Stella Rollig, Sabine Schaschl-Cooper, Annette Schindler, Katharina Schlieben, Eva Schmidt, Trebor Scholz, Marco Scotini, Yukiko Shikata, Nathalie Boseul Shin, Gregory Sholette, Joshua Simon, Lisette Smits, Reinhard Storz, Bettina Steinbrügge, Szuper Gallery, Toasting Agency, TNC Network, Attila Tordai, Trinity Session, Mark Tribe, Unwetter, Value, Sencer Vardaman, Yvonne Volkart,
Stevan Vukovic, Gavin Wade, Florian Waldvogel, Cristine Wang, Astrid Wege,
Lee Welch WHW, Jan Van Woensel,
Ina Wudtke, Florian Wüst, Tirdad Zolghadr, Tal Ben Zvi.

 

The archive of curating degree zero is open to the public at  the Media and Information Centre (MIZ) at the Zürich University of the Arts (ZHdK).

Information on the archive

Catalogue

Curating Degree Zero Archive

The Curating Degree Zero Archive (CDZA) documents the work of over 100 contemporary art curators who are known internationally for their critical and experimental positions. This collection of exhibition documentation, gifted to the archivists by the curators themselves, contains, among other materials, catalogues, DVDs, magazines and ephemera. In this way the archive presents a representative cross-section of the critical curatorial discourse at the beginning of the 21st Century.

The project began with the three-day symposium ‘Curating Degree Zero’, organized in Bremen in 1998 by Dorothee Richter and Barnaby Drabble. Between 2003 and 2008 the two curators worked together again on the Archive, which grew in size as it travelles to 18 venues around the world as an exhibition and program of live events and public discussions.

In 2011, the resulting collection was gifted to the Media and Information Centre (MIZ) at the Zürich University of the Arts (ZHdK). Since the opening of the University’s new premises in the Toni-Areal in 2014, the archive ist accessible as a permanent refernce collection in the lower floor of the MIZ.

The entire contents of the CDZA are listed in the NEBIS Catalogue, and material that, due to conservation issues, cannot be accessed directly in the reference section can be ordered for viewing through the NEBIS catalogue. Several unedited video recordings are listed in the eMuseum and can also be requested for viewing in the MIZ archive.

Further information about the archive and the touring exhibition can be found on the former CDZA website which is documented in the Arts Media Archive (Medienarchiv der Künste).

 

Material on David Goldenberg and works stored in the archive

 

http://recherche.nebis.ch/primo_library/libweb/action/display.do?tabs=detailsTab&ct=display&fn=search&doc=ebi01_prod006797061&indx=80&recIds=ebi01_prod006797061&recIdxs=9&elementId=9&renderMode=poppedOut&displayMode=full&frbrVersion=&frbg=&dscnt=0&vl(1UIStartWith0)=contains&scp.scps=scope%3A%28ebi01_prod%29&tb=t&vl(215043702UI0)=any&mode=Basic&vid=NEBIS&vl(524695795UI1)=all_items&srt=rank&tab=default_tab&dum=true&vl(freeText0)=dokumentensammlung%20e65%20curating%20degree%20zero%20archive&dstmp=1477947526499

 

Interview October 2015

 

For exibitart.com

 

CURATORIAL PRACTISES

La Post Autonomy di David Goldenberg
di Camilla Boemio
camilla boemio

 

 

Catalogue for venicevending show

Venicevending catalogue