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van Oldenborgh, Wendelien

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Amateur is the first comprehensive publication about Wendelien van Oldenborgh’s moving image works, and their accompanying installations. Developed over the past ten years of her practice, these works explore communication and interaction between individuals, often against the backdrop of a unique public location, in order to cast attention on repressed, incomplete, and unresolved histories. Through the staging of these encounters on film, van Oldenborgh enables multiple perspectives and voices to coexist, and brings to light political, social, and cultural relationships and how they are manifested through social interactions.

The publication is generously illustrated and brings together a wealth of texts by artists, curators, and writers who have been key interlocutors with van Oldenborgh, and who each offer in-depth observations and reflections on a work from her oeuvre. These authors include Nana Adusei-Poku, Ricardo Basbaum, Frédérique Bergholtz, Eric de Bruyn, Binna Choi, David Dibosa, Denise Ferreira da Silva, Avery F. Gordon, Tom Holert, Nataša Ilić, Charl Landvreugd, Sven Lütticken, Anna Manubens, Ruth Noack, and Grant Watson.

kunst --- twintigste eeuw --- eenentwintigste eeuw --- 7.071 VAN OLDENBORGH --- 791.471 VAN OLDENBORGH --- video-installaties --- videokunst --- video --- kunst en film --- film --- van Oldenborgh Wendelien --- Nederland --- video artists --- multimediakunst --- Oldenborgh, van, Wendelien --- MAD-faculty 16 --- hedendaagse beeldhouwkunst --- van Oldenborgh, Wendelien

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kunst --- kunst en politiek --- film --- film en politiek --- kolonialisme --- postkolonialisme --- Indonesië --- van Oldenborgh Wendelien --- Soerjaningrat Soewardi --- Nederlands Oost-Indië --- Nederland --- antropologie --- culturele antropologie --- 7.039 --- Dewantara, Hadjar, --- Oldenborgh, Wendelien van, --- 1798-1999 --- Indonesia --- Indonesia. --- Politics and government

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Is art only art insofar as it refuses to be useful? At a moment when the boundaries between public and private have been radically redrawn--politically, economically and culturally--how do we understand art's ability to know the world, to develop our ethics, to express our sense of historical belonging and to be, in different ways to different people, useful? What's the Use? takes as a starting point the premise that art is best understood in dialogue with the social sphere, and examines how the exchange between art, knowledge and use has historically been set up and played out. Propositional and speculative--and deliberately inconclusive--the theorists and artists included in this volume seek an answer to a familiar question: how can art know, and change, the world?

politics --- philosophy of art --- sociology --- community art --- economics --- Art --- kunst --- 7.01 --- Gillick Liam --- Dorner Alexander --- Riegl Alois --- architectuur --- Paglen Trevor --- Schlingensief Christoph --- museologie --- musea --- lichamelijkheid --- Bartana Yael --- Van Oldenborgh Wendelien --- Godard Jean-Luc --- Arte Útil --- kunst en ecologie --- kunsttheorie --- kunst en politiek --- Art and society. --- Philosophy. --- Philosophie

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The shape of evidence' examines the role and use of visual documents in contemporary art, looking at artworks in which the document is valued not only as a source of information but also as a distinctive visual and critical form. It contends that for artists who use film, photography or written sources, adopting formats derived from specific professional, industrial, scientific of or commercial contexts, the document offers a way to develop a critical reflection around issues of representation, knowledge production, art and its history. It addresses several issues that are key both in art and in general culture today: the role of the museum and the archive, the role of documents and the trust that is placed in them, the circulation of such images and the historical genealogies that can be drawn in relation to images. It is based on a close reading of a select number of works of art (e.g. Christopher Williams, Fiona Tan, Jean-Luc Moulène), which makes it approachable and engaging with the reader. The book investigates objects and ideas drawn from a wide spectrum of areas including literature, history, photography history, scientific representation, surrealism, conceptual art, commercial photography etc. Ultimately the book invites viewers to reflect upon the production and interpretation of seemingly straightforward images, and proposes that some artists can show us through their practice how to turn these deceptively simple images inside out.

hedendaagse kunst --- art theory --- bronnenstudie --- inspiration --- Contemporary [style of art] --- visual arts --- Art --- anno 2000-2099 --- Photographie --- Cinéma --- Archives --- Muséographie --- Sémiologie de l'image --- Documentation --- kunst --- musea --- literatuur --- 7.01 --- 7.038/039 --- 7.039 --- dekolonisatie --- kolonisatie --- kolonialisme --- conceptuele kunst --- concept art --- surrealisme --- van Oldenborgh Wendelien --- Tan Fiona --- Augustijnen Sven --- Leonard Zoe --- Moulène Jean-Luc --- Williams Christopher --- fotografie --- film --- kunsttheorie --- archieven --- archivering --- 77.01 --- Fotografie--Semiotiek van de fotografie. Theorie --- Art, Modern. --- Image (Philosophy) --- 77.01 Fotografie--Semiotiek van de fotografie. Theorie --- Image (Philosophy). --- Image (Philosophy) in art --- Art. --- Contemporary style of art. --- art theory. --- bronnenstudie. --- hedendaagse kunst. --- inspiration. --- visual arts. --- Anno 2000-2099. --- visual arts [discipline] --- Fonds d'archives --- Muséologie --- Kunsttheorie ; musea ; maatschappelijke rol --- Beeldvorming ; representatie --- Kunsttheorie ; over interpretatie --- Dekolonisatie --- Conceptuele kunst --- Kunst ; theorie, filosofie, esthetica --- bronnenonderzoek