Publication to accompany Jiajia Zang's solo exhibiton at Kunstmuseum St.Gallen (April 2023-October 2023)

We live in a moment in which institutions, including those central to the art world, are facing a surge of public scrutiny. Propelled by social media, profound questions about how institutions operate—whether structurally, politically, or financially—have become an increasingly prominent part of public life and discourse in recent years.

In this context, The Art of Critique revisits the artistic practice of institutional critique to ask what it means today, and to consider its ability to respond to the urgent social, political, and economic issues of our time. Taking works by Tracey Emin, Andrea Fraser, and Sarah Lucas in the collection of the Frans Hals Museum as a departure point, The Art of Critique uses a feminist approach to broaden and challenge traditional art historical definitions of institutional critique. These expanded forms of critique function as precursors to the practices of the contemporary artists presented as part of this project. Collectively, the contemporary works shed a new light on the legacy of institutional critique while addressing structural issues as wide-ranging as labor practices in the creative industry, city development, gender inequality, and the intertwined histories of capitalism and colonialism.

The publication documents the long-term project at the Frans Hals Museum (2019–22) under directorship of Ann Demeester and based on a concept by Melanie Bühler—a symposium, Color Critique (chapter one); an exhibition, Image Power (chapter two: Image Critique); and artist commissions (chapter three: Structure Critique)—together with artworks, conversations, and newly commissioned and translated essays.

Edited by Melanie Bühler

With contributions by Marie Angeletti, Karen Archey, Ute Meta Bauer, Melanie Bühler, Simnikiwe Buhlungu, Harry Burke, Ann Demeester, Clémence Lollia Hilaire, Frima Fox Hofrichter, Andrea Fraser, Simon Fujiwara, Sofía Hernández Chong Cuy, Alex Kitnick, Lynne Kouassi, Erik van Lieshout, Lloyd Corporation, Sven Lütticken, Daniel Morgenthaler, Marlie Mul, Becket MWN, Grace Ndiritu, D’Ette Nogle, Ahmet Öğüt, Ima-Abasi Okon, Monilola Olayemi Ilupeju, María Inés Plaza Lazo, Bea Schlingelhoff, Hito Steyerl, Juan Uribe, Dena Yago.

Designed by Sabo Day
Co-published by Frans Hals Museum and Lenz Press

The publication was generously supported by Outset Contemporary Art Funds Netherlands and VriendenLoterij

Softcover, 288 pages, 21 x 29.7 cm
ISBN 979-12-80579-10-2

Essay

Essay

Edited by: Eva Wittocx, Ann Demeester, Peter Carpreau, Melanie Bühler, Xander Karskens
Contributions by: Mieke Bal, Melanie Bühler, Peter Carpreau, Bice Curiger, Penelope Curtis, Ann Demeester, Olga Fernández López, Hendrik Folkerts, Hanneke Grootenboer, María Íñigo Clavo, Xander Karskens, Christa-Maria Lerm Hayes, Jean-Hubert Martin, Alexander Nagel, Ruth Noack, Nicola Setari, Jasper Sharp, Abigail Winograd, Eva Wittocx
Design: Sam de Groot

2018, Valiz with Frans Hals Museum, Haarlem and M-Museum, Leuven | paperback | 224 pages | 23.5 cm x 16.5 cm | English | ISBN 978-94-92095-52-7

Since the turn of this century, we have witnessed a significant expanse in the field of transhistorical exhibition practices. A range of curatorial efforts have emerged in which objects and artefacts from various periods and art-historical and cultural contexts are combined in display, in an effort to question and expand traditional museological notions such as chronology, context, and category. Such experiments in transcending art-historical boundaries can potentially result in both fresh insights into the workings of entrenched historical presumptions and provide a space to reassess interpretations of individual objects in relation to their contexts and narratives.
Despite this surge of interest in art-historical writing and curatorial practices, and overview and theoretical mapping of transhistoricity has so far been missing. This anthology aims to fill this gap: it charts the territory for the transhistorical by bringing together contributions by leading scholars, curators, and museum professionals of the field. It looks at the concepts that undergird the transhistorical, describes the theoretical horizon it relates to, and illuminates the practical applications it has fostered. As such, it provides the grounds for further research and practical applications.
The book is divided into three parts: 1. Terminology & Theoretical Horizon; 2. Art & Time; 3. Curatorial Strategies.

Metropolis MInterview with Seth Price

Catalogue Essay

Catalogue essay
As part of Photography Today: distant realities. An Exhibition Series on Artistic Photography in the Digital Age

Essay

Interview with New Scenario

Essay
Anthology edited by Zachary Kaplan

Essay

Catalogue Essay

Series of blog posts

Essay

Article

Catalogue Essay