Perimeter's curated Reading Capsules aim to explore some of the store's key points of interest and enquiry. Each capsule, focusing on various themes, mediums and contexts in art and design publishing, features titles available for individual purchase or as a specially priced bundle.
Capsule #10: Essential Perspectives on Curating provides a well-rounded reading list for curatorial practice. Considering both Australian and international contexts, the capsule offers historical accounts on exhibition-making and institutional critique, as well as suggestions for new challenges and developments in contemporary curating.
Each of these titles are available for individual purchase through the web store, or as a specially priced bundle ($349 with free domestic shipping).
Conceptual Art in a Curatorial Perspective focuses on the curatorial practice of exhibiting conceptual art. The fact that conceptual works are not object-based, creates challenges in exhibiting them. This book offers various perspectives on how to handle conceptual art in the context of the museum, based on three detailed case studies and an extensive introduction in which the paradox of conceptual art is analysed. It also elaborates on the history of exhibiting conceptual artworks, and on the influence of curators in their canonisation. It is relevant for students of art and culture, art and museum professionals, and everyone interested in the art of the 1960s and 1970s. (Valiz – Amsterdam)
The White Hunter: African Memories and Representations is a publication produced on the occasion of the eponymous exhibition at the by FM Centre for Contemporary Art in Milan, curated by Marco Scotini. Featuring traditional and contemporary African works by more than 40 artists, the book explores the reconstruction of history and memories in contemporary Africa. (Archive Books – Berlin)
The Artist as Curator **NOW SOLD OUT. A relevant replacement will be made – feel free to contact us for more info.
Between the late 1950s and the mid-1960s, a new artistic movement emerged in Europe that came to be known under the name of ZERO, as artists from Germany, Italy, the Netherlands, Belgium, France, and Switzerland sought new ways to collaborate and create new platforms for their art. In a cultural landscape bereft of conventional networks and opportunities, many avant-garde artists of postwar Europe took it upon themselves to function as the managers and editors of their own exhibitions, events, and publications. From today’s perspective, one might say that within their own exhibition spaces and in the few private galleries run by like-minded owners, these artists were also active as 'curators.' This book focuses on the main projects realised by artists in the context of ZERO and is the first comprehensive study on this subject. Based on extensive archival research, it presents the result of several years of collaboration by an international group of scholars put together by the ZERO foundation. (MER. Paper Kunsthalle – Ghent)
In this book devoted to the field of curating and 'institutional art', Beti Žerovc raises questions about the character and limitations of the 'exhibition-maker as artist' and the 'exhibition as a work of art', asking whether the socio-political objectives for the latter actually manifest contradictory or even opposite effects given the inescapable conditions of capitalism. The book culminates with Žerovc’s queries about the ritualistic function of contemporary art exhibitions, and this is evocatively expressed in her introduction: 'There was once great discussion about how removing artworks from their original context and installing them in the museum meant their certain death. Today, it seems, we need to be thinking about different questions. Does the institution of visual art bring something to life … what, in fact, are we summoning to life?' (Archive Books – Berlin)
*But Were Afraid to Ask
Everything you ever wanted to know about Hans Ulrich Obrist but were afraid to ask has been asked by the sixteen practitioners in this book. Spanning the beginning of his 'career' as a young curator in his Zurich kitchen to his time most recently as the Co-Director of Exhibitions and Programs, and Director of International Projects at the Serpentine Gallery in London, the book is a 'production of reality conversations.' It undertakes the impossible: pinning down this peripatetic curator, attempting to map his psychogeography so that silences may be transcribed. In a sense, it organises a 'protest against forgetting' and affirms the sagacity of an artist who told this dontstop curator 'don’t go' when he 'contemplated leaving the art world' for other fields—'to go beyond the fear of pooling knowledge'—in lieu of bringing other fields into the (then) hermetic art world. (Sternberg Press – Berlin)
Permanent Recession: a Handbook on Art, Labour and Circumstance is an enquiry into the capitals and currencies of experimental, radical and artist-run initiatives in Australia. Edited by Channon Goodwin, director of Melbourne's Bus Projects, the book excavates a shared history of independent practice stretching back to the 1980s, situating new research within a rich continuum of debate about the Australian artmaking context.
Part research, part advocacy document, part literature review, part reader, part position paper, Permanent Recession is a living contribution to current thought. As a handbook, it is a compilation of useful information in a compact and handy form. It should be used! (Onomatopee – Eindhoven)
Goori Reader No.1: History, Memory and the Role of Cultural Organisations in Entrenching Colonisation in Australia and Beyond is an introductory reader of republished texts by Gumbainggir activist, academic and writer Dr. Gary Foley, exploring Australian cultural institutions’ problematic relationship to owning how Indigenous artefacts and artworks are woven into local and global narratives; with an introductory text by Léuli Eshrāghi. (Common Room – Melbourne)
The sequel to the 2014 bestseller (Curating) From A to Z, this book extends the investigation of curatorial practice that the writer, exhibition maker and educator Jens Hoffmann (born 1974) began in the first volume. (Curating) From Z to A offers a summary of the development of curatorial practice over the last two decades as seen through the eyes of one of its leading practitioners. Organised in reverse alphabetical order, each letter of the alphabet evokes a particular word related to the world of exhibition making: from D (Durational) and S (Scenography) to R (Relational) and F (Feminism). Other entries include those dedicated to the Venice Bienniale, Tate, Kunsthalle, Lucy Lippard, Xenophobia, Black Box and Gentrification. (JRP|Ringier – Zurich)