Show Less
Restricted access

Paradigmen der Kunstbetrachtung

Aktuelle Positionen der Rezeptionsästhetik und Museumspädagogik

Series:

Edited By Peter J. Schneemann

Die vorliegende Publikation analysiert aktuelle Modelle der Kunstbetrachtung. Welche Vorstellungen einer idealen Beziehung zwischen Werk und Rezipienten haben sich als Leitbilder erwiesen? Erstmalig wird eine Differenzierung der von den jeweiligen Protagonisten verfolgten Interessen geleistet. In welchem Verhältnis stehen künstlerische und institutionelle Zielsetzung der Betrachterführung?
Die Beiträge internationaler Experten verfolgen künstlerische Konzeptionen ebenso wie Projekte der Vermittlung und methodologische Implikationen einer Kunstwissenschaft, die sich auf die Rezeptionsästhetik beruft.
Durch Fallstudien und pointierte Diskussionen wird die Tragweite der Fragestellung deutlich: Welche Freiheit wird der Figur des Betrachters zugebilligt, der doch als konstitutive Instanz für den Kunstbegriff so mächtig zu sein scheint?
Show Summary Details
Restricted access

Too Much and Not Enough: The Installation of Anton Henning at Magasin 3 in Stockholm

Extract



DAN KARLHOLM

In this essay, I would like to discuss my experience of an exhibition that took place in Stockholm in the fall of 2012, featuring the German artist Anton Henning.1 The constellation of art perception in this case, the Kunsthalle or museum Magasin 3, is the largest private exhibition space in the city. The institution is reminiscent of the largest venues of the Chelsea area in New York, due to its chic interior spaces as well as its rather rough location in the industrial harbor of the city. I am mentioning this since the first question to address for me has to do with physical size. This was the largest solo exhibition ever at this art space, which has been around for some 25 years. The exhibition contained 129 works, unless of course the entire exhibition counts as a work of art in itself, which is how it was presented by the museum director David Neuman: »Magasin 3 has chosen to create a gigantic Gesamtkunstwerk – total work of art – where we encounter all the challenges inherent to contemporary visual art.«2

Rather than housing or giving room to a vast installation, or total work of art, the exhibition venue credits itself as the author of such a work. This particular claim, although it offers ample material for discussion, is not what I would like to address here. My interpretation of this Henning exhibition, however, will pick up the challenge inherent in this statement...

You are not authenticated to view the full text of this chapter or article.

This site requires a subscription or purchase to access the full text of books or journals.

Do you have any questions? Contact us.

Or login to access all content.