商品描述
Twenty-five years inside European art institutions to ask what lies beyond their limits. Where does possibility lie in curating today? Charles Esche has spent twenty-five years inside European art institutions asking that question--as a museum director and curator of biennials, and now from outside institutional forms altogether.
In
Never There Yet, Esche traces the changing locations of curatorial possibility across a quarter century of cultural and political transformation in Europe. Beginning with three works of art and a tree, he follows the arc from a suspended pre-2008 moment through the polarized present to the limits of what institutional curating can now sustain. Along the way, he revisits exhibitions that defined his directorship of the Van Abbemuseum--
Be(com)ing Dutch, Forms of Resistance, Museum of Arte Útil, Soils--alongside biennials in Istanbul, Ramallah, and São Paulo, and the formation of the museum confederation L'Internationale.
What emerges is both a diagnosis and a proposition. The reform imaginary that shaped European art institutions through the 2010s has reached its limits, eroded by austerity, market capture, the rise of an oligarch collector class, and the institution's own incapacity to absorb what its publics now ask of it. But possibility has not disappeared. It has moved--to instituent organizations working outside the institutional form, to infrastructural curatorial practices working from within it, to new sites where the conditions for the not-yet-possible are being rebuilt. Esche writes from Amsterdam and from the Three Ashes Foundation, a land-based project outside Bucharest where he is working out with others what an art institute of the commons might look like.
商品描述(中文翻譯)
二十五年深入歐洲藝術機構，追問其界線之外還有什麼。
當今策展的可能性位於何處？Charles Esche 在歐洲藝術機構內度過二十五年，持續追問這個問題——他曾擔任博物館館長與雙年展策展人，如今則完全站在制度形式之外思考這項課題。
在《尚未抵達》中，Esche 追溯四分之一世紀以來，歐洲文化與政治轉型過程中，策展可能性不斷變動的所在。他從三件藝術作品與一棵樹出發，沿著一條軌跡前進：從 2008 年以前那個懸而未決的時刻，穿越當今兩極化的現實，直到現今制度性策展所能承擔的極限。一路上，他重新檢視了幾場奠定其 Van Abbemuseum 館長任期的重要展覽——《Be(com)ing Dutch》、《Forms of Resistance》、《Museum of Arte Útil》、《Soils》——以及在 Istanbul、Ramallah 和 São Paulo 舉行的雙年展，還有博物館聯盟 L'Internationale 的成立過程。
這些思考最終同時形成了一份診斷與一項主張。貫穿 2010 年代、形塑歐洲藝術機構的改革想像已經走到極限；它受到緊縮政策、市場攫取、寡頭收藏家階級崛起，以及藝術機構自身無力吸納其公眾如今對它提出的要求等因素侵蝕。然而，可能性並未消失。它只是轉移了位置——轉向在制度形式之外運作的制度生成組織，轉向從制度內部展開的基礎設施式策展實踐，也轉向新的場域；在這些地方，「尚未可能」之事得以重新建構其成立條件。Esche 在 Amsterdam，以及他與其他人共同實踐的 Three Ashes Foundation 寫作；這是一項位於 Bucharest 郊外、以土地為基礎的計畫，他們正在那裡探索，一所屬於公眾共享資源的藝術機構可能會是什麼樣貌。
作者簡介
Charles Esche is a writer and curator based in Amsterdam. He is a member of the L'Internationale Association and is developing the Three Ashes Foundation on land near Bucharest, Romania. He is professor at University of the Arts London and adviser at Jan van Eyck Academie. He was director of the Van Abbemuseum in Eindhoven (2004-24) and of Rooseum in Malmö (2000-2004). His curatorial projects include the Jakarta Biennale (2015), the São Paulo Bienal (2014), the RIWAQ Biennale in Palestine (2007 and 2009), the Istanbul Biennial (2005), and the Gwangju Biennale (2002). He is developing the concept of "demodernising" as a methodology for western Europeans to approach decolonial thinking.
作者簡介(中文翻譯)
Charles Esche 是一位常駐於 Amsterdam 的作家與策展人。他是 L'Internationale Association 的成員，目前正在羅馬尼亞 Bucharest 附近的土地上籌建 Three Ashes Foundation。他任教於 University of the Arts London，並擔任 Jan van Eyck Academie 顧問。2004 至 2024 年間，他擔任 Eindhoven 的 Van Abbemuseum 館長；2000 至 2004 年間，則擔任 Malmö 的 Rooseum 館長。
他的策展計畫包括 Jakarta Biennale（2015）、São Paulo Bienal（2014）、巴勒斯坦的 RIWAQ Biennale（2007 與 2009）、Istanbul Biennial（2005），以及 Gwangju Biennale（2002）。他目前正發展「demodernising」這一概念，將其作為西歐人接觸去殖民思維的方法論。
