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Volume 8, Issue 2
  • ISSN: 2045-5836
  • E-ISSN: 2045-5844

Abstract

Abstract

The most common form of restaging is that of the retrospective exhibition, for it can be used to provide a platform for the museum to reaffirm the original exhibition and in turn reaffirm itself as host. For Harald Szeemann, the role of the curator was that of a mediator who, through the exhibition, should attempt to halt the abovementioned closed-circuit of affirmations by questioning existing boundaries and canons. His own work, however, has been repeatedly restaged in recent years. This article focuses on two restagings: the Prada Foundation's (2013) and the Getty Research Institute's (2018). I argue that restaged exhibitions can take two different forms: they can be focused on revising traditional canons and hierarchies, or they can serve to reaffirm the exhibition and the hosting institution. The two forms are interdependent, however, and most restagings contain a mixture of the two.

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2019-10-01
2024-04-26
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Restaging Origin, Restaging Difference: Restaging Harald Szeemann's Work
Journal of Curatorial Studies 8, 232 (2019); https://doi.org/10.1386/jcs_00005_1
/content/journals/10.1386/jcs_00005_1
/content/journals/10.1386/jcs_00005_1
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  • Article Type: Article
Keyword(s): curatorial practices; exhibition history; Getty Research Institute; Harald Szeemann; Harald Szeemann: Museum of Obsessions; institutional critique; Prada Foundation; restaging exhibitions; When Attitudes Become Form: Bern 1969/Venice 2013

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