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Exhibition Cuttings

Mathieu Copeland
Traduction de Simon Pleasance
p. 9-14
Cet article est une traduction de :
Des Boutures d’expositions

Notes de la rédaction

Because Mathieu Copeland was acclaimed for his catalogue The Anti-Museum (2017), we thought it important to embark on the debate over the catalogue's function with him. Here is his reply.

Extrait du texte

Ce document sera publié en ligne en texte intégral en novembre 2020.

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Exhibitions are accompanied by an ensemble that presents them, represents them, and thus makes them present. This set made up of connected forms, paratexts—to borrow Gérard Genette’s term—and “exhi...

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Référence papier

Mathieu Copeland, « Exhibition Cuttings », Critique d’art, 53 | 2019, 9-14.

Référence électronique

Mathieu Copeland, « Exhibition Cuttings », Critique d’art [En ligne], 53 | Automne/hiver, mis en ligne le 26 novembre 2020, consulté le 19 janvier 2020. URL : http://journals.openedition.org/critiquedart/53702

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Auteur

Mathieu Copeland

Mathieu Copeland is a curator who has been developing a practice that seeks to subvert the traditional role of, and renew our perceptions of exhibitions. He co-curated the exhibition Voids: A Retrospective (2009) at the Centre Pompidou, Paris and the Kunsthalle, Bern, and edited the celebrated anthology Voids, and realised The Exhibition of a Film (2014), an exhibition as a feature film for cinemas. His recent exhibitions include A Retrospective of Closed Exhibitions at the Kunsthalle Fribourg (2016) and The Exhibition of a Dream at the Fondation Gulbenkian (2017). Copeland edited the critically acclaimed anthology and manifest publication Choreographing Exhibitions (Les Presses du réel, 2013), and co-edited the anthology The Anti-Museum (König Books, 2017). He recently edited the anthology Gustav Metzger: Writings (JRP | Editions, 2019).

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