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Impossible views of the world
\"A witty, urbane, and sometimes shocking debut novel, set in a hallowed New York museum, in which a co-worker's disappearance and a mysterious map change a life forever Stella Krakus, a curator at Manhattan's renowned Central Museum of Art, is having the roughest week in approximately ever. Her soon-to-be ex-husband (the perfectly awful Whit Ghiscolmbe) is stalking her, a workplace romance with \"a fascinating, hyper-rational narcissist\" is in freefall, and a beloved colleague, Paul, has gone missing. Strange things are afoot: CeMArt's current exhibit is sponsored by a Belgian multinational that wants to take over the world's water supply, she unwittingly stars in a viral video that's making the rounds, and her mother--the imperious, impossibly glamorous Caro--wants to have lunch. It's almost more than she can overanalyze. But the appearance of a mysterious map, depicting a 19th-century utopian settlement, sends Stella--a dogged expert in American graphics and fluidomanie (don't ask)--on an all-consuming research mission. As she teases out the links between a haunting poem, several unusual novels, a counterfeiting scheme, and one of the museum's colorful early benefactors, she discovers the unbearable secret that Paul's been keeping, and charts a course out of the chaos of her own life. Pulsing with neurotic humor and dagger-sharp prose, Impossible Views of the World is a dazzling debut novel about how to make it through your early thirties with your brain and heart intact\"-- Provided by publisher.
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Review: Slavery , Rijksmuseum, Amsterdam
Slavery , Rijksmuseum, Amsterdam, the Netherlands. Valika Smeulders, Head of the Department of History; Eveline Sint Nicolaas, Senior Curator of History; Maria Holtrop, Curator of History; Stephanie Archangel, Junior Curator of History. May 18, 2021–August 29, 2021. https://www.rijksmuseum.nl/nl/stories/tentoonstellingen/slavernij
Journal Article
The curatorial in parallax
The National Museum of Modern and Contemporary Art in Seoul, Korea, releases the book What Museums Do: The Curatorial in Parallax edited by Kim Seong Eun and published on occasion of the symposium \"What Do Museums Research?\" James Voorhies contributes the essay titled \"I Call This Work Research,\" accompanying contributions by Paola Antonelli, Beck Jee-sook, James Elkins, Pascal Gielen, Kim Seong Eun, Annette Jael Lehmann, Lim Shan, Paul O'Neill, Dorothee Richter, Irit Rogoff, Margriet Schavemaker, Simon Sheikh, Beatrice von Bismarck, and Victoria Walsh
Kraken : an anatomy
When a nine-meter-long dead squid is stolen, tank and all, from a London museum, curator Billy Harrow finds himself swept up in a world he didn't know existed: one of worshippers of the giant squid, animated golems, talking tattoos, and animal familiars on strike. Forced on the lam with a renegade kraken cultist and stalked by cops and crazies, Billy finds his quest to recover the squid sidelined by questions as to what force may now be unleashed on an unsuspecting world.
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De Libertà al Cile a All the World’s Futures. Apuntes sobre Arte Latinoamericano y la Bienal de Venecia
El texto teje una serie de apuntes y reflexiones sobre la presencia del arte de América Latina en la Bienal de Venecia, relacionando aspectos relativos a la propia concepción y modelo histórico del evento con la conformación de la categoría de “arte latinoamericano”. Se analiza el evento Libertà al Cile (1974) – que anuncia la apertura del evento hacia los márgenes estéticos – y la reconsideración de este concepto en la 56ª Bienal, All the World’s Futures (2015).
Journal Article
The great concert of the night
\"David has just spent New Year's Eve alone, watching Le Grand Concert de la Nuit, a film in which his former lover Imogen starred. In the early hours of the new year, consoled and tormented by her ethereal presence, he begins to write. What follows is a brilliantly various journal, chronicling a year in the life of a thinking man. David works as a curator at the ailing Sanderson-Perceval Museum in southern England, whose small collection of porcelain, musical instruments, crystals, velvet mushrooms, and glass jellyfish is as eccentric and idiosyncratic as the long-dead collectors' tastes. David himself is a connoisseur of the derelict and nonutilitarian, of objects removed from the flow of time. Refusing the imposed order of a straightforward chronology, his journal moves fluidly back and forth in time, filled with fragments of life remembered, imagined, and recorded, from memories of his past life with Imogen or with his ex-wife, Samantha, to reflections on the lives and relics of female saints or the history of medicine\"-- Provided by publisher.
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