Vol. 37, 2016, no. 3/4, Translation as Method

With increasing frequency over the years, artists have been testing the nature and strength of the agreements between bodies – agreements that have been formed (or deformed) by attempts to communicate. Connecting the tail of 2016 to the head of 2017 with an issue on artistic approaches to translation affirms our faith in the necessity of a practice that persistently attempts to communicate across languages, disciplines, generations, and ideologies.

With increasing frequency over the years, artists have been testing the nature and strength of the agreements between bodies – agreements that have been formed (or deformed) by attempts to communicate. Connecting the tail of 2016 to the head of 2017 with an issue on artistic approaches to translation affirms our faith in the necessity of a practice that persistently attempts to communicate across languages, disciplines, generations, and ideologies.

To table of contents

Vol. 37, 2016, no. 2, Constructed Identities

Constructed Identities takes you on a trip through Europe and a little beyond — a journey through space, as well as time. The issue (edited by Rosa te Velde) explores a selection of case studies to consider the selective uses of history in heritage, and it puts forth alternative approaches to question established definitions of identity. Featuring articles by Lila Athanasiadou, Isa Fahrenholz and Svenja Binz, Abla elBahrawy, Arna Mackic, Katinka de Jonge, and interviews with Jennifer Tosch and Wendelien van Oldenborgh. Artworks by Guy Köningstein, and on the cover a drawing by the Georgian artist Lado Darakhvelidze.

Constructed Identities takes you on a trip through Europe and a little beyond — a journey through space, as well as time. The issue (edited by Rosa te Velde) explores a selection of case studies to consider the selective uses of history in heritage, and it puts forth alternative approaches to question established definitions of identity. Featuring articles by Lila Athanasiadou, Isa Fahrenholz and Svenja Binz, Abla elBahrawy, Arna Mackic, Katinka de Jonge, and interviews with Jennifer Tosch and Wendelien van Oldenborgh. Artworks by Guy Köningstein, and on the cover a drawing by the Georgian artist Lado Darakhvelidze.

To table of contents

Vol. 37, 2016, no. 1, Cultural Policies Agendas of Impact

At the end of 2014, the Dutch Ministry of Culture (OCW) announced a new Art and Culture public fund, The Art of Impact, designating seven million euro to support art projects that have a distinct impact on society. With this programme, the policy of austerity initiated by the minister of culture (Halbe Zijlstra) entered a new phase. Ideologically, it shifts away from discrediting the arts as a left-wing hobby towards rendering the arts as a tool of intervention and engagement with society. What does it mean to attribute to the artists, designers and art institutions the social, economical and political responsibility of changing and improving the world? This issue delves into the historical grounds and present implications of arts and culture funding policies and programmes in the Netherlands and beyond.

At the end of 2014, the Dutch Ministry of Culture (OCW) announced a new Art and Culture public fund, The Art of Impact, designating seven million euro to support art projects that have a distinct impact on society. With this programme, the policy of austerity initiated by the minister of culture (Halbe Zijlstra) entered a new phase. Ideologically, it shifts away from discrediting the arts as a left-wing hobby towards rendering the arts as a tool of intervention and engagement with society. What does it mean to attribute to the artists, designers and art institutions the social, economical and political responsibility of changing and improving the world? This issue delves into the historical grounds and present implications of arts and culture funding policies and programmes in the Netherlands and beyond.

Table of Contents Cultural Policies: Agendas of Impact

p. 2 EDITORIAL /  Rosa te Velde & Steyn Bergs

p. 3 INTRODUCTION / Lara Garcia Diaz & Cristina Marques Moran

p. 9 OPBOUW ALS AFBRAAK: OVER DEMOCRATISERING ALS VANISHING MEDIATOR IN HET HUIDIGE KUNSTENBELEID / Bram Ieven

p. 9 DESTRUCTIVE CONSTRUCTION: DEMOCRATIZATION AS A VANISHING MEDIATOR IN CURRENT DUTCH ART POLICY / Bram Ieven

p. 17 THE ART OF IMPACT: ASPIRIN FOR AMPUTATION / Steven ten Thije

p. 20 THE ART OF IMPACT PROGRAMME: INTERVIEW WITH TABO GOUDSWAARD AND MICHIEL MUNNIKE / Lara Garcia Diaz & Cristina Marques Moran

p. 25 AGENTS OR OBJECTS OF DISCONTINUOUS CHANGE? BLAIRITE BRITAIN AND THE ROLE OF THE CULTUREPRENEUR / Josephine Berry

p. 37 ENDS OF ART: FROM NUL TO BIJL / Sven Lütticken

p. 45 VALUE IS AN AMBIGIOUS HYPEROBJECT / Market for Immaterial Value & Steyn Bergs

p. 50 PUTTING OURSELVES AT RISK IN PUBLIC: INTERVIEW WITH JEANNE VAN HEESWIJK / Rosa te Velde

p. 56 MANAGEMENT OF DISTRUST: MEASURING AND MONITORING IN POLICY MAKING: INTERVIEW WITH PASCAL GIELEN / Lara Garcia Diaz, Cristina Marques Moran & Rosa te Velde

p. 62 ABSTRACTS

*Extra* (online only): ART, IT’S PUBLICS AND AN AGENDA OF IMPACT: THE UK CASE / Andrew Hewitt

Vol. 36, 2015, no. 4, Persona Perform Present

Table of Contents Persona Perform Present

p. 4 EDITORIAL / Jesse van Winden & Angela Bartholomew

p. 16 A MANNERIST MASQUERADE: AGNOLO BRONZINO, STYLE AND ARTIFICIALITY / Chris Askholt Hammeken

p. 30 SALVADOR DALÍ’S POLITICAL ENIGMA: BUILDING A PERSONA UNDER FRANCO / Anna Schuer McCoy

p. 53 THE ARTIST-HERO TAKES A BATH: DOMESTICATING THE MYTH OF THE ARTIST IN POLKE/RICHTER RICHTER/POLKE (1966) / Olivia Tait

p. 74 PERSONA AND PARADOX IN FEDERICA MARANGONI’S PERFORMANCES, 1975-1979 / Kelley Tialiou

p. 92 MASQUERADE: ON PUBLIC PERSONAE IN A VIDEO INSTALLATION BY VERMEIR & HEIREMANS / Steyn Bergs & Jesse van Winden

p. 107 TEMPLATE / Karolin Meunier

p. 115 SAINT DAMIEN HIRST / Mark Rawlinson & Szu Shen Wong

p. 128 ABSTRACTS