ALEXANDRA MUNROE BLOG

Lectures, Articles, Videos and Educational Resources

国際交流基金賞 受賞記念講演会 アメリカにおける戦後・現代日本美術史の展開とグローバル美術史の興隆

by Alexandra_Munroe on January 15, 2018

国際交流基金賞 受賞記念講演会
アメリカにおける戦後・現代日本美術史の展開とグローバル美術史の興隆

Speech Commemorating the Japan Foundation Prize for the Postwar / Contemporary Japanese Art History in America and the Rise of Global Art History

originally published on wochikochi.jp
http://www.wochikochi.jp/topstory/2017/12/art-history-munroe.php

アレクサンドラ・モンロー
(ソロモン・R・グッゲンハイム美術館アジア美術上級キュレーター/
グローバル美術上級アドバイザー)

アレクサンドラ・モンロー氏は、戦後から現代までの日本美術を美術史の一貫した立場から実証的に研究し、数々の展覧会を企画、「具体」や「ネオ・ダダ」、「もの派」、そしてより若い世代の日本の現代美術家たちの国際的な評価を高めることに大きく貢献してきました。この功績を称え、国際交流基金はモンロー氏に2017年度国際交流基金賞を授与しました。
受賞を記念して開催された講演会「アメリカにおける戦後・現代日本美術史の展開とグローバル美術史の興隆」の内容に基づき、モンロー氏にご寄稿頂きました。

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Alexandra_Munroe国際交流基金賞 受賞記念講演会 アメリカにおける戦後・現代日本美術史の展開とグローバル美術史の興隆

Turn It On Film Series: Closing Event and Fairytale

by Alexandra_Munroe on January 2, 2018

January 4, 2018, 6:30 pm

Solomon R. Guggenheim Museum

In this special closing event for Turn It On: China on Film, 2000–2017, join cocurators of Art and China After 1989 Alexandra Munroe, Samsung Senior Curator, Asian Art, and Philip Tinari, Director of the Ullens Center for Contemporary Art, Beijing, as they reflect upon their curatorial experiences and address broader themes in the exhibition and film series that touch upon China from 2007 to the present. The discussion will be moderated by Andrew Solomon, award-winning author and president of PEN America, copresenter of Turn It On. A screening of Ai Weiwei’s Fairytale (2007) immediately follows.

$20, $15 members, $10 students. Refreshments will be available for purchase in The Wrightfrom 5:15–6:30 pm.

Fairytale童话, 2007
Directed by Ai Weiwei艾未未
Mandarin with English subtitles, 153 min.

In 2007 Ai Weiwei took part in Documenta 12 with a participatory event called Fairytale, after the Brothers Grimm who were born in Kassel, the German city that hosts the famed art exhibition. Ai invited 1,001 people from China, many of whom had never been abroad before, to travel to Germany, live in a dormitory of Ai’s design, and freely wander the city and the exhibition. Ai’s studio recruited the applicants from the Internet. He also sent 1,001 Ming period–style wooden chairs, which were arranged throughout the exhibition hall as gathering spaces. Fairytale opens with the project’s inception and takes us through its full enactment, recording the experiences of participants of all backgrounds to create a series of portraits woven together by a single event.

Part of the film festival “Turn It On: China on Film, 2000–2017” cocurated by Ai Weiwei and Wang Fen.

Organized by the Guggenheim Museum in conjunction with Art and China after 1989: Theater of the WorldPresented in collaboration with PEN America. Support is provided by The Hayden Family Foundation. A program of the Sackler Center for Arts Education.

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Alexandra_MunroeTurn It On Film Series: Closing Event and Fairytale

Art in America: FAREWELL OUR GLOBALISM

by Alexandra_Munroe on December 5, 2017

FAREWELL OUR GLOBALISM

EXCERPT from the originally published article in Art in America
http://www.artinamericamagazine.com/news-features/magazine/farewell-our-globalism/
Dec. 01, 2017
by Richard Vine

First the good news. “Art and China after 1989: Theater of the World,” now appearing at the Guggenheim Museum in New York through January 7, samples China’s most fertile and challenging post-Mao period of art production in ways that are stimulating for specialists and general viewers alike. Organized by three experts intimately involved in the history they present—Alexandra Munroe, the Guggenheim’s senior curator of Asian art; Philip Tinari, director of the Ullens Center for Contemporary Art in Beijing; and Hou Hanru, artistic director of MAXXI, the National Museum of 21st Century Art, in Rome—the exhibition eschews a strict chronological format. Instead, it strives, through savvy and sometimes unexpected selections, creatively mixed, to convey the ferment of a time in China when liberation was in the air, anything seemed possible, and avant-garde artists, at first little appreciated (and sometimes persecuted) at home, sought to take their place in the global art system. The realization that those times have sadly changed is due in equal measure to a cultural revanchism in the People’s Republic of China and a resurgence of moral provincialism in the United States.

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Alexandra_MunroeArt in America: FAREWELL OUR GLOBALISM