Exhibiting the New Art: ‘Op Losse Schroeven’ and ‘When Attitudes Become Form’ 1969

With a main essay by Christian Rattemeyer, texts from 1969 by Wim Beeren, Charles Harrison, Harald Szeemann and Tommaso Trini, additional new commissions from Claudia Di Lecce and Steven ten Thije, interviews with artists Marinus Boezem, Jan Dibbets, Ger van Elk, Piero Gilardi and Richard Serra and an introduction by Teresa Gleadowe The ‘new art’ of the late 1960s was shown in two landmark exhibitions in 1969: ‘Op Losse Schroeven’ and ‘When Attitudes Become Form’. This book reveals how each brought together Arte Povera, Anti-Form, Conceptual and Land art, whilst challenging such categories and introducing innovative curatorial strategies. Christian Rattemeyer offers a rich comparative analysis of the two exhibitions, exploring the related but differing approaches of the two curators – Wim Beeren and Harald Szeemann – in the two distinct institutional settings of the Stedelijk Museum in Amsterdam and the Kunsthalle Bern. Numerous installation photographs enable a virtual ‘walk through’ of each exhibition, while meticulous chronologies detail the negotiations that shaped them. Crucial texts from the time are complemented by new research and recent interviews with participating artists. This book inaugurates the Exhibition Histories series, which investigates exhibitions that have shaped the way contemporary art is experienced, made and discussed.

paperback. Publisher: Afterall, London, 2010.

ISBN: 9781846380747 | 184638074X

ID: 21945

Product Description

With a main essay by Christian Rattemeyer, texts from 1969 by Wim Beeren, Charles Harrison, Harald Szeemann and Tommaso Trini, additional new commissions from Claudia Di Lecce and Steven ten Thije, interviews with artists Marinus Boezem, Jan Dibbets, Ger van Elk, Piero Gilardi and Richard Serra and an introduction by Teresa Gleadowe The ‘new art’ of the late 1960s was shown in two landmark exhibitions in 1969: ‘Op Losse Schroeven’ and ‘When Attitudes Become Form’. This book reveals how each brought together Arte Povera, Anti-Form, Conceptual and Land art, whilst challenging such categories and introducing innovative curatorial strategies. Christian Rattemeyer offers a rich comparative analysis of the two exhibitions, exploring the related but differing approaches of the two curators – Wim Beeren and Harald Szeemann – in the two distinct institutional settings of the Stedelijk Museum in Amsterdam and the Kunsthalle Bern. Numerous installation photographs enable a virtual ‘walk through’ of each exhibition, while meticulous chronologies detail the negotiations that shaped them. Crucial texts from the time are complemented by new research and recent interviews with participating artists. This book inaugurates the Exhibition Histories series, which investigates exhibitions that have shaped the way contemporary art is experienced, made and discussed.