The current issue (# 13) in production – in three parts no less, it’s a bumper crop – of PARSE Journal is ‘On the Question of Exhibition’. Part I was launched on 15 June 2021, and contains an already juicy set of contributions, that will only expand in Part II (launch due in late August) and Part III (launch due in October).
Contributions include a lengthy opening gambit by Dave Beech on ‘Redefining the Exhibition’; an incisive essay by Saama Henni on ‘Exhibition as a Form of Writing’; a conversation on the exhibitions ‘Past Disquiet’ and ‘Nirin’ between Nick Aikens, Anthony Gardner, Kristine Khouri and Rasha Salti; an essay close to my own interests by Saul Marcadent titled ‘Editing an Exhibition’; a more historical but no less interesting essay on displays related to the sea by Alaina Claire Feldman, ‘Flooding the Exhibition’; an analysis of real estate power dynamics in an exhibition dealing with historical facts by Jéssica Varrichio, titled ‘Daughters of the Air’; an outline of the development of her ideas for the Göteborg Biennial by curator Lisa Rosendahl in ‘The Biennial Form and the Narration of History’; a conversation about three decades of Kathrin Böhm’s practice by Yolande Zola Zoli van der Heide, Gavin Wade, Mick Wilson and Franciska Zólyom, with reflections by the artist herself; and last, but certainly not least, a gorgeous text by Steven Madoff, ‘Exhibition of Friends’.
The online launch took place from within the current project by Kathrin Böhm, titled ‘Compost Turning the Heap’ at The Showroom in London, in which the artist is taking stock of her practice spanning three decades, sifting through reams of materials, in collaboration with others – including a range of collaborators – to see what comes to the fore as fertiliser for future work. The project will also feed into a publication on Kathrin’s wider practice, about which more in due course.
Gerrie van Noord 