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Laboratorium was a contemporary art exhibition held at the Provinciaal Fotografie Museum in Antwerp, Belgium, from 27 June to 3 October 1999. ==Background== In 1998, preparations started for the 1999 celebrations of the 400th anniversary of Antoon van Dyck’s birth. In honour of this event, the curator Barbara Vanderlinden, Roomade Office for Contemporary Art, and Antwerpen Open,〔http://www.antwerpenopen.be, ‘Laboratorium’ Antwerp, 2012. () Available online at: http://www.antwerpenopen.be/2012/nl/projecten/laboratorium〕 set out to create a contemporary art program in Antwerpen. This was conceived of as a response to van Dyck’s studio, which functioned as a ‘school of production’, a system also used by Peter-Paul Rubens, again in Antwerp. It is this city’s role in the development of such studios that inspired ‘Laboratorium’. The creative aspect of the curatorial role led Barbara Vanderlinden〔Obrist, Hans-Ulrich, 1998. “Brussels' sprout. Interview With curator Barbara Vanderlinden”. New York: Art Forum International. () Available online at: http://www.thefreelibrary.com/Brussels'+sprout.-a021230366〕 to propose an alternative to the traditional object-oriented art exhibition by creating an exhibition program that took the form of a year long, functioning artist’s studio. She fulfilled this aim by setting up a series of exceptional projects that were carried out in defunct office spaces throughout the city of Antwerp.〔The projects which preceded the exhibition ‘Laboratorium’ were: “Tommi Grönlund, Petteri Nisunen, Liro Auterinen, Matti Knaapi: Ambient City – Transient Radio 93.9 FM”, Koninklijk Museum voor Schone Kunsten, Antwerp, 1999; “Tomoko Takahashi: Office Work at Century Center”, Antwerp, 1999; and “Koo Jeong-a: On the Poetics of Small Things: Office Work at Century Center”, Antwerp, 1999.〕 These culminated and merged in ‘Laboratorium’, a large-scale interdisciplinary exhibition-project “in which the scientific laboratory and the artist’s studio were explored on the basis of the various concepts and disciplines”.〔Quote from the visitor’s brochure, reproduced in Obrist and Vanderlinden, 2001. ‘Laboratorium’. Köln: DuMont.〕 It brought together the work of sixty-six artists and scientists devoted to research and experimentation and was co-curated by Barbara Vanderlinden and Hans Ulrich Obrist. ‘Laboratorium’ was a step away from typical object-oriented curatorial approaches that are so often based on 1960s art history and theory and that are therefore ill-suited to reflecting the open-ended nature of many works of art created in the late 20th century. The exhibition staged relations between an urban network of scientists, artists, dancers and writers.〔Quote from the visitor’s brochure, reproduced in Obrist and Vanderlinden, ‘Laboratorium’, DuMont (2001).〕 The curators’ interdisciplinary approach contributed to the wide-ranging nature of questions posed by the project. The preparations for the exhibition started with “a method that is often used for historical exhibitions, but too rarely for contemporary ones”〔Quote from Obrist, Hans Ulrich and Asad Raza. 2014. “Laboratorium” in: ‘Ways of Curating. London: Penguin Books.〕 the curators created think thank to develop ideas. This included artists and scientists such as the French sociologist Bruno Latour, the German-Belgian artist Carsten Höller, the American artist Matt Mullican, and the Belgian scientist Luc Steels. The organizer Bruno Verbergt was closely involved with the curators. “The discussion revolved around questions such as the following: How can we attempt to bridge the gap between the specialized vocabulary of science, art and the general interest of the audience, between the expertise of the skilled practitioner and the concerns and preconceptions of the interested audience? What is the meaning of the laboratories? What is the meaning of experiments? When do experiments become public and when does the result of an experiment reach public consensus? Is rendering public what happens inside the laboratory of scientist and the studio of the artist a contradiction in terms? These and other questions were the beginning of an interdisciplinary project starting from the ‘workplace’ where artists and scientist experiment and work freely.〔Quote from the visitor’s brochure, reproduced in Obrist and Vanderlinden, 2001. ‘Laboratorium’. Köln: DuMont.〕 The French sociologist Bruno Latour, who is also a historian of science, worked closely with Obrist and Vanderlinden to create a space devoted to clarifying the driving force and inspiration behind the project. This section of the exhibition presented various related scientific methods and explored numerous creative processes. It was entitled ‘The Theatre of Proof’, and featured around twenty performance-presentations of scientific processes, spanning two centuries. This part of the show focused on allegorical representations of knowledge and questioned the place of such knowledge in the public domain. This aspect of ‘Laboratorium’ was covered by the ‘Laboratorium’ catalogue, which explained the exhibition’s relation to science. In brief, ‘The Theater of Proof’ served to define what ‘Laboratorium’ – as an art exhibition – was not. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Laboratorium (art exhibition)」の詳細全文を読む スポンサード リンク
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