Question 2: What Is the Public? Text: Juan A. Gaitanerin one might infer fom de pasionate eins tha re beng (ahd aginst ane ants, Who, afer alae is makers? One Fd secepts one of the mor ecrret cei asi thatthe ex [inion har become ine cuors medio, but exibition ia ft oper THe unenly nan encounter among the insitions that host hem he {feimmeum’s modi, the biennial, and the galery. Tao, even ts. current paraphrasing of its old rhetoric, ti diplomacy’s medium. Ife ae 1 follow Marcel Dachamp® celebrated axiom tt at i Fendecrouyt al the poblck medsam—the medium though which th pbc becomes pic Bnd ci lason eo ei Ist encounter she courte of public wih Kel and wih = ew image, eat the 2004 2 book called He Mur? Art Macs ond the Du Thus appeated in bookstores and went almost unnosced. Edited by ames Cano with enays by several seam decors fom around the “tener word it was fom the poi of view of rsataona que dnd by de sundae of eostenporary discourse on muses and ex Mbkioas, sn ineorsequental conaibuton. Neverthe, de book sod yrptomatic of an entenchment of reminiscent of another ere, provide & recognizable foundation forthe thurs tht shoo vented an In his preface Cono writes dat the Book tum contac with ts pub caneact that sounded on te pic United Soren sneer in Germany or Face, yee another in Chin and soon: Despite (rin ite of these ideological and sinational com Singencies Cano exphins thatthe absence of opposonal wots inhis wohume hat to do with the face that he dori wane 1 “preteat fctace ora sampling of current opinion: tend he wants the book robe os andthe pie" The ipieson tetween opinions ad Gist principles is thatthe former se epic, he Ie the end hiss what our visitors mos want 10 fave ‘ofthe work to sharpen and heighten thee sails toto mike cme alive ane fr thts 20 hey can walle stay a dees sgh Depts is grammatical shins, chi paragraph vas approvingly ‘ited by Jha Wiha the outer of his own contbution to Cunok publston. To such onivoclity of opinion one might ask: Is Russom’ contract with ts publi chen what the exhibitions fneon The history ofexibiions snot so ema tat one cn fd Seoeethe 1851 exhibition at che Crys Place which fmouly and ings wor is od {xpostions which vere offen conglomeration of tnpeilootingsthe princely leries of the (shan ith centurice—one of which wookd raphy o empie All were ace ofsclreference though which a taal image of epire too flied Neverthe, e secpt today hat exh serve 2 ferent fans one that x ele othe pli sphere In fc ex the lose ih sphere, the apere to which the exbiton now belongs Bat anything have changed since te door ofthe pinecly ley were Slang open forall Notes smong thee changes what the wordallproof) The exhibition ths fnctions within the space ofthat conte {fe Cano presents the maser fist principle, bat a2 dsuption of dhe shakeof hands berween te nscurn ads pie I therefore ‘She ental one we erbe to contemporary ate" We have ll hed abe hes guise inthe company of ting tha ae Beutel te immposibly a, ye that have sted hough centuries of wa nd Gute Bue such palate mssaancer of humps reslence are ‘eetsinly no what ve should mfr when conceiving fan exhibition, ‘hie en ot humanity ave we speaking of anyay? And whoe public tfc, anything bas chancerized exhibition making in the second af ofthe 20th cetiryste the ongoing endenvor 0 soci see exibton, well 1 sell, om the exablshmene of ged noi and plies! naratines and to aim at rity’ dscouinooas ner rather than at the confirmation of common sete This we Chnealthe esitionsdisotie Get Scheme. he exhibiion ifthe pace within which the ead of this water contact between tho inaons (he nmseun, ts pic) x erpelaed nti espe chiston ofcontemporary at potently snlae—albee sometime erally wey the public sphere i socrred today gates ing of non-parlel and exponen indvidusisie identities and in tense A ref of te hae wih eos an idiston that he This scrualnow-inegsiny ofthe public sphere, 2s we Te cay inthe Wen op oA tion Danone 2009). The work ie sompored of 16 Fae-sereen mom ton hanging onthe val evenly paced anda ye level Each one pay ofthe fra svideo ip obs public manetion There ae imag ‘the ulettigheewing Astin polician Jorg Hider nest inmges sence in an si NATO rly in Stbourg dewroyingorefons snd loin Molotov cocks Three footage of umber of epa- ‘ie prot against the Gara Wa, Both al and Palestine; eer tion ars ootall ge between Germany and Toskey with German he yen yelieae‘one com ao eke it 4a wating thatthe hear ofthe pable sey tr mineculeincteasngly incompatible facsone that sre movie tern the exibonshoald noe fncsion in paral othe Herald trntic principle harmonising agent of dicontouousflagnen IT ohooldt be conceived, ether, 3 spealing tothe pablic o for th public I bess fnction win the context o publ sphere, to we it logio—a loge of agmentaion-—in orks ic publ thats vay 0 come ‘Onensiblythe pai" that for wham the exhibition made tne projected The values ae principles on which contemporary ate redested arent univers) They have hives! and soca specifiy Tod given the rerenchment of geopolitical dferesntions he ive fn of new adiona? ves and th there eal for breathingspce fr estar "Whe puis aso be that ae pevonined bythe apparent inlasienes ofthe pable sphere ty harmonious Ofen, ej ot there. Or these ely in pring pie n number, but fundamentally Fceued. One ofthe characteris tris of contemporary art dat ie allows an offen incorporates these Frcrres Perhaps contemporary a isthe space where dhe facts of th public se made most visible Peps gui the moses comet sate pl and an dispel the novion ofthe pli and interpolate this wet! contact tivevn he iotttion and "he poi” (hs “se principle”) ae to est sna pinciple one tht ower the pb font methods of Fapuentaton and disper, of non-deasicaton or 1g csification of works of wt under the eegory renal akeady cote within