Vol 2 No 1 (2021)
Opera-Fanìa: On the Ostensive Conditions of Contemporary Art

What is the germinal cell of an exhibition, or rather of any exhibition event? OBOE Journal’s second issue departs from this question to investigate art’s fanìa (the Greek term for appearance) and the multiple ways in which art offers itself to the audience. As language, art is an instrument for exchange and an opportunity for the intertwining of two poles, that of the artists–those who make the art—and of the viewers, those who receive it and engage with it.

The articles and reflections presented in our new “Echoes” column open up a vast discourse on the phenomenology of how an artwork presents itself, on perception and the role of the audience, and on contemporary art’s exhibiting practices and conditions.

Contributors: Mónica Amor, Lorenzo Balbi, Arnon Ben-Dror, Marco Bertozzi, Jens Hoffmann, Miriam La Rosa, Emanuele Rinaldo Meschini

 

Vol 1 No 1 (2020)
Why Venice?

OBOE Journal On Biennials and Other Exhibitions launches its first issue with a focus on the Venice Biennale. Born in 1895, the Venice exhibition, although the criticism for its limitations, is still one of the most significant and defining events of the contemporary art calendar. Many are the studies devoted to the Venice Biennale, but many are the gaps and fallacies that remain around the analysis of this exhibition. Attending to some of these oversights in Why Venice? remains critically important, and not just because this is our first issue, but primarily because it intends to answer something we felt was fundamental.

Contributors: Caroline A. Jones, Maria Mimita Lamberti, Vittoria Martini, Clarissa Ricci, Camilla Salvaneschi, Martina Tanga, Angela Vettese.