{"id":1234,"date":"2012-04-26T08:22:59","date_gmt":"2012-04-26T08:22:59","guid":{"rendered":"http:\/\/www.stefanieseidl.com\/berlinweeklycom\/?p=1234"},"modified":"2020-03-03T13:57:47","modified_gmt":"2020-03-03T13:57:47","slug":"week-43","status":"publish","type":"post","link":"http:\/\/www.berlin-weekly.com\/?p=1234","title":{"rendered":"Window 43"},"content":{"rendered":"

 <\/h1>\n

\"\"<\/a>
\nMAXIMUM CONTENT by Stefanie Seidl<\/strong><\/p>\n

(Riesenluftballon, Ventilator, graue Wandfarbe, Filzstift)
\nberlin-weekly.com<\/a>, stefanieseidl.com<\/a><\/p>\n

Die Installation MAXIMUM CONTENT hinterfragt die Selbstrefenzialit\u00e4t im aktuellen Kunstkontext. Inwieweit werden all die Bezugnahmen, Zitate und Verweise auf spezifische Themen, Werke und Personen der Kunst -Architektur – oder Designgeschichte, die viele Konzeptk\u00fcnstler heute ihren Arbeiten zu Grunde legen, retrospektiv aus der Zukunft gesehen, noch relevant und in dieser Form \u00fcberhaupt noch nachvollziehbar sein?<\/p>\n

The installation MAXIMUM CONTENT questions the use of the citations and references on which many of today\u00b4s conceptual artists base their work, which specifically draws on topics, objects, and persons from an insider knowledge of the history of art, architecture and design. Looking back from the future, will this strategy of self references be at all relevant or comprehensible?<\/p>\nngg_shortcode_0_placeholder\n","protected":false},"excerpt":{"rendered":"

  MAXIMUM CONTENT by Stefanie Seidl (Riesenluftballon, Ventilator, graue Wandfarbe, Filzstift) berlin-weekly.com, stefanieseidl.com Die Installation MAXIMUM CONTENT hinterfragt die Selbstrefenzialit\u00e4t im aktuellen Kunstkontext. Inwieweit werden all die Bezugnahmen, Zitate und Verweise auf spezifische Themen, Werke und Personen der Kunst -Architektur – oder Designgeschichte, die viele Konzeptk\u00fcnstler heute ihren Arbeiten zu Grunde legen, retrospektiv aus der … <\/p>\n

\u201eWindow 43\u201c<\/span> weiterlesen<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[3],"tags":[],"class_list":["post-1234","post","type-post","status-publish","format-standard","hentry","category-weekly-window"],"_links":{"self":[{"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts\/1234","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1234"}],"version-history":[{"count":7,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts\/1234\/revisions"}],"predecessor-version":[{"id":2895,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=\/wp\/v2\/posts\/1234\/revisions\/2895"}],"wp:attachment":[{"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1234"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1234"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.berlin-weekly.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1234"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}