Friederike Schäfer – författare

The artist, dancer and educator Suzanne Harris (1940-79) was a protagonist of the downtown New York City artists’ community in the 1970s. With her boundary-transgressing practice, she played a decisive part in avant-garde projects, such as the Anarchitecture group, 112 Greene Street, FOOD, and the Natural History of the American Dancer. Harris furthermore participated in the Heresies editorial collective. Nevertheless, her own oeuvre fell into abeyance. Friederike Schäfer reconstructs Harris’s dispersed, postminimalist body of work, which broke the mold of art categories, art practices, art spaces, and the common notion of space. The author draws on post-Marxist feminist theory to trace how Harris transcended both sculpture and dance to create site-specific, ephemeral installations. Recipient of the Terra Foundation for American Art International Publication Grant 2021 Look Inside

Exhibition Ecologies approaches exhibitions as ecological media, shaped by infrastructures, economies, and relations of power. Bringing together art-historical essays and curatorial reflections, this volume explores how exhibitions respond to the climate crisis while showing how ecological narratives intersect with colonial legacies, extractivism, and the rhetorics of legitimation. Case studies - from museum collection displays to contemporary biennials - probe the ecological framing of exhibitions, opening debates on sustainability, decolonial justice, and institutional responsibility. Linking exhibition studies with environmental humanities, this book highlights both the risks of co-option and the transformative potential of exhibitions. With contributions by Hannah Beck-Mannagetta, Indira Béraud, Linn Burchert, Mateo Chacón Pino, Lena Fließbach, Stefanie Hessler, Elisabeth Heyne, Michael Klipphahn-Karge, Juliana Robles de la Pava, Anna Sophie Springer, Julia Tovote, Stéphane Verlet-BottéroSituates exhibitions within transdisciplinary ecological discourseLinks exhibition studies and environmental humanities to reveal the material, social, and political entanglements of exhibition-making