ABSTRACT

Exhibitions are anything but a neutral; they may affect the ‘reality’ they mirror. As such the exhibition is an ongoing, open product of research that is always researching research itself, but that is also affected by and affecting politicised agendas. This article focus on the large open spaces—the welfare landscapes—of the Danish 1970s social housing estate, Gellerup and Toveshøj, currently subject to ‘radical’ transformation and displayed in its most crucial location, i.e. the site itself. I reflect on the culture of display when an exhibition is interacting with what it displays providing a theoretical framework drawing on concepts such as Smithson’s site/non-site, the Gesamtkunstwerk—played out in a neoliberal context—and international fairs like the IBA. Moreover, the built and displayed transformations spur reflections on the sliding changes of the welfare concept itself and how that is mirrored in the conducts and ethics of display.

摘要

展览绝不是中立的；它们可能会影响它们所反映的“现实”。因此，展览是一个持续的、开放的研究产品，它总是在研究研究本身，但也受到政治化议程的影响和影响。本文重点介绍丹麦 1970 年代社会住宅区 Gellerup 和 Toveshøj 的大型开放空间——福利景观，目前正在经历“彻底”改造并展示在其最关键的位置，即场地本身。当展览与其展示的内容互动时，我反思展示的文化，提供了一个理论框架，借鉴了史密森的场地/非场地、Gesamtkunstwerk等概念——在新自由主义背景下进行——以及像 IBA 这样的国际博览会。此外，构建和展示的转变激发了对福利概念本身的滑动变化的反思，以及如何反映在展示的行为和伦理中。