Historiographical accounts of the American artist Donald Judd, and of Minimal art in general, have focused primarily on the debates surrounding the emergence of his work in the United States, and New York in particular, from the mid to late 1960s. Little is known about Judd’s early exposure in Europe in between the artist’s inclusion in a group show at the Moderna Museet in Stockholm, Sweden in 1965, up until his first solo show in Europe at the Van Abbemuseum in Eindhoven, the Netherland...

Architecture has always been found in a space between its economic and cultural values. As distinct from the intrinsic values attributed to the visual and performing arts, literature and music, architecture's values are often seen to be compromised by, or contingent upon, forces outside of the discipline—on property prices, real estate markets and the vicissitudes of local and global economies. Such intersections of cultural and economic values are especially conspicuous in architectural he...

Pavilion Propositions richt zich op het hedendaagse fenomeen van het 'kunstpaviljoen' en andere, vaak tijdelijke en functieloze architecturale bouwwerken. Wereldwijd worden zulke paviljoenen gebouwd in opdracht van kunstinstituten en worden ze bijvoorbeeld gebruikt als expositieruimte (zoals het jaarlijkse Serpentine Pavilion in Londen, het Young Architects Program in New York en het MPavilion in Melbourne). Ondanks zijn alomtegenwoordigheid en populariteit wordt het hedendaagse paviljoen inc...

Since the 1960s, art and architecture have experienced a series of radical and reciprocal trades. While artists have simulated ‘architectural’ means like plans and models, built structures and pavilions outside art institutions, or intervened in urban and public spaces, architects have employed ‘artistic’ strategies inside art institutions, in exhibitions, biennales and art events. At the same time, art galleries and museums have combined both activities in an interdisciplinary, hybri...