{"id":349,"date":"2021-01-01T19:58:00","date_gmt":"2021-01-01T18:58:00","guid":{"rendered":"https:\/\/bildhauereiundraumstrategien.akbild.ac.at\/?p=349"},"modified":"2022-02-23T14:14:55","modified_gmt":"2022-02-23T13:14:55","slug":"349","status":"publish","type":"post","link":"https:\/\/bildhauereiundraumstrategien.akbild.ac.at\/index.php\/2021\/01\/01\/349\/","title":{"rendered":""},"content":{"rendered":"\n<h1 class=\"wp-block-heading\"><span class=\"has-inline-color has-accent-color\">Sina Najafi<\/span><\/h1>\n\n\n\n<p>14th January 2021<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Between the Hedgehog and the Fox<\/strong><\/h2>\n\n\n\n<p>In his 1953 essay \u201cThe Hedgehog and the Fox,\u201d Isaiah Berlin invokes a fragment from the pre-Socratic poet Archilochus: \u201cA fox knows many things, but the hedgehog knows one large thing.\u201d What does it mean to know many small things, or, indeed, one large thing? What sorts of thinking can we expect from each creature? What is at stake in the different modes of knowledge? Must we choose one over the other, or can we be hybrid creatures?<\/p>\n\n\n\n<p>In this seminar, we will examine some of Cabinet\u2019s projects over the years to understand the ways in which a publication\u2014a container of sorts that holds a number of diverse elements \u201cmade\u201d by a variety of contributors\u2014can go about staging different forms and modes of knowledge in a shared intellectual space.<\/p>\n\n\n\n<p><strong>Required Reading:<\/strong><\/p>\n\n\n\n<p>Land Acquisition 1 Issue 10: (pages 83\u201388)<\/p>\n\n\n\n<p>Land Acquisition 2 and the three artist projects that go with it (pages 104\u2013110)<\/p>\n\n\n\n<p>Land Acquisition 3 (pages 121-122), Issue 63: p.90-93<\/p>\n\n\n\n<p><strong>Sina Najafi<\/strong> is editor-in-chief of <em>Cabinet<\/em> magazine and executive editor of Cabinet Books. Najafi has curated or co-curated a number of exhibitions and projects, including \u201cSchool of Death\u201d (Pompidou Center, 2016; Family Business, 2013, with Simon Critchley), \u201cA Collector\u2019s Album of Traitors, Traders, Translators and Experientialists\u201d (Sharjah Biennial, 2011), \u201cThe Bubble\u201d (Canadian Centre for Architecture, 2010), \u201cJaime Davidoich: The Live Show!\u201d (Cabinet, 2010), \u201cThe Museum of Projective Personality Testing\u201d (Manifesta 7, Trento, 2008, with Christopher Turner), \u201cSivan vs. Finkielkraut,\u201d (Documenta, 2007, with Eyal Weizman), \u201cPhilosophical Toys\u201d (Apex Art, 2005), and \u201cOdd Lots: Revisiting Gordon Matta-Clark\u2019s <em>Fake Estates<\/em>\u201d (White Columns and Queens Museum of Art, 2005, with Jeffrey Kastner and Frances Richard). Together with Jeffrey Kastner, he commissioned and edited the twenty-four essays in the catalogue for the 2013 Venice Biennale exhibition \u201cThe Encyclopedic Palace.\u201d His most recent exhibition, co-curated with Joanna Warsza, is \u201cAnd Warren Niesluchowski Was There,\u201d currently on view at Foksal Gallery Foundation, Warsaw.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Sina Najafi 14th January 2021 Between the Hedgehog and the Fox In his 1953 essay \u201cThe Hedgehog and the Fox,\u201d Isaiah Berlin invokes a fragment from the pre-Socratic poet Archilochus: \u201cA fox knows many things, but the hedgehog knows one large thing.\u201d What does it mean to know many small things, or, indeed, one large [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/bildhauereiundraumstrategien.akbild.ac.at\/index.php\/wp-json\/wp\/v2\/posts\/349"}],"collection":[{"href":"https:\/\/bildhauereiundraumstrategien.akbild.ac.at\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/bildhauereiundraumstrategien.akbild.ac.at\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/bildhauereiundraumstrategien.akbild.ac.at\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/bildhauereiundraumstrategien.akbild.ac.at\/index.php\/wp-json\/wp\/v2\/comments?post=349"}],"version-history":[{"count":0,"href":"https:\/\/bildhauereiundraumstrategien.akbild.ac.at\/index.php\/wp-json\/wp\/v2\/posts\/349\/revisions"}],"wp:attachment":[{"href":"https:\/\/bildhauereiundraumstrategien.akbild.ac.at\/index.php\/wp-json\/wp\/v2\/media?parent=349"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/bildhauereiundraumstrategien.akbild.ac.at\/index.php\/wp-json\/wp\/v2\/categories?post=349"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/bildhauereiundraumstrategien.akbild.ac.at\/index.php\/wp-json\/wp\/v2\/tags?post=349"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}