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The first critical account of Marisa Merz's work was an unsigned interview, published on December 1966 in "marcatrè". We propose here to refer that text to the Turin critic Mila Leva Pistoi, author of other dialogues with the leading personalities of the new Italian art scene. The reference to the thought of Maurice Merleau-Ponty returns constantly, allowing Leva Pistoi to interpret in a phenomenological key the Living Sculptures of Marisa Merz, as well as the recent works of Mario Merz and Michelangelo Pistoletto. In that same 1966 a reference to the Freudian notion of «corporeal self» was used by Lucy Lippard in presenting the exhibition Eccentric Abstraction, with specific attention to the unstable and metamorphic works of Eva Hesse and Louise Bourgeois, for many aspects close to those of Marisa Merz, while Rosalind Krauss in "Artforum" leaned on the thought of Merleau-Ponty for her interpretation of the work of Donald Judd. The contributions of these three authors opened a post-minimalist critical perspective, which emphasized the essential character of every act of perception to define the meaning of the artwork and proposed an unprecedented triangulation, mediated by the living body, between the subject, the artwork, and the world.

This article illustrates how research into the history of radio and media can become a methodological 'tool for conviviality' by discussing my research into the very low-powered Tokyo station, Radio Home Run. In 1986, Ivan Illich visited Radio Home Run to participate in a programme that not only exhibited characteristics of his concept of conviviality, but that was also partially inspired by this concept as well as his critiques of industrial society and institutional life. During this programme, Illich sat on the floor of a small Tokyo apartment – the station's make-shift studio – to share food, drink and a microphone with members of the station as he discussed his ideas with those in attendance. About five years prior to his visit, early members of Radio Home Run and its predecessor Radio Polybucket had been inspired by the writings of Illich and other progressive thinkers to develop their own theory and practice of radio-making, which they described as narrowcasting. They implemented this theoretically inspired practice throughout the station's tenure (roughly 1983–96) both discussing and demonstrating conviviality with Illich during his 1986 visit. In 2016, 30 years after Illich's visit, I met with former Radio Home Run members to collect oral histories, facilitate group interviews and conduct archival research about the station and its practices. I implemented a methodology that combines traditional practices of media and radio history with practices of art history focused on the perspectives and accounts of creators, such as those advocated by Lucy Lippard and Kristine Stiles. As I travelled throughout Japan to sit, share food and drink and discuss the past with groups and individuals, I experienced what it was like to participate in Radio Home Run's convivial practices of narrowcasting. I also participated in the collective reconstruction of Radio Home Run's collective history by documenting conversations as members pieced their memories together and revisited material from their personal archives, which shed new light on the station and its convivial practices. This article discusses and reflects upon the convivial nature of my research experiences in order to propose a methodology of radio and media arts history research that can serve as a methodological tool for conviviality in the present and the future. [ABSTRACT FROM AUTHOR]

La desmitificación de las nociones de arte y de autoría durante los años del arte conceptual está estrechamente relacionada con la aparición de nuevos agentes del campo del arte que subsumieron una función autoral. Es el caso del llamado comisario-autor: prefigurado por Harald Szeemann en 1969, éste nació escasamente dos años después de que Roland Barthes hubiera sugerido la muerte del autor. «La tableau de Szeemann» hipotiza la posibilidad que haya una conexión directa entre ambos sucesos, al mismo tiempo que rastrea los intercambios que se produjeron entre el arte y la mediación bajo el influjo del postminimalismo y en lo que fueron los albores del postfordismo. Asimismo, se ahonda aquí en las tentativas que desempeñaron Seth Siegelaub y de Lucy Lippard por lo que hace a modos de exposición que permitieran amplificar el eco deconstruccionista del arte conceptual en lugar de replegarlo sobre posiciones autorales. El texto también analiza el papel destacado que tuvo la edición de publicaciones en relación con un momento que fue especialmente fructífero por lo que hace a la experimentación en mediación.

This essay considers the relevance of The British Avant Garde exhibition at the New York Cultural Center in 1971 to the reputation and discussion of British artists in the US, and its subsequent impact in Britain. It situates the exhibition with reference to Conceptual Art and Conceptual Aspects at the NYCC and Information at the Museum of Modern Art, both held in 1970, and within the background milieu of a lively transatlantic and multi-directional network of artists such as Terry Atkinson, Michael Baldwin, Ian Burn, Barry Flanagan, Dan Graham, Joseph Kosuth, Christine Kozlov, Richard Long, Mel Ramsden, Sol LeWitt and Lawrence Weiner, who were developing alternative ways to make and to distribute work by using text, photocopies, and self-publication as forms of production as well as becoming the site of exhibition. Devised by Charles Harrison, assistant editor of Studio International magazine, the exhibition was a collaboration between the magazine and the NYCC, directed by Donald Karshan. Despite the mixed press reviews in New York, the exhibition paved the way for establishing institutional support for the artists in the UK.

The writing of the history of exhibition curating in contemporary art has been largely based on the study of a few pioneer curators, such as Harald Szeemann, Lucy Lippard or Seth Siegelaub, who have been lent the status of authors, occasionally comparable to the artist as author. Nonetheless, if one studies systematically innovations and transformations in exhibition-making since the 1960s, which have given to curating the status of distinct profession and its current high prestige, one may find that the image of a charismatic single-author is, to some degree, a construction. Several crucial historical moments in curating, even when labeled by an individual’s name, were nonetheless connected to collective or collaborative endeavors.

In the 1970s, the mobility of ideas, artists, and their work intensified. British sculpture was included in the most ambitious exhibitions held abroad, aiming to present the latest international developments in contemporary art. Transnational exchanges are discussed as pivotal in the reshaping of artists’ attitudes to their work and the process of making. Nonetheless, questions are also raised about inclusion and exclusion from the narrative of British art as displayed abroad, at a time when the rubric of sculpture as much as the sense of what was specifically British in the visual arts were verging towards dissolution. As part of this narrative, Lucy R. Lippard’s Art from the British Left (Artists Space, New York, 1979) is discussed as a seminal, if little known, exhibition.