Julia Peyton-Jones

  • View of “When Attitudes Become Form: Bern 1969/Venice 2013,” 2013, Fondazione Prada, Ca’ Corner della Regina, Venice. From left: Bill  Bollinger, Pipe Piece, 1968; Gary B. Kuehn, Pedestal Piece (Untitled), 1968; Keith Sonnier, Untitled (Neon and Cloth), 1968; Bill Bollinger, Screen Piece, 1968. Photo: Attilio Maranzano.

    Julia Peyton-Jones

    1 “WHEN ATTITUDES BECOME FORM: BERN 1969/VENICE 2013” (FONDAZIONE PRADA, VENICE; CURATED BY GERMANO CELANT WITH THOMAS DEMAND AND REM KOOLHAAS) This brilliant and ambitious experiment in replicating Harald Szeemann’s 1969 show was significant not only for bringing together some of the key works of that period but also for its complex architectural installation, which cleverly prompted a more in-depth consideration of the very act of restaging a historic exhibition. It was a joy to get lost in the extensive display of archival material, which included such wonderful treasures as footage of the