AULA ABERTA COM INÊS MOREIRA
16 DE MAIO, ÀS 16H30 HORAS | AUDITÓRIO DO PAVILHÃO SUL
“PERFORMING BUILDING SITES, CURATING IN/ON/THROUGH SPACE”
Organização: Doutoramento em Arte e Design. Entrada livre.
Ruínas Habitadas é o novo número da revista Arqa. Parece ser um belíssimo número ende tenho a sorte de ter incluído o meu artigo: Após a Fábrica, novas abordagens aos fragmentos e ruínas pós-industriais. http://www.revarqa.com/content/1/1395/apos-fabrica/
E também vi que a cenografia que desenvolvi para o Projecto Terminal em 2005 ilustra o artigo da Sandra Vieira Jurgens: Usos e recursos da arte contemporânea, Instalações fabris, economia e estética do abandono na era pós-industrial. http://www.revarqa.com/content/1/1393/usos-recursos-arte-contempornea/
The Curatorial A Philosophy of Curating _ Bloomsbury Academic
Stop curating! And think what curating is all about. This book starts from this simple premise: thinking the activity of curating. To do that, it distinguishes between ‘curating’ and ‘the curatorial’. If ‘curating’ is a gamut of professional practices for setting up exhibitions, then ‘the curatorial’ explores what takes place on the stage set up, both intentionally and unintentionally, by the curator. It therefore refers not to the staging of an event, but to the event of knowledge itself.
Editor: Jean-Paul Martinon
Preface: Irit Rogoff and Jean-Paul Martinon
to buy on-line: http://www.bloomsbury.com/uk/the-curatorial-9781472525604/
A special edition / luxury box with 12 essays/interviews was carefully edited by Bruno Marchand for Curator´s Lab, and recently published by FCG.
The interviews approach exhibition/curatorial projects considered relevant in the professional path of a group of Portuguese curators.
I am proud that besides my own issue (#12) my projects are part of three of them. As a curator#12, as a scenographer #5 #4 and as a producer #5.
Rescaldo e Ressonância! #12
We are eager to read the new 6 books by Lisbon Architecture Triennale, and very proud to be part of one, with an essay on Aftermath and Resonance! our own curatorial project situated on a building burnt by an accidental fire, and then curated as an exhibition.
“The 2013 Lisbon Architecture Triennale will produce six special edition digital publications. Available online and for all e-readers, the books collectively intend to locate the themes and ideas behind Close, Closer into a broader global context.
The publications, each edited by the Close, Closer curatorial team will replace the traditional printed catalogue. While there will be printed matter, the Lisbon Triennale is pushing forward alternative publishing strategies to establish new formats for communication. These platforms respond to a more open environment for exhibitions and allow the content to be widely disseminated and economically produced.”
Soon available at iBookStore and AmazonKindle.
more info: www.close-closer.com
Video of the opening of Materiality exhibition, curated by Aneta Szylak, Arne Hendiks, Inês Moreira, Leire Vergara
Uma explosão combinatória de excepções
A pesquisa curatorial contemporânea explora diversos processo e formatos, que vão do evento, à exposição, à instalação/dispositivo, a formatos mais imateriais, como textual, relacional, ou outros modos de transferência visível/experiencial/audível. Este projecto assume que a curadoria (enquanto pesquisa e prática) disturba, lê e reescreve ensamblagens existentes, produzindo novos objectos alterados. Propomos uma noção processual e transformativa de conhecimento curatorial, diferindo de exercícios expositivos com objectos originais estabilizados, colecções, arquivos, ou outras práticas expositivas baseadas na cultura material.
Petit CABANON (private version for Wyspa) exhibited at Labour and Leisure Exhibition, in the context of Alternativa Visual Art Festival 2012, curated by Aneta Szylak at Hall 90B, Wyspa Institute of Art in Gdansk, Poland. The physical installation consists of the reconstruction of the two sheds that Le Corbusier had in his garden: CABANON + the Work Shed. The two buildings were made of cardboard bricks, in a playful construction. The sounds cape inside both volumes would reproduce the atmospheres and summer conversations by Le Corbusier, Eileen Gray and their friends, as an evocation. http://www.alternativa.org.pl/
… the date of the inception of Alternativa International Contemporary Visual Art Festival has been set. The Apeniny of the Alternativa, the festival whose heart beats on the premises of the former Gdańsk Shipyard, will take place on Saturday, May 28th. We extremely encourage you to reserve the whole weekend for the art right now!
Detailed program of the Festival will be published at the end of April.
Welcome, Wyspa Progress Foundation/ Wyspa Institute of Art
Scenography Expanding 3: On Curating
September 27 – 29, 2010
Festival Escrita na Paisagem and Centro de História da Arte e Investigação Artística (CHAIA), Évora, Portugal
In his 2008 Whitechapel Gallery talk, Boris Groys pointed toward „exhibition practice as the cure that heals the originally ailing image, that gives it presence, visibility; it brings it to the public view and turns it into the object of the public`s judgement. However, one can say that curating functions as a supplement, like a pharmakon in the Derridean sense: it both cures the image and further contributes to its illness“ .
The ambivalent gestures of curatorial practice in both „healing“ and, possibly, „infecting“ or „contaminating“ come into particular, – and contested – focus when the object that is exhibited is nothing more but the remnant of a past performative event. Can the scenographic object be „helped“ by the curators effort in order to achieve a status of autonomy beyond ist original co-authored mode of production? Or must it be transformed into another genre (installation) to be exhibited? Can we identify an intrinsic essence of the scenographic object in relation / in contrast to exhibition space and public viewing?
In the third and last symposium before the June 2011 Prague Quadrennial for Perfomance Design and Space (PQ), curators and artists from the performing arts, visual arts and spatial design disciplines are invited to enter into a transdisciplinary dialogue on the challenges of exhibiting the ephemeral, the fleeting, the immaterial – the performative event and the scenographic space.
Speakers include: Maria Federica Maestri (Director of Natura dei Teatri, Italy), Radivoje Dinulović (Scenographer and Theoretician, Serbia), Christian Teckert (Architect and Academic, Germany/ Austria), Katharina Schlieben (Curator, Germany) Joanna Warsza (Curator, Poland), Randy Martin (Theory, USA), Dorita Hannah (Architect and Scenographer, Curator for PQ Architecture Section, New Zealand).
The official language of the symposium is ENGLISH.
Building a City for Women, Cali, Colombia 2007
May 14-15, 2010, University of California Santa Cruz
“The Task of the Curator: Translation, Intervention and Innovation in Exhibitionary Practice” will explore the roles of curators in relation to how objects are displayed in museums and galleries, considering a variety of disciplinary and professional perspectives. The title, inspired by Walter Benjamin’s theories of translation, brings attention to the often overlooked or naturalized labor of curators, which involves subtle but nonetheless transformative acts of framing and poetic interpretation. Presenters are encouraged to “look outside of the white box” toward new and alternative display methods.
15th may 2010
“Curating a vocabulary: voices of difference“
Curatorial/knowledge research group, Goldsmiths College, University of London
Cihat Arinc, Doreen Mende, Inês Moreira, Sarah Pierce, Joshua Simon, Roopesh Sitharan, Aneta Szylak, Grant Watson).
Moderated by Nicole Archer, History of Consciousness, UCSC
rewind _contemporary art exhibition / the spatial installation [a preview]
This project is a conceptual space created to host rewind, the contemporary art exhition curated by Laurent Fièvet and Sílvia Guerra for Label. The space concept is by Inês Moreira + Diogo Matos [petitcabanon.org] an adventurous collaboration between Paris+Genéve+Porto+Lons-le-Saunier
Cultures of the Curatorial _Conference
Hochschule für Grafik und Buchkunst
Academy of Visual Arts Leipzig
January 22 – 24, 2010
The conference „Cultures of the Curatorial“ aims at positioning the Curatorial – a practice which goes decisively beyond the making of exhibitions – within a transdisciplinary and transcultural context and exploring it as a genuine method of generating, mediating and reflecting experience and knowledge. It thus takes into account the current economic, social and political developments within the cultural field under the conditions of globalization, neo-liberalism and postfordism. […] The conference pursues these various current practices and formats of the curatorial and their societal perspectives. It integrates different artistic and academic disciplines and professions, – visual arts, dance, theater, film and music – which touch, intersect, complement but also compete with one another. Additionally it focuses on the similarities, differences and reciprocities of socially, economically, ethnically, regionally or nationally defined curatorial cultures and inquires about the respective conditions. The aim is to mark the field within which the actual societal relevance of the curatorial as a form of experience, cognition and knowledge emerges with its aesthetic, social and political perspectives.
Guests: Daniel Birnbaum, Gabriele Brandtstetter, Liam Gillick, Hannah Hurtzig, Maria Lind, Marion von Osten, Raqs Media Collective, Dorothee Richter, Irit Rogoff, Barbara Steiner, Nora Sternfeld, Hito Steyerl, Anton Vidokle, Tirdad Zolghadr.
Concept: Beatrice von Bismarck, Jörn Schafaff, Thomas Weski.
To download the conference schedule, please go to:
petit THINK TANK
_exhibiting as going public
_4 Dez _ Dec 09 : 15 / 17 pm [friday] _Oporto
petit CABANON proposed a two hour conversation revolving around notions of public, exhibiting and publishing. This was the first gathering occurring outside the physical space of pC, the small space we had in the same street which was handed back before summer. We have called “petit THINK TANKs” to a series of long, calm and more or less deep conversations into interdisciplinary questions – these are different from the conversation pieces, or from the gatherings and small exhibitions we have been producing. Recalling what propelled the petit THINK TANKs, these are moments of intense discussion of a question or notion articulating a conjunction of concerns of its intervenients. Although from different disciplines, perspectives and backgrounds, we have been thinking of the extensions of curating, of exhibiting and of research in visual cultures. The 1st one posed a problem of extension: “after the laboratory?” questioning and collectively thinking of the limits of the idea of laboratory as a research model and space. It was transcribed and published as a chapter of a book, and its contributors came from anthropology, biology, visual arts, or critical theory. The second one was encapsulated within a multi-practice environment of architecture and revolved around the limits of the discipline of architecture in which we were trapped: “what can we do?”, was maybe the question raising from that afternoon, which obviously remained unsolved, and even led to a certain tension among those present. As for the third particular session, called “exhibiting as going public”, it was the first one to be open to an audience, due to the nature of the contents it was addressing: the public and publicness of research and exhibiting.
We performed at different levels: firstly staging an encounter with a public. And, more indirectly, addressing the moments of interaction and participation with “the public” or “the audience”, but also, and most especially the conundrum of filtering, and editing, and communication, and translation that occurs when transforming an “incomplete content”, whether academic research, or partial experimentation, or on-going project, into something public. Editing and exhibiting, are activities giving a shape and making public that which is previously unfinished, secretive or simply private. And the politics of going public behind these activities – that most of us share as researchers, writers, teachers or curators – is mirrored by that politics of the encounter with a public, with and audience, and it is conceptualized in more active notions of participation, of relationality or in even deeper notions of communality within the group perceived as the public.
The send-off of this petit THINK TANK was the recent release of the 3rd edited volume of Displayer, by Doreen Mende, a curator, theoretician and editor who produced Dispalyer within the “Program Exhibition Design and Curatorial Practice” Hochschule für Gestaltung / ZKM Karlsruhe. We departed from her presentation and from the audiovisual contribution of Filipa César, a filmed book especially directed for Displayer 3, screened besides us, following us, as part of the conversation. But, instead of a book launch, we tried to expand the notion underlying this volume:
“While an academy is an environment which does not request a ‘finished’ product, the space of exhibition depends on something to be shown to a public. (…) In which way can a publication be understood as a space for exhibiting? Under which demands as well as urgencies does a publication expand the conditions of an academy?”.
We invited Susana Caló, a philosopher and editor of Detritos Magazine, who is undertaking her PhD in London, to respond and to expand on the interceptions of going public: the politics of space and the notion of public domain. Susana opened 3 questions that articulated the later discussion: “on singularities and difficulties of the editorial practice” and “on how is a publication actualizing”; “a question of collectiveness and the dissolution of the author” and the difference of an author writing of things, and a writer writing with things; “on the erasure of the author or the artist by that of the collective” and on collectiveness and the fragility of academy research. The conversation proceeded with a presentation of Gabriela V. Pinheiro, an artist whose artwork is devoted to notions of public, who addresses the public from a close relation in which communality and relationality are conceptualized to interpolate participation, and, to more recently posit the art work within the dynamics of the public within an art institution [or a certain vision of institutional critique].
We intend not to be academic on our approach, but to expand the limits of academy and those of going public, as ours guests proposed us.
petit THINK TANKs are part of petit CABANON
a project by Inês Moreira since 2007
this petit THINK TANK has the support of Reflexus, JUP and FBAUP
[dossier cover _capa do dossier ]
Dossier sobre processo de pesquisa Encontros Performativos: Íntimo e Colectivo, realizado em Bordéus, Outubro 2009 para Geração Z da Revista Arq./a [Nov/Dez 09] , edição: Inês Moreira Redacção: Inês Moreira e Cláudia Martinho, site:www.evento2009.org Design: Carla Ferreira, tradução pt: Sara Moreira [Nucleo de Jornalismo Académico do Porto / JUP], Créditos fotográficos: artistas, Christian Lesemann, Pierre Antoine, Frédéric Deval, Lysiane Gauthier, agradecemos:Didier Fiuza Faustino, Mairie de Bordeaux, Revista arq./a e a todos os participantes no evento 2009
[Arq./a 75/76 magazine cover _capa revista ]