NEW book! The Curatorial : a Philosophy of Curating

The Curatorial : a philosophy of curating

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

contributors: Cihat Arinç, Ariella Azoulay, Alfredo Cramerotti, Bridget Crone, Anshuman Dasgupta, Jean-Louis Déotte, Valentina Desideri, Jenny Doussan, Helmut Draxler, Charles Esche, Valeria Graziano, Stefano Harney, Natasa Ilić, Susan Kelly, Adnan Madani, Doreen Mende, Suzana Milevska, Je Yun Moon, Ines Moreira, Stefan Nowotny, Sarah Pierce, Irit Rogoff, Shuddhabrata Sengupta, Joshua Simon, Roopesh Sitharan, Nora Sternfeld, Aneta Szyłak, Leire Vergara.

to buy on-line:  http://www.bloomsbury.com/uk/the-curatorial-9781472525604/

a new book just completed : Devir Menor

6265479-blank-book-cover-white copy

And 3 years after I started collaborating with Fundação Cidade de Guimarães for the cultural programme of Guimarães 2012 – European Capital of Culture … today … we have finally completed the last project! A very nice book consisting of the catalogue of the exhibition of the same project, with a few nice adds, will be printed soon. Here is the cover of the book, designed by joana&mariana, produced by produções reais + plano geométrico and published by fundação cidade de guimarães.

+ info : Devir Menor, arquiteturas e práticas espaciais críticas na Ibero-America

exhibition on the way : 2012 european capital of culture

EDIFÍCIOS E VESTÍGIOS , projecto-ensaio sobre espaços pós-industriais (exposição, conferência, livro)

curadoras: Inês Moreira e Aneta Szylak

organização: Guimarães 2012, Capital Europeia da Cultura

local: Fábrica ASA, sector G

data: 29 setembro – 1 Dezembro 2012

BUILDINGS AND REMNANTS , essay-project on post-industrial spaces (exhibition, conference, book)

curators: Inês Moreira e Aneta Szylak

commissioner: Guimarães 2012 European Capital of Culture

venue: Fábrica ASA, sector G

date: 29 september – 1 December 2012

UNPLANNED _exhibition @ Los Angeles

UNPLANNED: Research and Experiments at the Urban Scale

25 March 2010 – 2 July 2010

SUPERFRONT is proud to present UNPLANNED: Research and Experiments at the Urban Scale, the first SUPERFRONT LA exhibit of 2010.

Just as the discipline of architecture faces a re-imagination of itself in this era of slow-motion global capitalism, the human population finds itself crossing the threshold to a predominantly urban existence.  Many of the basic tenets underpinning urban planning – Cartesian geometry, programmatic taxonomy, contextualism – have been subject to skeptical investigation and rebellion in architecture throughout the past decade. Yet conventional urban planning continues, the discipline of urban planning operating much as it has since the 1960s (if not the 1860s).  Leveraging an interdisciplinary focus, UNPLANNED: RESEARCH AND EXPERIMENTS AT THE URBAN SCALE boldly presents a collection of radical methods for envisioning and producing space at the urban scale.

LA superfront, a gallery and project space promoting experiments in architecture.

Opening Reception Thursday March 25, 2010 5PM – 8PM
Pacific Design Center (PDC) Suite B208 | West Hollywood, CA | 90069

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My text for this catalogue is titled:

[the un-planned coast: improvised and accidented architectures]

Inês Moreira [petit CABANON] Feb 2010

camp _a guide to 21st-century space

Camps: A Guide to 21st-Century Space

by Charlie Hailey
MIT Press, 2009
536 pages, 5 3/8 x 8 inches
ISBN: 978 0 262 51287 9

“What is a camp? The ubiquity and diversity of camps calls for a guidebook. This is what Hailey offers, but it is no ordinary one. Not only does he establish a typology of camps, but he also embeds within his narrative a key to camp ideology. Thus we see how camp spaces are informed by politics and transform the ways we think about and make built environments. Hailey describes camps of diverse regions, purposes, and forms, and navigates the inherent paradoxes of zones that are neither temporary nor permanent: camps of choice, including summer camps, protest camps, drift camps (research stations on Arctic ice floes), and LTVA (Long-Term Visitor Area) Camps; strategic camps regulated by power—boot camps, GTMO (the detention camp at Guantánamo Bay), immigrant camps, and others;—and transient spaces of relief and assistance, among them refugee camps, FEMA City, work camps, and Gypsy camps. Today camps are at the center of emerging questions of identity, residency, safety, and mobility. Camp spaces register the struggles, emergencies, and possibilities of global existence as no other space does.” MIT press

[an interview with the author]

petit THINK TANK _exhibiting as going public

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.

++++++++++++++++++++++

organization _
petit THINK TANKs are part of petit CABANON
http://www.petitcabanon.org
a project by Inês Moreira since 2007

this petit THINK TANK has the support of Reflexus, JUP and FBAUP

++++++++++++++++++++++

beyond _book review

beyond01_cover

My review of Beyond is published on:

Revista Arquitectura 21, Setembro 2009

[portuguese only]

“Que cenários cria hoje a arquitectura? Como participa e projecta o futuro do contemporâneo? Perante a actualização das visões futuristas do século XX nas construções corporativas um pouco por todo o mundo – das ilhas artificiais e torres de Dubai, aos condomínios em desertos e plataformas de alto mar – e nas recentes instanciações do imaginário da ficção científica em aspectos hiper-banais, e por isso invisíveis, do nosso quotidiano – da contaminação dos solos, aquecimento da atmosfera, às ameaças nucleares e pandemias biológicas – no momento actual a arquitectura parece construir e participar nas utopias e distopias que há um século eram projectadas como especulações ficcionais. Então, quais os limites e as potencialidades da ficção em arquitectura, hoje? Beyond é um volume de pequenas histórias, publicado por SUN architecture publishers e editado por Pedro Gadanho, que vem reintroduzir um espaço literário no campo da arquitectura e problematizar o espaço da escrita especulativa hoje. (…) ” Inês Moreira, Agosto 09

———————————————————————

Beyond, Short Stories on the Post-Contemporary

Sun Publishers, 2009 [English edition]

edited by Pedro Gadanho

authors: Gilles Delalex, Michelle Provoost, Knut Birkholz, Srdjan Jovanovic Weiss, Boris Jensen, Silvia Banchini, Luis Falcón, Antonio Scarponi, Bruce Sterling, Lara Schrijver, Kobas Laksa, Shumon Basar, Wes Jones, Superstudio, Aaron Betsky

Rescaldo e Ressonância! [aftermath and Resonance!]

andrecepeda02-2_net

Aftermath and Resonance! is a speculative project thinking through the spaces wounded during the fire of May 08 at the Rectorate of the University of Porto.

Aftermath and Resonance! is a modest approach, with an austere language, and is made public as a modality of spatial installation and as a publication. The project is born from the fascination for the accident itself, but rejects the spectacle of the catastrophe. It is a research onto the anti-spectacle and onto normality, sounding out the resonances of a non conventional space, performing the rawness and the materiality of the aftermath, and documenting it all through different media (video, photography, sound and space). A spatial essay is exhibited in an installative modality, interpreting and reenacting the consolidation process of the existing spaces through documentary records and materials that a group of contemporary authors collected in the aftermath.

Aftermath and Resonance! is a spatial essay about the potentialities and the metaphorical dimensions of exhibiting in “non conventional” spaces. The publication documents the exhibited projects and is complemented by essays on the ideas of institution, fiction and contingency.

A collaborative project of André Cepeda (photographs), Paulo Mendes (videos), Inês Moreira (curator and spatial concept) and Jonathan Saldanha (sound).
Catalogue with essays: Pedro Bandeira, Filomena Soares and Inês Moreira