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/
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
Biarch _Barcelona Institute of Architecture _28nov09
>>> 3rd panel _4pm >>> INSTITUTIONS [ARCHITECTURE]
>>> La Pedrera, BCN
>>> Joseph Grima (Storefront, NY) Francisco Gonzalez de Canales (AA, London)
>>> Inês Moreira (moderator)
This dialogue addressed “institutions of architecture” and focused particularly on the cultural dynamics and the research produced and made public within hybrid, middle scale and very lively organizations. Our send-off was the belief that cultural architectural organizations can be active entities, attracting researchers, new students and a broader public, through the quality and the precise focus of its ideas and knowledge production. Instead of the crystallization of institution making in sharp questions such as “what are institutions instituting, or, what are institutions institutionalizing?”, we addressed the expanded field of cultural organizing, from wider notions of architecture culture, constituency, urgency in research, to the roles of researchers/curators, so to understand the potentiality to embody what seems to be a practiced notion of institution: organizations producing, researching, hosting and inhabiting space.
SLOW SPEED OF INSTITUTION MAKING vs. SPEED OF CONTEMPORARY CULTURE
The two organizations discussed – the Storefront for Art and Architecture [NY] and the Architectural Association [London] – develop experimental cultural programs of exhibitions, debates, events and publications. Both are experimenting with curatorial and editorial formats: the Storefront is a small space in NY organizing events, exhibitions (and eventually itinerating and expanding its space), supporting both Art and Architecture fields, its intersections and a broader understanding of the cultural dimension of spatial practice; and Architectural Association, is a leading educational organization, promoting a very accurate and cutting edge design and scholar research, complemented by the program of its gallery, publications and outside spaces. Their programs expand the notion of “architecture culture”, from design-based studio-practices to a culturally more complex and entangled notion of spatial production. Politics, geography, economics, social sciences, as well as design, performance, and also the exercises of writing, exhibiting and divulging, are all participating in the idea of architecture they stage: as multidisciplinary, polyphonic events.
As cultural organizations they are agile, flexible and inventive and – besides the political/economical budget and audience pressures that the larger scale cultural organizations suffer so to sustain its institutional programs, to manage spaces and find its resources [cultural centers, museums, etc] – their smaller scale and organizational structure dribbles the problems of big scale by sticking to high quality programs, whether enabled by the elasticity of a non-profit organization (Storefront), or from extending the renowned experimental graduate school (AA). The organizations are constituted as a set of relations, depending on a community of experts, complicity in researchers and a specialized cultural public, and their organizational strategy nourishes the notion of institution, revolves around questions of the fabrication of itself as a space; of pushing lines of research, and the pursuit to be inhabited by diverse intervenients and interlocutors.
Our panel focused on the textures/fabric of the two institutions, and the personal experience of our guests, and converging around three points: How are the organizations constituted, and what constitutes it? What propels them to particular subject matters of research and how do they practice it? Who is inhabiting and driving its dynamics?
We had the company of two generous guests, who engaged on a thick discussion:
Joseph Grima, educated as an architect, is a curator, writer and editor. He has collaborated with diverse platforms, from Domus Magazine to Multiplicity collective, before becoming director of Storefront in NY. Grima has graduated at the Architectural Association – from where our next guest comes from – and is undertaking his PhD at Goldsmiths College, a Research Department we both have in common.
Francisco Gonzalez de Canales, is an architect, active researcher and design practitioner, educated in Seville, Barcelona and Harvard, and holds a PhD on Architectural History and Theory. After being involved with the Collegio de Arquitectos de Sevilla as editor, he is teaching at the AA, where is coordinator of “Curatorial practices / Cultural products (AACP)”. Besides he is running his office Canales + Lombardero.
_exhibiting as going public
_4 Dez _ Dec 09 : 15 / 17 pm [friday] _Oporto
petit CABANON proposes a two hour conversation revolving around notions of public, exhibiting and publishing. The send-off is the contribution of Doreen Mende, the editor of Displayer 03 [a magazine with contributors as Charles Jencks, Walter Benjamin, Alfred Barr, Ines Katenhusen, Omer Fast, Hans Hollein, Dominique Gonzalez- Foerster, Ines Weizman, Moritz Küng, Giorgio Grassi and edited with the students of Program Exhibition Design and Curatorial Practice / Hochschule für Gestaltung / ZKM Karlsruhe]. We invited Susana Caló, a philosopher and editor of Detritos Magazine, to respond and to expand on the interceptions of going public: the politics of space and the public domain. The conversation will proceed with Gabriela V. Pinheiro, an artist whose work is devoted to notions of public and exhibiting and hopefully engage in an intimate conversation with the audience. A filmed book realized by Filipa César – Displayer 03 – is to be screened as part of the conversation.
Doreen Mende, curator and editor based in Berlin
[Academy Expanded and Expanded Exhibition]
Susana Caló, philosopher and editor based in Oporto
Gabriela V. Pinheiro, artist based in Oporto
[the conversation will be held in English and is kindly hosted
by REFLEXUS arte contemporânea]
rua de miguel bombarda 531
4050-383 Oporto, Portugal
[Displayer is the magazine of the “Program Exhibition Design and Curatorial Practice” Hochschule für Gestaltung / ZKM Karlsruhe]
a project by Inês Moreira since 2007
this petit THINK TANK has the support of Reflexus, JUP and FBAUP
“The requirement to exhibit the final product is something we can view in the framework of the capitalist system, along the lines that an employer who has made an investment now needs to see a result. These relationships are reproduced in the collaboration among artists, curators, and directors who have invested in a work in an institutional framework. The exhibiting institution, being the last link in the chain of this market transaction, needs a visible, tangible result: a product.” (Milica Tomic, Politics of Memory, Displayer 03).
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. The conversation will be based on the project Displayer, which is a publication series of the program Exhibition Design and Curatorial Practice at the University of Arts and Design / ZKM Karlsruhe. Displayer is a magazine of original sound. The editorial team is the students of the seminars of the University’s program.
The points of departure for the most recent issue, Displayer 03 (2009) are the demands, the challenges, and the potentialities as well as the impossibilities of exhibiting space itself. Space is the fabric in which events occur, and events, in turn activate space culturally, socially, politically and geographically. Hence, the exhibition of space is strongly connected to performative acts in addition to questions about the requirements of constructions in space.
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? And for Displayer 03: What are the means of recording space in order to perform it at different times, in different places and different institutional settings?
Contributions Displayer 03 by Eva Kraus, Tilo Schulz, Martin Beck, Charles Jencks, Pablo Bronstein, Katrin Mayer, Stefan Römer, Walter Benjamin, Alfred Barr, Ines Katenhusen, Milica Tomic, Omer Fast, Sina Najafi, Hans Hollein, Joseph Dabernig, Achim Lengerer, Paul Gangloff, Dominique Gonzalez- Foerster, Ines Weizman, Moritz Küng, Kersten Geers, Giorgio Grassi, Guillaume Paoli, Heiner Mühlmann, Stephan Trüby, Wilfried Kuehn. Filipa César realized Displayer 03 as a filmed book which is part of the discussion.
“A bride wanders in the streets of La Paz dragging her wedding gown, pushing a wedding cake on a wheeled tray. A bride as a mujer creando, a woman constructing, creating (creando) a situation, dressed as a bride, wearing a theatrical costume, borrowing her identity for the length of a walk. She talks with other women on the streets, in the market, on the pavements. “I hate men”… “I hate men”… “I hate men”… is what every woman says, I hate men because they are lazy, I hate men because they exploit women, I hate men because they are in power and they exploit us, I hate men because they have beaten me…”
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
Bordeaux – at the crossroad of cultures and artistic fields – invites you to share a unique experience:
an exhibition in movement, an immense urban festival, numerous international artists,
following an itinerary orchestrated by the architect and artist Didier Faustino. Exhibitions, urban events, artworks, performances, concerts, debates,encounters, complicities and free access…