Contemporary art curating news and views

Pick 'N Mix #74

Posted by Mikhel Proulx • Sunday, September 8. 2013 • Category: Pick 'N Mix

- What happened to the expert curator? “people are creating meaning themselves – online, inside, outside and in rings around the snail-paced bureaucracy that has come to characterise most cultural institutions.” Daniel Blight for the Guardian.

- "Curators are nothing without art, no matter what the most meta-inclined of curatorial theorists might argue." Frieze's Dan Fox invites eight artists to reflect on Being Curated.

- 'The Importance of Curators.' Report from last month's conference Curators: Can't Live With Them, Can't Live Without Them at England's South Western Federation of Museums and Art Galleries.

- Despite boycott calls from arts communities globally, and a petition with 1,884 signatures (as of this posting), Manifesta 10 Sticking With Russian Location.
Manifesta director Hedwig Fijen is quoted as saying: “To withdraw would mean to ignore the voices of our contemporaries and emerging generations in Russia.”

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Pick 'N Mix #72

Posted by Mikhel Proulx • Thursday, August 8. 2013 • Category: Pick 'N Mix

- A review from GalleristNY's Andrew Russeth outlines the career of trailblazing sound-art curator Barbara London.

- MoMA's Doryun Chong will fulfill the inaugural chief curatorial position at Hong Kong’s M+ Museum.

- C& has interviewed the curatorial team for Dak'Art 2014: Elise Atangana, Abdelkader Damani and Ugochukwu Smooth Nzewi.

- Next April the Met will host an international conference of museum directors. ArtsBeat

- Hou Hanru has been named artistic director of Rome's Maxxi museum.

- Jessica Verboom and Payal Arora have developed a study of the effects of the participatory Web 2.0 on museum culture: Museum 2.0: A study into the culture of expertise within the museum blogosphereFirst Monday.

- 7 art podcasts that take you behind the scenes at the museum. Art Radar Asia.
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Opportunity: 89plus, Call for creative practitioners born in and after 1989

Posted by Sofia Landström • Sunday, July 28. 2013 • Category: Jobs & Opportunities

The application date for this opportunity has passed.

89plus, Call for creative practitioners born in and after 1989
Deadline: July 30, 2013

89plus is calling for artists, curators, writers, and other creative practitioners to be a part of a long term, international, multi-platform research project, co-founded by Simon Castets and Hans Ulrich Obrist. There is only one rule: you must be 89plus—born in or after 1989.

The year 1989 was marked by several paradigm-shifting events, including the collapse of the Berlin Wall, the introduction of the World Wide Web and the orbit of the first Global Positioning System satellite. Positing a relationship between these world-changing events and creative production at large, 89plus introduces the work of some of this generation’s most inspiring young protagonists. Through various projects and events, 89plus brings together individuals from a generation whose voices are only starting to be heard.


89plus is a long-term, international, multi-platform research project co-founded by Simon Castets and Hans Ulrich Obrist. It is conceived as a mapping of the generation born in or after 1989. Without forecasting artistic trends or predicting future creation, 89plus manifests itself through panels, books, periodicals, exhibitions and residencies, bringing together individuals from a generation whose voices are only starting to be heard, yet which makes up almost half of the world’s population.

Marked by several paradigm-shifting events, the year 1989 saw the collapse of the Berlin Wall and the start of the post-Cold War period; the introduction of the World Wide Web and the beginning of the universal availability of the Internet, as well as the orbit of the first Global Positioning System satellite. Positing a relationship between these world-changing events and creative production at large, 89plus introduces the work of some of this generation’s most inspiring protagonists.

Since an introductory panel held in January 2013 at the DLD – Digital, Life, Design conference in Munich, 89plus has conducted research in Australia with Kaldor Public Art Projects and Hong Kong with Art Basel’s Salon series. In partnership with the Park Avenue Armory in New York, 89plus selected visual artist and curator Alex Dolan to be artist-in-residence during the Armory’s “Under Construction” series, taking place in September 2013.

Open call

89plus announces an open call for artists, writers, curators, architects, filmmakers, musicians, designers, scientists and technologists. There is only one rule: you must be 89plus – born in or after 1989. The open call is hosted at www.89plus.com.

Submissions are kept on a private research database for consideration by the project’s co-curators. As the project continues in the years to come, those selected will be notified of their inclusion in new endeavours.
Submissions are welcome at any time, however the mid-year deadline for 2013 activities is July 30, 2013.

89plus.com is kindly supported by DLD – Digital, Life, Design.
Upcoming events include the 89plus Marathon at London’s Serpentine Gallery on October 18 and 19 during this year’s Frieze Art Fair, and the 89plus Conference at Venice’s Palazzo Grassi on September 5.

For more information and to submit, go to 89plus.com

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Pick 'N Mix #65

Posted by Mikhel Proulx • Tuesday, April 9. 2013 • Category: Pick 'N Mix

- Germano Celant is re-staging Harald Szeemann's seminal 1969 exhibition 'Live in Your Head. When Attitudes Become Form' for the Fondazione Prada in Venice.

- [Jerry] Saltz on the Death of the Gallery Show: “There used to be shared story lines of contemporary art: the way artists developed, exchanged ideas, caromed off each other’s work, engaged with their critics. Now no one knows the narrative; the thread has been lost.”

- In a similar vein, critic Blake Gopnik takes on museums for the Art Newspaper: “The quaint old notion of the museum as a haven for the contemplation of the art it owns has given way to the museum as a cog in the exhibition-industrial complex”

- Meanwhile, museums are Looking for Ways to Groom Repeat Visitors, with free-admission, entertainment strategies, and 'frequent-flier' credits.

- Former Tate curator Emma Dexter interviewed about her movement into 'the world of private galleries': “there's so little bureaucracy in commercial galleries.”

- Review of Paul O Neill's 'The Culture of Curating and the Curating of Culture(s)' (MIT Press, 2012) at the Brooklyn Rail.

- Review from November's Curatorial Knowledge Forum held at the Indus Valley School of Art and Architecture in Karachi, Pakistan.

- Artists, curators and advocates Deirdre Logue and Allyson Mitchell present their Feminist Art Gallery (FAG) These self-identified “feral curators” avoid formal funding structures, focus on feminist and queer cultural production, and “approach curating from an activist position.”

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Pick 'N Mix #60

Posted by Mikhel Proulx • Monday, January 7. 2013 • Category: Pick 'N Mix

- Peter Schjeldahl on art criticism: “Can we speak sensibly about what we like about art?” ‘Of Ourselves and of Our Origins: Subjects of Art.’

- ‘Have you digitally interfaced with your art museum lately?’ asks Christopher Night, after a Pew Internet survey on US museum public-programming was released this week.

- Julia Halperin of Art+Auction: ‘As the Battle for the Online Art World Sharpens, How the Players Are Adapting.’ On the varied business models of the ‘net’s top art initiatives: Exhibition A, Art.sy, 1stdibs, Paddle8, 20x200, Artspace and VIP Art.

- There is a new association for curators in Quebec, Canada, soon to have a call for papers: ACAQ.

- This past October PAARC, Fillip, and ARCA organized the terrific Institutions by Artists conference, the entirety of which has been recorded and made available online. Highlights include presentations by Julia Bryan-Wilson, Jeff Derksen, Deirdre Logue, and both of the nightly Oxford-style debates.

- Three weeks are left in our Musée Imaginaire concours in collaboration with KAPSUL. Top prize of US$1000!

Pick 'N Mix #54

Posted by Mikhel Proulx • Thursday, October 11. 2012 • Category: Pick 'N Mix

- Terry Smith interviewed about his forthcoming publication "Thinking Contemporary Curating"

- Around the corner: Afterall’s symposium 'Artist as Curator'. November 10, 2012, London.

- Great New York Times debate: Do We Need Professional Critics?

- A considerate piece on cultural policy and measuring value by Julianne Schultz at The Australian: ‘Culture's impact on the whole of society

- ‘The New Yorker Wades into "Curator" Confusion’ : Hyperallergic

- Carol Yinghua Lu, one of the Gwangju Biennale’s artistic-directors, reflects on the “forced marriage” of its pan-Asian, female curatorial team: Curating the Gwangju Biennale. Also, a review of the Biennale by Justin McCurry for the Guardian.
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Report from Manufacturing Exhibitions (2)

Posted by Mikhel Proulx • Wednesday, April 18. 2012 • Category: Reviews & Resources

Manufacturing Exhibitions (2), Max and Iris Stern International Symposium 6, MARCH 30, 2012 TO MARCH 31, 2012 Musée d’art contemporain de Montréal

This year’s incarnation of the annual Musée d’art contemporain de Montréal’s Max and Iris Stern International Symposium aimed to reflect on leading issues from the last two decades of curatorial practice. For conference organizer and MAC curator François LeTourneux (and demonstrably for several of the presenters), dominant in this premise is the blurring between curating and art-making, and the adoption of historical perspectives in both practices since the 1990s. This “historiographic turn”, LeTourneux posited, has resulted largely from the archival systems and access to information made possible after the internet, and has been accompanied by the development of a self-reflexive and performative curatorial praxis. Upon this scaffold, leading contemporary curators were invited to explore the nexus between their own practices and these widespread trends.

Keynote presenter and curatorial firebrand Jens Hoffmann offered a précis of his forthcoming book “Show Time” (the title of which exposes his theatrical past). The project examines “fifty key exhibitions from the past twenty years” – a typology ranging from events for historical and site-specific reflection, to platforms for transnational exchange – each case was a group show. This canon of exhibitions evidently serves to highlight a “self-reflexive impulse” arising from the prevalent tendency in recent curatorial practice to actively consider the history of exhibition-making itself.

In thinking and talking about curatorial history, though, curators risk “creating dangerously insular meta-production” – a hazard Hoffmann attempts here to sidestep. Against a backdrop of globalization and alongside a spurt of globalized art practices, exhibitions since 1990 have become “vehicles for social, cultural and political expression... on the part of curators”. This ability to reflect on cultural contexts, Hoffmann suggested, arises from curatorial self-reflexivity: a facility for curators to look and act externally, derived from a kind of inward-looking. “Curating”, we were told, “has become a more creative medium” – at least in the form of group exhibitions – a claim that routine solo-show curator Kitty Scott was quick to challenge: “the group show has become the medium for the curator over the past two decades”, Hoffmann retorted in the question period.

The following day packed in ten presenters who shared a concern for historical outlooks in curation.

Montreal local, independent curator Vincent Bonin focused on the telling time-lag between the productions of contemporary art exhibitions, and subsequent publications, theorisations and retrospectives. For Bonin, this is evidenced most grippingly in the challenges posed by (or impossibility of) restaging work of post-studio artists like Michael Asher or Lawrence Weiner. Less the restaging of original artwork, exhibitions of such practices instead may endeavor to recapture an appreciation of the historical context of their original production.

Barbara Clausen, too, acknowledged the curator’s alchemical-like ability to rejuvenate practices brought alive from archived documents and artefacts, as she herself accomplished with Sarah Pierce’s 2010 performance FUTURE EXHIBITIONS, for which Allan Kaprow’s 1963 Push and Pull serves as both source material and mise-en-scène. Here, the staging of shows, the protocols and taxonomies of archives, and the practices of the curator become fodder for artistic production. With this, Clausen remarked on the shared affinity between curation and performance – the staging of a show and focus on the audience paramount to both methodologies.
Clausen further stressed the role of process-based modes of production, and the appropriation of previous exhibition models into display production. She reminded us that while the revival of the past used to happen over three full generations, it is now already a part of much production of contemporary performative practices (the work of Sharon Hayes is exemplary in this regard).

Extending her own invitation to address the colloquy, Kitty Scott invited Reesa Greenberg (distinguished scholar and Scott’s one-time professor in a late-1980s Montréal) to discuss her influential (and now sixteen-year-old) publication Talking About Exhibitions (Routledge). Scott posed ten questions for Greenberg, ranging from the practical aspects and working conditions of collaboration, to the feminist and theoretical challenges of the project, to its possible relations to contemporary curatorial and academic practices.
Greenberg opted for Scott to Skype her co-editors of the publication, Sandy Nairne and Bruce Ferguson, of which the crowd at the symposium was treated to a glitchy, unrehearsed recording. Greenberg’s own presentation that followed stressed the efficacy of collaboration as a productive modality, and remarked on the deep integration of theory and criticism into curation since the late ‘80s. Her pioneering work in curatorial discourse, she suggested modestly, represents an outdated model within contemporary networked-culture, and she further posited the possibility of reifying the project on the web.

Hou Hanru provocatively opened his talk with the remark that the French Commissaire means both curator and police. Hanru charted the increase in the major exhibition of ‘non-Western artists’ in the ‘West’ alongside influence of non-Western biennials that challenge dominant curatorial structures (offering the Havana and Istanbul Biennials as exemplary models). This is, Hanru argued, not just a prevalent recognition of new geographic horizons, but a means to rethink Western exhibition models. He posited a political turning point in which the biennial becomes an alternative cultural site – alternative to the banal, market-driven vision of art fair and museum paradigms. His is a call to engage specifically in public and participatory programs, for which his own 10th Istanbul Biennial (2007) may serve as example for such curatorial innovation. Its public and context-specific agenda included Dream House, (a show that never closed its doors to the public) and Nightcomers, a three-month endeavour that saw video projections reach peripheral neighborhoods of Istanbul. Hanru further advocated for sustainable social engagement (versus the punch-and-run tendency of biennials), as is the case with Rem Koolhaas’ Time Museum of Guangdong – the architecture of which is woven into residential condominiums in the neighborhood of Huangbian.

Florence Derieux, in line with Hoffmann, charted an historical turn in which the exhibition as its own subject is taken up in the now-normative role of the curator-as-author. This “exhibition-making as an artform in its own right”, Derieux offered, was aroused by Documenta 5 and more generally by Harold Szeemann’s evolution of the practice in the late ‘50s and ‘60s.
In sharing the same space of cultural production, though, artists and curators become intertwined in a relationship coloured by competition. Here, the category of the professional curator is inherently in conflict with that of the artist. Such conflation of artistic and curatorial roles may very well elicit innovative exhibition models, but clearly risks undermining the value of artists.

“Why must everything be so clean? Why must the white-cube persist?”, implored Dieter Roelstraete. His presentation, a call for “Retour au désordre”, proffered the virtuous capacities of risk, adventure, danger, experimentation, and transgression in exhibition-making. Rehashing his recently-published essay ‘In Defense of Making a Mess’ (orig. Unordnung, bitte in Monopol Magazin), Roelstraete pleaded for disorder in exhibitions – “to become messy again”. He decried a widespread lack of risk-taking in contemporary art, and at the same time conjured various traditions in art history that rely on risk. “Art’s partial roots are in refuse”: this is, Roelstraete affirmed, one reason why we’ll miss Mike Kelley so much. Now, instead of risk, we have the memory of risk – a restaging of it that assumes risk-taking is a thing of the past. “The past is easier to keep clean and tidy than the present”, he reminds us. Under this shadow, and conceivably in the light of an archive-fetishistic and commodity-driven market, much of contemporary art proscribes sterile curatorial practices akin to the privatized risk-management of art fairs. “Well-ordered shows”, Roelstraete asserted, “are easy” and “taking risks is, well, risky”.

‘it is uncertain what is mediating and what is being mediated’
In the concluding presentation of the symposium, art-historian Lars Bang Larsen and artist Søren Andreasen performed their Four Micro-Lectures on Mediation. Evidently borne from coffeehouse-conversations on dark Copenhagen afternoons, this sometimes-cryptic diatribe contemplated roles of the mediator in four social strata: Economy, Sound Production, the Culture Industry, and Curation:

1. Economy
In which mediation is a principle of commodity exchange, and the mediator professes a marked licence to enter the marketplace, to regulate and speculate, and thus to create a ‘super-market’.

2. Culture Industry
In which the mediator may be writ large in leading portrayals of lawyers by Hollywood men, traversing the fields of entertainment, economy and law (this insight was coupled with an automated slideshow of George Clooney and Matthew McConaughey). Here, the performative role of the middleman levels differences for others on his own professional terms. He is useful, though as Bang Larsen reminds us, “usefulness is a characteristic of the idiot”.

3. Sound Production
In which Phil Spector’s invention of the synthetic echo reverberation delimits access to the source of things. This focus on the membrane of mediation calls into question the role of the mediator in asking: “what happens to the echo when it is deliberately produced?”

And finally,
4. Curating
Wherein mediating is exposed as relativizing, and the mediator’s role is seen as the authoritative creation of new communities via the commoditization of cultural artefacts (à la Adorno). They offered: “when curators are no longer custodians of eternity, they must reflect on their own institution’s legitimacy”.

Collectively, the muster of curatorial notables shared concerns for historiographic sensitivity and the necessity for self-reflexivity. Such concerns were writ large in propositions by each participant: in the curatorial naval-gazing espoused with pied-piper-like certitude by Hoffmann, and, divergently, in the cautionary evocations of moments when artistic agency is assumed by curatorial authorities (by Derieux, Bonin and the Danish duo). The speakers offered compelling instances of past artworks and practices mitigated and reified in Lazarus-like display forms, as in Clausen‘s historical contextualization projects, and Scott’s active, participatory methodology. Progressive imperatives were pressed in Hanru’s models for new forms of cultural engagement, and in Roelstraete’s charismatic plea for experimentation and mess.

Manufacturing Exhibitions (2) fully engaged with, as Hoffmann warned against in his opening, “talking about talking about ourselves.” Called into question were the working modes of (and between) the curator-as-artist and the curator-as-manager. The symposium served to concretize contemporary curatorial practice in light of historical precedents, and to position its discourse in time for next year’s conference theme – abstraction.

Image of Img Søren Andreasen and Lars Bang Larsen by Mark Lanctôt.

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Opportunity - QUI. ENTER ATLAS International Symposium of Emerging Curators

Posted by April Steele • Friday, November 11. 2011 • Category: Jobs & Opportunities

The application date for this opportunity has passed.

Emerging Curators at GAMeC
18–21 November 2011 – GAMeC, Bergamo

4th Edition
International Symposium of Emerging Curators
18–21 November 2011

6th Edition
Lorenzo Bonaldi Award for Art – EnterPrize
Award Ceremony
21 November 2011 – at 7 pm

Via San Tomaso, 53
24121 Bergamo
T +39 035 270272
F +39 035 236962

Under the direction of Giacinto Di Pietrantonio, the Galleria d'Arte Moderna e Contemporanea di Bergamo (GAMeC) in Italy presents the fourth edition of QUI. ENTER ATLAS. International Symposium of Emerging Curators. This four-day symposium, held from November 18–21, 2011 at GAMeC, and open to the general public, is a discussion-based event accompanying the Lorenzo Bonaldi Award for Art – EnterPrize.

For every edition of QUI. ENTER ATLAS, the symposium's discussion topics, format and participants change. This year, the symposium is titled The Billiard Effect and centres on exhibition histories in the making. Participants present their work along with case studies of influential exhibitions held from 1989 to the present, which may include anything from exhibitions or permanent collections, art biennials, and solo- or group-exhibitions, as well as discursive-oriented programming series, event-based or long-term initiatives shaped by atypical curatorial practices.

This symposium is realized by Sofía Hernández Chong Cuy, Curator for Contemporary Art at Colección Patricia Phelps de Cisneros, and Alessandro Rabottini, Curator at Large, GAMeC.

Participants of The Billiard Effect include 14 curators under the age of 35 from Europe, the Middle East, Latin America and North America; nine curators in this group were convened by the symposium organizers, and five curators were nominated by an external group of international advisors to participate as runners-up for the Bonaldi Award.

Emerging art curators working exceptionally at public institutions, non-profit spaces or independently, will share their curatorial projects, methods and research.

These are the participants of The Billiard Effect:

Marwa Arsanios, Curator and co-founder, 98 weeks Research / Project space, Beirut
Ieva Astahovska, Curator, Latvian Centre for Contemporary Art, Latvia
Yann Chateigné Tytelman, Dean of Visual Arts Department, Geneva University of Art and Design, Geneva
Vincenzo de Bellis, Co-founder and co-director, Peep-Hole, Milan
Luigi Fassi, Director, arge/kunst Galerie Museum, Bolzano
Fredi Fischli, Freelance curator, Zurich
Inti Guerrero, Independent curator, critic and researcher, Hong Kong
Loren Hansi Momodu, Curator, Tate Modern, London
Prem Krishnamurthy, Founder and director, Project Projects, New York
Sohrab Mohebbi, Critic and free-lance curator, New York
Jorge Munguía, Independent curator; co-founder of Salón and Pase Usted, Mexico City
Júlia Rebouças, Curator, Inhotim Institute, Belo Horizonte
Sarah Rifky, Curator, Townhouse Gallery of Contemporary Art, Il Cairo
Sandra Terdjman, Director, Kadist Art Foundation, Paris

QUI. ENTER ATLAS. International Symposium of Emerging Curators intends to be an occasion for professional development, through an exchange of ideas and experiences between peers and together with an audience.

For these reasons, aside from the symposium, a weblog has been especially created: The Billiard Effect Blog is an editorial project by Francesco Garutti available on the website www.enteratlas-gamec2011.com. This weblog is conceived as a conversation platform to share and cross-reference contents explored in the for The Billiard Effect.

The symposium's closing event, on Monday, November 21st, is the Award Ceremony for the sixth edition of Lorenzo Bonaldi Award for Art – EnterPrize. An award unique in its genre, it grants project support to a young curator under the age of 30. The awarded curator is invited to present an exhibition next year at GAMeC.

The five curators participating in the symposium that are considered for the Award are: Fredi Fischli, Loren Hansi Momodu, Sohrab Mohebbi, Júlia Rebouças and Inti Guerrero.

The jury's members for the Lorenzo Bonaldi Award for Art – EnterPrize are: Giacinto Di Pietrantonio, Director, GAMeC, Bergamo; Alex Farquharson, Director, Nottingham Contemporary, Nottingham; and Viktor Misiano, Editor in Chief, Moscow Art Magazine, Moscow.

For further information: www.gamec.it.

QUI. ENTER ATLAS – International Symposium of Emerging Curators
18 November – at 6 pm
19–20 November – from 10 am to 1 pm / from 2.30 to 6 pm
21 November – from 10 am to 1 pm / from 5 to 6.30 pm

Lorenzo Bonaldi Award for Art – EnterPrize
Award Ceremony
21 November – at 7 pm

Free entrance
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Opportunity - Panel/Workgroup/Exhibition: Curating Performance: Re/activation Strategies, deadline September 26

Posted by April Steele • Thursday, September 15. 2011 • Category: Jobs & Opportunities

The application date for this opportunity has passed.

Curating Performance: Re/activation Strategies

Mexico City, March 17 - 25, 2012
Deadline: Sep 26, 2011

A panel/workgroup/exhibition for the Hemispheric Institute's upcoming
Encuentro (conference) in Mexico City, March 17-25 2012

For more details and to apply online, visit:

5 curators/scholars and 5 artists will be selected for participation.

In 1968 Argentine artist Graciela Carnevale staged "El Encierro" (The
Confinement) locking her audience into a gallery until they were forced
to break through the front window in order to exit. In a related action
from 1979, Chile's Colectivo Acción de Arte (or CADA) censored the
Bellas Artes Museum by covering the entrance with a white sheet and
parking a row of delivery trucks in front of it, declaring that art
must be rediscovered in the landscape of everyday life. We might
interpret these performances as examples of curatorial interventionism,
or an attempt to redirect artistic production and audience attention
beyond the limits of elite galleries. Indeed, as part of the
transnational phenomenon sometimes referred to as the
"dematerialization of the art object" in the 1960s and 70s, artists
frequently worked with performance in direct opposition to mainstream
art institutions, believing their works could not be collected or
commodified. During the 1980s and 90s, artists like Coco Fusco,
Guillermo Gomez-Peña, James Luna, Las Yeguas del Apocalipsis and Andrea
Fraser continued to use performance as a potent mode of institutional
critique that denaturalized the museum's role in colonialism and social

Today, and regardless of artist intentions, the remains or "leftovers"
of performance art have come to be incorporated into museums and
galleries (as well as classrooms) as surrogates for an event, mnemonic
aids, performative fragments, or art objects in their own right. What's
more, in recent years, performance artists and process-based works have
been increasingly featured in mainstream exhibitions. Markers of this
paradigm shift include the "laboratory" galleries of the Palais de
Tokyo, Marina Abramovic's popular and controversial retrospective The
Artist is Present (2010), Museo del Barrio's Arte No es Vida survey
exhibition of Latin American performance art (2008), the ongoing
Performa Biennale, along with numerous Hemispheric initiatives that
include the next Encuentro in Mexico. All of the above have led to a
variety of results, mutually transforming the identity of performance
art and its space of exhibition - and calling into question the roles
of the artist, the curator, and the audience. What limitations do
institutional spaces (such as the museum) pose for performance artists
and curators of performance? What is the role of the curator in
exhibiting new performances and/or reactivating those that have already
taken place? What is the significance of performance in the history of
exhibition, and what new display methods can it enable? How does the
recent museological shift towards interactivity relate to performance
and archival practices more generally?

We seek workgroup participants who are interested in developing a
collaborative, transdisciplinary, and historically informed approach to
curating performance. Activists, practitioners, scholars, amateurs and
seasoned professionals from multiple disciplinary formations are
welcome to apply. We will accept 300-350 word abstracts for conference
papers, manifestos, multimedia presentations, performances, and other
experimental formats that explicitly address curatorial concerns. We
will meet as a workgroup for all normal meeting times.The first two
sessions will consist of participant presentations of their work. The
remaining meetings will involve collaborations for curating an
exhibition at the end of the Encuentro. Attendance is mandatory for all
scheduled sessions.

Curating Contemporary Performance Art
Histories of Exhibiting Performance
Display Dramaturgy, Experience-Driven Exhibitions
Curating "Laboratories"
Re/activating the Trace and the Index
Organizing Performance Biennials, Triennials, and Other Events
Performance Artists as Curators, Curators as Performance Artists
Performance and/as Institutional Critique
Curatorial Activism, Radical Curating
Performance and the Art/artifact Debate
Reverse Ethnography Strategies
Curating Tourist Itineraries
Performative Approaches to the Archives
Activating Museum Transgressions
Curating Feminist/Queer Acts
New Media Display Practices
Collecting and Documenting Performance
Exhibiting Postcolonial Repertoires
Commodification of Performance
Relaying Trauma in Museums Galleries
Collaboration and/or Curatorial Collectives
Performativities and Virtual Exhibitions
Provoking Visitors, Engaging Feedback
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Pick 'N Mix - January 2009

Posted by Michelle Kasprzak • Sunday, January 4. 2009 • Category: Pick 'N Mix

Welcome to January's Pick 'N Mix. I hope all readers had a great holiday and have big plans for 2009!

- Whether you have big plans for 2009 or not, here are some possible dates for your calendar: March 5-7, 2009. The excellent Witte de With contemporary art centre in Rotterdam is holding a symposium entitled "The Curators". It sounds terrific, especially the way they have balanced the programme of speakers. From their promotional text: "The practice of curating is a much discussed topic within the art world, but is often neglected by the media and thus remains largely invisible to the broader public. With our selection of speakers, we aim to put a wide range of faces to the often elusive and contested title of curator. Invited guests include freelancers, artist/curators and others fulfilling hybrid roles, curators working inside and outside of art institutions, those responsible for major international art events and those working on an intentionally local scale." For more info, check out the Witte de With's website.

- This recent interview with Ami Barak, the curator of ArtFocus 5, is especially relevant given the major news headlines of the moment on the escalating violence between Israel and Palestine. The article states: "When one is curating a large art exhibition in Jerusalem [...] One must deal with the conflicts this city generates for those working in it." Later, the curator says: "All the Palestinians we had invited didn't want to come - those from the territories and those with Israeli citizenships. They told us that they didn't wish to participate in an exhibition being held in 2008, Israel's 60th anniversary, and also because the exhibition was being held in Jerusalem. [...] I'm not criticizing them. They fear being a victim of manipulation and that they would be used for propaganda and demagogy, I can understand that." This is a fascinating interview that highlights the political role of the curator in a very candid way.

- The deadline for the De Appel curatorial programme in Amsterdam is fast approaching - January 31!

- A fascinating discussion about artist/curator ethics has been developing on the CRUMB mailing list. The debate covers the perennial topic of ethics around artists who also work as curators (and vice versa), and the methods of selection for exhibitions that are employed by such hybrid workers. You can read the thread online, although I highly recommend subscribing and also checking out CRUMB's work online!
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Call for Registration: Trade Secrets symposium

Posted by Michelle Kasprzak • Thursday, September 25. 2008 • Category: Jobs & Opportunities

The application date for this opportunity has passed.

Call for Registration: Banff International Curatorial Institute Symposium: Trade Secrets
Conference dates: November 12 - 14, 2008
Application deadline: October 31, 2008

The latest in the ongoing series of the Banff International Curatorial Institute (BICI) conferences, Trade Secrets will re-focus the collective discussion about the curatorial profession by exploring specific issues regarding: the education of curators; the challenges facing collection-based curators; trends in curatorial research; and the writing of curatorial histories.

Invited guests include François Aubart, Wayne Baerwaldt, Sabine Breitwieser, AA Bronson, Heather Diack, Joseph del Pesco, Rosemary Donegan, Sam Durant, Barbara Fischer, Richard Flood, Teresa Gleadowe, Matthew Higgs, Candice Hopkins, Céline Kopp, Ken Lum, Francesco Manacorda, Marc Mayer, Cuauhtémoc Medina, Lourdes Morales, and Joanna Mytkowska.

To apply to attend, visit the Banff International Curatorial Institute website.
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Curating Craft: Conferences at mima

Posted by Michelle Kasprzak • Monday, September 24. 2007 • Category: Announcements

The application date for this opportunity has passed.

Tales of the Unexpected: the Future of Curating Contemporary Crafts
Thursday 8th November, mima (Middlesbrough Institute of Modern Art) 9.45am-4.30pm

Organised by the Crafts Council and MA Curating Contemporary Design, Kingston University (in partnership with the Design Museum), Tales of the Unexpected is a conference that will explore the challenges of curating contemporary craft through a series of exciting and innovative case studies. Examples of best practice have been drawn from fine art, architecture, design, fashion and craft to explore and provide a platform for discussing future strategies for approaching curating contemporary craft. The themes for the day are:

- Craft and the Visual Arts: Pushing Boundaries
- Curating Craft in Public Spaces
- Curating Outside the Vitrine: New Approaches
- Curating Craft as Performance

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Pick 'N Mix - April 2007

Posted by Michelle Kasprzak • Sunday, April 1. 2007 • Category: Pick 'N Mix

To start off the new month (and I promise none of these will lead you to a silly April Fool's joke) I thought I'd provide a little "pick 'n mix" of what I've browsed lately that is of interest to curators:
  • Hanne Mugaas and Cory Arcangel have compiled (curated!) a very interesting list of art videos on YouTube, as part of a larger project entitled Art Since 1960 (According to the Internet). Definitely worth a look, set aside a bit of time if you dare click here!

  • Interviews on curating.info are coming up in the next few months (they are still in the incubator!) but for now go read this good (though brief) interview with curator Lu Jie on Artkrush.

  • In a détournement of the office football pool, Leisure Arts has created a championship pool for curators. While I'm unsure how it works precisely (sports pools are clear since there are matches of one team versus another, and I'm uncertain how one curator is pitted against another) it is an amusing concept nonetheless. Check it out here.

  • The Museums and the Web conference is in just ten days! Read the conference abstracts and full papers here.

  • d/Lux/MediaArts has just released the Coding Cultures Handbook, which offers some interesting perspectives on digital tools, social networks, and open labs - all concepts which have, will, and in some cases, truly should influence curatorial and museological models.

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