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The SCAPE Biennial of Art in Public Space is New Zealand's only international contemporary biennial dedicated to public art. 2008 is the fifth SCAPE Biennial for Christchurch and the 10 year anniversary of the Art & Industry Biennial Trust, who present the SCAPE Biennials.

The Art & Industry Biennial Trust (Art & Industry) is seeking your Expression of Interest (EOI) to be considered as one of two key curators for this important New Zealand biennial taking place between September - November 2008 in Christchurch. SCAPE is one of the largest producers of new contemporary art in Australasia; engaging local, national and international audiences with new artworks by leading New Zealand and international artists in public space through partnerships with industry.

SCAPE also has a significant partnership with the Christchurch Art Gallery Te Puna o Waiwhetu. An indoor exhibition, hub and public programme will be supported by the Gallery.

This exciting opportunity is for one New Zealand and one international curator. Once formed, the curatorial partnership will be responsible for reflecting Art & Industry's Strategic Plan, relationships with stakeholders and partners as well as matches to industry resources. The curators will also be required to build on the existing profile of the event locally, nationally and internationally while delivering a distinctive programme which challenges the parameters of the public's relationship with art. Both partnered (national/international) and individual applications are welcome. Art & Industry is happy to broker relationships between interested curators.

For further details and/or to receive an application pack please contact Art & Industry: scapebiennial[at]xtra.co.nz. Final submission date for all applications is Friday 27 April 2007. The Art & Industry Biennial Trust is supported by Creative New Zealand, the Arts Council of New Zealand and the Christchurch Art Gallery Te Puna o Waiwhetu.

If pressed, I suppose I would say that one of my favourite things about art openings is the conversations that take place - since usually the room is too full to really appreciate the art.

Recently I was at an opening in a white cube and ended up chatting to the curator of the show, whose name I usually recognise as an artist. Fuelled by cheap cabernet, I peppered her with questions about how the show came about, why she was trying her hand at curating, etc. Her answer was fascinating in its simplicity: she wanted to curate this show because she was frustrated that the work had toured all over the world, but not shown in the artists' backyards.

I smiled and said something charming enough to keep her talking to me for the next few minutes, and then reflected on what she said quite closely afterward. I found it fascinating - her taking on this mantle of curator that she really wasn't interested in, out of necessity, because the work that she wanted to see simply wasn't being shown.

Her response reminded me a little bit of the DIY curators in Seattle that I blogged about, who were frustrated by being kept out of the system, and therefore began working in a host of different sites to satisfy their desire to present the work that they wanted to see. Once I had compared this reluctant curator's response to the situation of self-identified curators who don't have a white box venue to work in, it occurred to me that their motivations were extremely similar. Don't curators curate because they want to see the work they are bringing in? Because no one else is doing it? Because they think it is important that a certain group of people see a certain set of works? So important, in the case of the Seattle DIY-ers, that they will do it anywhere. So important, in the case of my reluctant curator, that she will step out of her role as an artist to just make it happen.

By force or by choice, some of the fundamental motivations behind curating an exhibition seem the same.

Curator in residence post, including a university teaching post for curatorial studies (academic year 2007/2008).

Your field of duties covers the continuous curatorial engagement with students and alumni of the Academy of Fine Arts Vienna by holding a jour fixe as well as the development and realisation of an exhibition program for the students' Presentation Space (5 projects per term with organisational support by the Office for public relations and exhibition management) as well as a university teaching position of 2 units per week.

Requirements:
•an appropriate university degree (or artistic-scientific qualification that may be considered equivalent);
•excellent knowledge of modern and contemporary art as well as the history of exhibitions;
•proof of curatorial as well as pedagogic and didactic qualities and experience.

Written applications, enclosing a full CV and the reference number 08/2007, should be sent to the stated address by March 15th 2007.

Academy of Fine Arts Vienna, Human Resource Department
Schillerplatz 3
1010 Vienna
http://www.akbild.ac.at
Tel.: 0043/1/ 588 16 – 276
Fax: 01 588 16 - 275
e-mail: [email protected]

The Academy of Fine Arts Vienna is working toward increasing the number of women on all levels of staff, particularly in managerial, scientific and artistic staff positions. Therefore, the Academy of Fine Arts Vienna greatly encourages qualified women to apply. In the event that there are applicants with equal qualifications, women will be the preferred candidates. The Academy of Fine Arts Vienna is committed to implementing anti-discriminatory measures in its personnel policies. Applicants will not be reimbursed for travelling and accommodation expenses incurred as a result of their participation in the application process.