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Beryl Graham and Sarah Cook. Rethinking Curating: Art After New Media. Cambridge, MA, London, England: The MIT Press, 2010.

by Katerina Gkoutziouli

“Rethinking Curating. Art After New Media” by Beryl Graham and Sarah Cook has been a much-awaited book for those working in the field of new media and curating. In 2000, the authors launched CRUMB [Curatorial Resource for Upstart Media Bliss], an ongoing online resource and mailing list for curating new media art, which operates as a place for research, networking and discussions on the subject. This book is a consequence of all those years of research and work in the field by the authors, coupled with the input from the CRUMB community.

Acknowledging the fact that new media art is a contested term on its own, the authors make clear from the very beginning that they seek to define new media art as a ‘set of behaviours’. Thus, they prefer to call it “Art after New Media”. Besides, their primary focus is on the behaviours/characteristics of the artworks and then later on the various media used for production, distribution and presentation. By doing so, they address the possibilities of discussing new media art in the broadest context of contemporary art as seen through previous moments in art history and through a strong illustration and analysis of projects, exhibitions and practitioners’ views on the subject. As Steve Dietz puts it in the introduction “it's not a book about new media, it is a book about art; it’s not a book about curating new media, it's about rethinking curating” [p. xiv].

The first part of the book is concerned with putting new media art in context by illuminating its characteristics and by reviewing the convergence points between older and newer art forms and methods. To understand what new media art is and how it behaves, one first needs to relate it to a broad set of theories and histories that not only respond to an art context but also to technological histories and other cultural forms. This book is not about the debate between Turing Land vs Duchamp Land as Lev Manovich has put it, but it is about finding and looking at the correlations between these two lands.

The concept of ‘The Art Formerly Known as “New Media”’, challenges the very notion of the new, almost provocatively questioning curators who are seduced by the novelty and not by the context that the artwork seeks to generate. Can new media art be interpreted by its behaviors and be explored through computability, connectivity and interactivity?

Having these characteristics in mind, the authors seek to unfold the particularities of two main issues for art, namely space and time. They discuss the analogy between the dematerialization of the artwork in the 60s and 70s (something that was then framed under the terms “conceptual art” and “systems based art”) and the immateriality of today’s art within networks and virtual spaces. The art space itself has extended and so has curatorial practice. Which brings us to the question of what the role of the curator is in a distributed networking condition? And how have the variable manifestations of space redefined curatorial decisions? The authors set out to explore not only how significant the space is for art but also how art can be transmitted and communicated in different contexts. “When the work is immaterial – framed and understood only through participation in the system itself- then the network of its distribution is highlighted”. [p.60]

On the other hand, space and material, of course, do exist in new media but we can trace the differences, for example, between real-time projects, the immateriality of code and algorithm on a computer screen and virtual reality projects. It becomes apparent then that the challenge for curators remains in bridging the gap between virtual and physical spaces.

In new media art, it is difficult to differentiate between time and space, as both seem to converge in the behaviours of the media such as liveness, connectivity and computability. The distinction between “real-time”, “time-based” and “live” is useful in order to comprehend the concept of time. For example, the concept of real-time is different in video art from other forms of new media art. As the writers put it: “Real-time for video means instant feedback…while… real-time for computers concerns instantaneity of processing and manipulation of data” [p.97]. Curators need to constantly reinvent methods in order to respond to the needs of an artwork and correspond to the ways that the institution, the audience and the exhibition itself interpret time.

The authors move on to an investigation of participative systems taking into consideration the interactive, participative and collaborative behaviours of new media art and they ask the question “Who is involved in the systems, and how?” [p.111] An analysis of new media art projects, such as Rafael Lozano Hemmer’s “Body Movies, Relational Architecture No.6” (2001) and Harrell Fletcher’s and Miranda July’s “Learning to love you More” (2002-) leads the discussion to the varying dynamics triggered by the use of different media. Participation is a tricky behaviour, as it might be prompted by the art, the media used, the institution, the gallery, the curator and most importantly by the audience. However, there are still various factors at play that keep redefining the levels of participation, a fact that turns curatorial activity itself into a hybrid practice.

The second part of the book looks into the practice of curating in terms of contexts, practices and processes. Starting with an account of the different working realities of a curator, such as working in a museum, working on both a freelance basis, and as part of an institution, the authors consider the varying ‘responsibilities’ of a curator. The work of a curator usually aims at creating a structure or a process. However, especially when it comes to new media, curating can be identified as having several experimental modes and exhibition models, which the authors seek to unravel in the following chapters.

The analysis that they put forward highlights not only the theoretical aspects of curating but also challenges the ways that curators and institutions work. They look at how new media art is perceived in terms of interpretation by the institution and the audience when it comes to the method of display. Providing an extensive list of examples, ranging from online platforms such as Tate Media and exhibitions such as 010101 at SFMOMA (2001), the authors discuss the challenges of new media when it is archived and presented online as interpretation material and when it is accompanied by interpretive material in physical spaces. The ways that new media art enters the museum are examined, as it is often through educational departments. Questions regarding audience reception and interpretation of new media art are also explored relating to themes of curatorial practice, such as how you build an audience for such practices and who your audience is when it comes to curating in online spaces.

Looking at theoretical issues (such as how a curator’s decision might be influenced by the art museum) as well as at practical issues (such as the technology required for a new media exhibition along with marketing, sponsorship, archiving and collecting) the authors explore the ways that new media art behaves in such contexts. The call for curators to acquire a crossover approach on the subject in order to incorporate this type of work in a museum framework is increasingly becoming urgent.

For this reason, other modes of curating are explored in the book, such as the festival, publishing, the public space and the lab among others. With well-documented case studies such as New Media Scotland, the V2_ Lab, Rotterdam, and independent art projects like Kate Rich’s “Feral Trade”, the authors attempt to investigate the experiments and the boundaries between art, research and technology. These strategies lead to questions such as how different audiences perceive art and how the curator operates within hybrid art contexts.

Furthermore, collaboration cannot be absent when we talk about new media art and it is a subject discussed in relation to other ways of curating, outside of the institutional context. In this light, artist-run organizations and alternative spaces that focus on working methods of learning and sharing serve as examples to highlight the collective processes undertaken between artists, curators and audience. Exploring the interplay between roles that range from ‘the artist as curator’, ‘the audience as curator’ to ‘no curator at all’, the authors seek to address the particularities of new media art, including interconnectedness and networking, that allow for these experimental structures.

Given the fact that new media art tends to commonly be described or categorized by its medium, this book sheds new light on the various approaches a curator might take, as well as on the methodologies of historicizing and creating contexts for such work to be explored, analyzed and reviewed.

Ultimately, the best reason to read this book is because it puts new media art in context. It serves as an insightful compilation of projects, exhibitions, and theories on new media that might have otherwise gone uncontextualized. “Rethinking Curating” does not aim to serve as a media-specific book since new media art is an unstable field in constant evolution, but as a curatorial handbook that provides a comprehensive analysis of curatorial practice while creating a semantic bridge between older and newer art forms.

Le Centre d’art de la Maison Populaire est situé en plein cœur de la ville de Montreuil. Conçu tel un laboratoire, il est un lieu de recherche et d’expérimentation. Il accueille depuis 1995 des expositions d’art contemporain dont la programmation est confiée chaque année à un commissaire en résidence pour y développer une hypothèse de travail personnel.

La programmation du lieu a déjà été confiée à des commissaires parmi les plus actifs de la scène actuelle, tels que Claire Le Restif, Jean-Charles Massera, Estelle Pagès, Yves Brochard, François Piron, Emilie Renard, Aurélie Voltz, Christophe Gallois, le collectif Le Bureau/, Florence Ostende, Raphaële Jeune, Anna Colin...
Le Centre d’art est membre du réseau TRAM qui regroupe à ce jour 31 lieux d’art d’Ile-de-France et renforce chaque année ses actions de médiation pour favoriser l’accès à une culture exigeante pour tous. Il est également membre de l’Association des Galeries d’Art Parisiennes.

Profil du commissaire
L’appel à projet est ouvert aux jeunes commissaires professionnel(le)s de moins de 45 ans, vivant en France, dont ce travail est l’activité principale et qui disposent au moins d’une première expérience de commissariat.

Mission du commissaire

En fonction d’une convention et du calendrier prédéfini, il (elle) sera chargé(e) :
d’assurer la réalisation de trois expositions sur une période de 9 mois en 2013 : janvier à juin 2013 et d’octobre à décembre 2013,
de gérer un budget de 50.000 euros pour la réalisation de trois expositions en 2013.
de sélectionner les artistes et coordonner les différentes phases préparatoires des expositions avec l’équipe en place et les différents partenaires,
de rédiger les différents supports de communication et de médiation,
de rédiger le catalogue et du suivi de sa fabrication, dont la parution doit intervenir dans le cadre du finissage de l’exposition en décembre 2013,
de participer à l’élaboration des événements en direction des publics (rencontres, conférences, projections, concerts, ateliers),
d’être présent(e) lors du jury de sélection de l’artiste multimédia en résidence à la Maison Populaire et l’intégrer au dernier volet de sa programmation.
d’être présent(e) lors des réunions de préparation, de montage, de démontage et de promotion de l’exposition.

Pour plus d'informations, visitez http://www.maisonpop.net/spip.php?article1596

EUNIC is delighted to present the Curatorial Exchange Programme 2012 for internship in European museums and galleries.
Education and professional development of the new generation of young curators is now a top priority for the Russian cultural organisations, as well as for related professional associations. Therefore, EUNIC has developed a project that gives its participants a unique opportunity to advance in career, study the European art market and build new professional contacts in Austria, Germany, France, Sweden, the UK and other countries. Young Russian curators will get internships (from 3 weeks to 2 months) in the leading museums and contemporary art galleries in Europe.

The programme is designed for young people who already have experience in curatorial work in the field of contemporary art. We hope that the outcome of this long-term project will be participants’ qualification update and establishment of professional contacts between the countries.

Curators for internship will be selected after the competition among application forms sent from 15 March till 4 May 2012 to [email protected], and the following interviews with candidates. The internships will take place in different time set by the countries leading the project.

Full information about the project can be found here: http://www.eunic-online.eu/node/534

Esse arts + opinions Magazine: Be Nice to Your Curator, No 72 - Curators - Spring/Summer 2011

Contributions by curators Sylvette Babin, Sophia Krzys Acord, Paul Ardenne, Jean-Philippe Uzel, Louise Déry, Nathalie Desmet, Michèle Thériault, Marie-Eve Beaupré.

Last year’s spring/summer issue of ESSE magazine was entirely devoted to curatorial practice. What does it mean to be a curator nowadays? How does curatorial practice evolve in different settings and structures? How valid are the criticisms against the role of the curator? Esse’s issue Be Nice to Your Curator presents an array of insightful essays written by curators and prompts the reader to reflect upon the enduring role of the curator. However, since curatorial practice is not confined to exhibitions, for this special issue Marie-Eve Beaupré has been invited to intervene through comments you can find in red ink between the texts. Besides the linguistic ambiguities that the word “curator” might pose across different languages, for example, curator in English, commissaire in French, the role of the curator seems to appeal to a larger set of criticisms and speculations.

Sophia Krzys Acord in her text “Guest Curating in the museum: Lost in Translation?” explores the risks of guest curating highlighting the different ends of museum curatorial practice versus independent curating. Acord unravels the limitations of such collaboration, which might lead to conventional outcomes with respect to audience engagement and the art itself. Looking at curating from a sociological perspective, Acord investigates the process of the production of knowledge within institutional settings and in relation to independent curating.

Paul Ardenne in his text “Curating Exhibitions: An Evolving and Ambiguous Function” takes a more radical stance on curators by exposing the levels of credibility of popular star-curators, who have more or less shaped a debatable but a rock-hard landscape to act in. Seeking to map the crisis experienced in curating nowadays, Ardenne further elaborates on the current institutional imperative for curated shows by artists and provides a critique for what makes a great exhibition in a chaotic art system led by dynamics other than of the art itself.

Jean-Philippe Uzel’s “The Author-Curator and His Critics” starts off with the well-known and persistent criticism against curators for having replaced the artists. Through an interesting history of curatorial criticism, from Daniel Buren in the sixties to Paul Ardenne and artist Anton Vidokle in 2010, Uzel draws a coherent parallel between the criticisms of contemporary art itself and the practice of curating.

Louise Déry elaborates on the concept of the “love exposed” curator in a more romantic fashion analysing diligently the responsibilities of the curator in her text “Curator, Your Love’s on Display”. Déry discusses the tensions and conflicts among institutions, curators and collectors seeking to reflect on the quality of the artistic practice as well as the significance of communicating art through exhibitions that foreground knowledge and thought.

Nathalie Desmet in her “Institutional Recognition and New Curatorial Practices” explores the strategies used by institutions and curators with the purpose of constructing a new self for institutions. Desmet reports on the concept of the “New Institutionalism” and discusses its problematics by identifying the new trends in both institutional and curatorial practices and by providing critical examples.

Last but not least, Michèle Thériault’s “The ephemeral as an agent of reflexive inquiry” examines the potential of the ephemeral in the production of critical and reflective environments. Thériault reviews her curatorial practice within an academic setting, that of the university art gallery and presents three case studies where the ephemeral allows for experimental shifts in the role of artists, curators and institutions.

On the whole Be Nice to Your Curator gives readers an insider view of international curatorial practice and reconsiders the status of the curator today. There are many examples of exhibitions with supportive visual material of artworks and methods of display that are valuable for anyone interested in curating.

The magazine is available in both French and English. You can get a sneak preview here http://www.esse.ca/en/revue/curators and you can purchase it here http://www.esse.ca/en/shop/magazines

Learn how to run an art gallery with this free evening course in curating. Gain experience, qualifications and get to put on your own show in Mapalim's Parlour Gallery & Project Space.

Nowadays, the creative and cultural sector is more competitive than ever. This Cultural Curators Programme offers an opportunity to increase one’s marketability by achieving a nationally recognized qualification in Cultural Venue Operations.

Have the opportunity to:

Learn the essential non-art side to organizing exhibitions and events.
Gain Level 3 qualifications in ‘Cultural Venue Operations’
Design, market, run and manage your own art exhibition (with other people’s art, not your own!) and community events. Click here to see previous exhibitions.
Choose your job role of finance, marketing, community, curating or logistics and work in a team to realise your own art event.
Learn aspects of venue management such as health & safety, photo image capture and guided tours.
Gain valuable experience that will help you further your career in the creative field.
Do this course around your day job!

The ideal candidate for this role will be extremely hardworking and a motivated team player, taking on this course as a challenge. You will have the opportunity to use the Cultural Curators Course as leverage to market yourself as a curator, marketer or events manager.

To be eligble you must:

•Be aged 19-24

•Be a UK/EU citizen or have lived in the UK for 3 years

•A passion for the arts and events!


The time commitment of the course will be 8 hours per week on a Tuesday and Thursday evening, 5:30pm – 9:30pm.

Intake dates: 13/03/12, 05/05/12

Interested candidates should email their contact details and date of birth to [email protected] with ‘Cultural curators 9 week’ as the subject line. Successful candidates will be invited to an information and interview evening closer to the time of intake.

For further details please contact Gideon Golstein [email protected]

Despite the fact that new media art might be still treated as a new and recent phenomenon of art practice, the story of new media can be traced back as early as the sixties. Artists such as John Cage, Allan Kaprow, Roy Ascott, E.A.T. have been preoccupied with themes including interaction, multimedia, electronics, kineticism, cybernetics and technology, and so have curators and theorists such as Marshall McLuhan, Jasia Reichardt, Lucy Lippard and Jack Burnham, among others. The context for artists, theorists and curators alike has been changing since that time, when this type of work formed a new territory for exploration in the arts. There was not only a change in creative language, but also a change in aesthetics and attitudes that would effect the ways we perceive artworks, exhibitions and cultural production in general.

One of the landmark exhibitions was €œLes Immateriaux€ curated by Jean-Francois Lyotard at the Centre Pompidou, Paris in 1985. Lyotard had already written his seminal book The Postmodern Condition: A Report on Knowledge (1979) in which he examined the changes in human condition effected by technological developments in communications, mass media and computer science. The exhibition sought to present the repercussions of such a restructure of society and culture and also to construct an emergent space filled with emergent concepts. Nathalie Heinich explains €œPaintings and sculptures were still present, of course, but became part of a much larger set of information made up of signs, words, sounds and technical artefacts€ in a labyrinth-like exhibition space. Additionally, the notion of “immateriality” was introduced at a point when computers and interfaces were not user-friendly, a fact that also highlighted the latent problematic aspects of technology in art making and curating.∗ Curating here may have functioned as a philosophical quest authored by Lyotard, which in spite of its drawbacks has opened the door to a new era of exhibition making.

Moving forward to the mid-nineties, we can see the next wave of artists and curators engaging with new media under a new set of conditions again. Since the term “new media” is a very loose one, I would like at this point to refer to Olia Lialina’s description of new media: “a field of study that has developed around cultural practices with the computer playing a central role as the medium for production, storage and distribution”. However, it still seems that new media art cannot be contextualized under a certain canon because of its hybrid forms, and there is still a need for new media art practitioners - be they artists, curators, theorists- to provide a contextual umbrella for new media practices to be discussed.

From a curatorial perspective, new media art has brought new challenges to contemporary curating with its immaterial nature, its interactive qualities, its computer-based character and its constant developments. Anyone working with or keeping track of the shifts in new media will have noticed that new media art can be “web-based projects, sound events, virtual reality installations, mobile cellular, or PDA projects, and practices- conceptual art practices, networked-based practices, software coding or sampling” as Sarah Cook has outlined.∗∗ It is hard to permit the flexible and dynamic character of new media art to fully articulate in an exhibition space since most new media artworks tend to defy physicality. The need for new curatorial expressions to embrace the concepts of new media is becoming more and more apparent in the variety of exhibition formats.

Curating in online contexts has been a prevalent mode for web-based art projects. A rewind through the recent history of new media art will remind us that the dawn of the World Wide Web proved beneficial to web artists not only because of the new possibilities of the medium, but also because it allowed a certain degree of autonomy from institutions and curators altogether. An early example of such an exhibition was the project Desktop Is (1997) initiated by artist Alexei Shulgin for which he gathered desktop screenshots from 67 artists and hosted them online for public viewing. The developments the World Wide Web brought about at that time were equally important for curators. The novel notion of distribution and communication meant that not only artworks could be distributed but also curatorial practice. The “instantaneity in contemporary culture” (Charlie Gere, 2008)∗∗∗ was and still is evident and emergent in many distributed artworks and exhibitions on the web. For example, the exhibition Beyond Interface (1998) curated by Steve Dietz at the Walker Art Center in Minneapolis. On the archival website of the exhibition, one can find Steve Dietz'€™s quote, which reads: “This online exhibition presents a simple proposition. There is art that is created to "be" on the Net. After that, it gets more complex very quickly. Beyond Interface explores some of the complicating issues but does not attempt a comprehensive investigation… the main goals of Beyond Interface are to present outstanding examples of net-based artistic activity, and to try and begin to better understand and appreciate this art and its context.” Steve Dietz is very conscious about his early venture by pointing out the uncertainties of curating web-specific exhibitions. Nevertheless, that is mostly the case when something new is coming out. By laying emphasis on the art and its context, Dietz attempts to highlight the dynamic of web-based artworks, being fluid and hybrid and also the Web as a space for art production, curating and cultural interaction. However, while distributed curatorial practice on the web might fulfill the democratic and decentralised expectations of its medium, it also could ensure the work is easily confined to a specialist audience online.

Curating new media art in “offline” contexts is another main method of presenting such work. From the eighties onwards, many different spaces and structures have flourished to support new media art activities. New media centres such as ZKM in Germany, The Banff Centre in Canada and FACT in England; festivals, like Ars Electronica and Transmediale; galleries such as the Furtherfield Gallery in London; and labs such as the V2_ Institute for the Unstable Media in the Netherlands, among others. Contemporary art museums have been quite wary of new media art, with some exceptions such as SFMOMA, the Whitney Museum of American Art, and Baltic. Simply stated, the visibility of new media art exhibitions in museums is low compared to mainstream contemporary art shows. The exhibition Database Imaginary (The Banff Center, Alberta, Canada, 2004) curated by Sarah Cook, Steve Dietz and Anthony Kiendl included works from 1971 to 2004. The exhibition sought to explore the idea of the database as an evolving phenomenon in human culture, featuring works such as Hans Haacke’s “Visitors’ Profile” (1971), a questionnaire about contemporary events that was distributed to museum visitors to a group exhibition in Milwaukee and Graham/Mongrel’s “Lungs-London.pl” (2004), a Perl software-code poem based on the 1792 poem London by William Blake. Database Imaginary attempts to establish connections between old and new art forms that share a common ground. Such exhibitions provide a space, firstly, to reflect on the continuum of ideas taking “shape” through a range of mediums and secondly, to discover the correlations that new media art shares with its precursors. The idea of creating narratives that are not fragmentary and follow the trail of art development also shows the dynamic of curatorial practice itself. If museums refrain from showing new media art by being skeptical about the qualities of such art in the course of art history, then exhibitions, such as Database Imaginary, provide for the art references that institutions may lack.

There is no doubt that there is not a singular practice or canon of curating new media art and that is primarily triggered by the hybridism of the art itself. Christiane Paul (2008) has argued that ‘Because new media art is more process-oriented than object-oriented, it is important to convey the underlying concept of this process to the audience’.∗∗∗∗ New media art curators need to be constantly resourceful in order to create evocative spaces and experiences. As new media art gradually enters the museum doors, curatorial strategies need not only communicate the art but also the fact that the exhibition itself is a process.





∗ See Nathalie Heinich (2009) “Les Immatériaux Revisited: Innovation in Innovations” and Sarah Cook (2008) “Immateriality and its discontents. An overview of main models and Issues for Curating New Media” in Christiane Paul (ed.), New Media in the White Cube and Beyond. Curatorial Models for Digital Art. University of California Press, pp 26 - 49

∗∗ Sarah Cook (2008), “Immateriality and Its Discontents. An Overview of Main Models and Issues for Curating New Media”, in Christiane Paul (ed.), New Media in the White Cube and Beyond. Curatorial Models for Digital Art. University of California Press, p. 27

∗∗∗ Charlie Gere (2008). “New media Art and the Gallery in the Digital Age” in Christiane Paul (ed.), New Media in the White Cube and Beyond. Curatorial Models for Digital Art. University of California Press, p. 23

∗∗∗∗ Christiane Paul (2008), “Challenges for a Ubiquitous Museum. From the White Cube to the Black Box and Beyond”, in Christiane Paul (ed.), New Media in the White Cube and Beyond. Curatorial Models for Digital Art. University of California Press, p. 65

Job Description
(French below)

La Galerie SAW Gallery is looking for an exceptionally creative and energetic individual to join their small team in the role of Curator.

You will develop and organize critical and innovative exhibition programs that appeal to a wide range of audiences, in accordance with Galerie SAW Gallery’s mandate. You will work to build the centre’s relationships with artists and organizations from the Ottawa-Gatineau region, Canada and abroad. You will use your expertise in communications to contribute unique community outreach programs and public relations initiatives.

You will work closely with the Director to research, plan, manage and deliver all aspects of the gallery’s programs.

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La Galerie SAW Gallery est à la recherche d’une personne exceptionnellement créative et dynamique pour se joindre à leur petite équipe à titre de commissaire.

Vous élaborerez et organiserez des programmes d’expositions critiques et novateurs qui s’adresseront à un public élargi, en accord avec le mandat de la Galerie SAW Gallery. Vous contribuerez à établir et à renforcer les relations du centre avec les artistes et les organismes de la région d’Ottawa-Gatineau, du Canada et de l’étranger. Vous utiliserez votre expertise en communications pour créer des programmes de développement de publics et d’action communautaire, ainsi que des initiatives en relations publiques.

Vous travaillerez de près avec la direction en ce qui concerne la recherche, la planification, la gestion et les différents aspects des programmes de la galerie.
Requirements

You will have at least three years of experience in curating exhibitions, in producing publications, in organizing events and in leading teams to deliver projects. You will have a diploma in studio arts, art history, curatorial studies or a related field, along with solid experience working in an artist-run organization, and a broad knowledge of contemporary art. You will have outstanding writing and editorial skills, including proven grant writing skills. As an active figure in the contemporary art scene, you will have exceptional interpersonal skills and the ability to work collaboratively. You will have a strong background and interest in outreach and community development. A thorough knowledge of and demonstrated interest in performance and media art programming will be an asset. A strong command of both French and English will be preferred.

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Vous avez au moins trois années d’expérience en commissariat d’expositions, en production de publications, en organisation d’événements et en gestion d’équipes pour réaliser des projets. Vous avez un diplôme en arts plastiques, en histoire de l’art, en études commissariales ou dans un champ connexe, de même qu’une solide expérience de travail dans un centre d’artistes autogéré et une excellente connaissance de l’art contemporain. Vous avez des compétences remarquables en rédaction, et vous avez déjà écrit avec succès des demandes de bourses et de subventions. En tant que figure active sur la scène de l’art contemporain, vous avez des compétences interpersonnelles exceptionnelles et vous savez travailler en collaboration. Vous avez un bagage solide et un intérêt véritable pour le développement de publics et l’action communautaire. Une connaissance approfondie de la performance et des arts médiatiques, de même qu’un intérêt avéré pour leur programmation constituent un atout. Une excellente connaissance de l'anglais et du français est un avantage.
Additional Information

JOB TYPE

This is a full-time permanent position, with benefits.

HOW TO APPLY

Please e-mail your CV along with a statement of intent, a selection of writing samples and three professional references to [email protected] Sample catalogues of exhibitions/projects may be mailed to: Galerie SAW Gallery, Attn: Hiring Committee, 67 Nicholas Street, Ottawa ON K1N 7B9.

CLOSING DATE for Applications: Friday, June 24, 2011

START DATE of Position: Tuesday, August 9, 2011

Galerie SAW Gallery is committed to employment equity and considers all candidates for employment regardless of race, ethnic origin, gender identity, age, creed, disability or sexual orientation.

Please be advised that Galerie SAW Gallery is only able to contact candidates selected for an interview. Thank you for your interest in this employment opportunity at Galerie SAW Gallery.

MANDATE

Galerie SAW Gallery

- promotes contemporary Canadian and international artists, emerging and established, from diverse cultural backgrounds;

- presents a contemporary art program with a strong focus on Canadian performance and media art, with bilingual interpretative material produced for each exhibition;

- adapts to the changing nature of the contemporary arts by maintaining an evolving interdisciplinary presentation space comprised of SAW Gallery, Club SAW and the SAW outdoor courtyard;

- serves the needs of diverse communities through audience development initiatives;

- engages in collaborations with other arts organizations to increase opportunities for exhibiting artists and to outreach to new audiences;

- commits to paying artist fees above CARFAC recommendations.

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TYPE D’EMPLOI

Il s’agit d’un poste à temps plein et permanent, avec avantages.

COMMENT POSER SA CANDIDATURE

Veuillez expédier par courriel votre CV accompagné d’une lettre d’intention, d’une sélection d’échantillons de textes et de trois références professionnelles à : [email protected] Des exemples de catalogues et de projets d’exposition peuvent être postés à : Galerie SAW Gallery, à l’attention du Comité d’embauche, 67, rue Nicholas, Ottawa ON K1N 7B9.

DATE LIMITE pour le dépôt des candidatures : le vendredi 24 juin 2011

DATE D'ENTRÉE en fonction : le mardi 9 août 2011

La Galerie SAW Gallery s’engage à poursuivre une politique d’égalité d’emploi et considèrera tous les candidats indépendamment de l’origine raciale ou ethnique, du genre, de l’âge, de la religion, du handicap ou de l’orientation sexuelle.

Veuillez noter que la Galerie SAW Gallery entrerait en contact uniquement avec les candidats retenus pour une entrevue. Merci de votre intérêt pour cette offre d’emploi à la Galerie SAW Gallery.

MANDAT

La Galerie SAW Gallery

- apporte son appui à des artistes contemporains canadiens et internationaux, émergents et établis, provenant de milieux culturels divers;

- présente un programme d’art contemporain axé sur la performance et les arts médiatiques canadiens, soutenu par du matériel didactique bilingue produit pour chacune des expositions;

- s’adapte à la nature changeante des arts contemporains en assurant le maintien et le développement d’un espace de présentation interdisciplinaire formé de la Galerie SAW, du Club SAW et de la cour extérieure de SAW;

- subvient aux besoins de communautés diverses à travers des initiatives visant le développement de publics;

- établit des collaborations avec d’autres organismes artistiques afin d’offrir une plus grande visibilité aux artistes et de rejoindre de nouveaux publics;

- s’engage à payer des cachets d’artistes supérieurs aux recommandations de CARFAC.


Send Submissions To: Tam-Ca Vo-Van, 67 rue Nicholas Street, Ottawa Ontario, Canada K1N 7B9, e: [email protected]

The ICA wishes to appoint an Assistant Curator with previous experience of working in a commercial gallery or institutional environment. You will become a part of the Creative Team working on the realisation of the ICA’s contemporary art programme. The successful candidate will have proven experience of delivering complex artist projects. Applicants must have extensive knowledge of contemporary art, an ability to work with people from all walks of life, and an understanding of artists needs. This position requires exceptional administrative and communication skills, as well as the ability to manage budgets and deliver within a given time frame.

For more information please visit the ICA website. Applications by covering letter and CV to [email protected]

Deadline for applications:22 April 2011. Interview dates to be arranged thereafter, within the week starting 25th April but to be confirmed.

OPEN CALL

SYNAPSE – The International Curators’ Network at Haus der Kulturen der Welt (Berlin)
in the framework of the Asia-Pacific Weeks 2011 (September 6–17)
www.synapse.info


Duration: September 7–10, 2011, with a public keynote speech by Peter Weibel on September 6, 2011

HAUS DER KULTUREN DER WELT invites up-and-coming curators to apply for SYNAPSE – The International Curators’ Network at Haus der Kulturen der Welt. Moderated by international curators, scientists and other experts, the first network meeting of SYNAPSE will focus on the interactions between science and art. Among other questions, it will address how scientific topics can be approached by curators. In interdisciplinary workshops, ten selected SYNAPSE curators and the five winning curators of Meridian I Urban.Curatorial Projects on Health will generate new project ideas. Visits to galleries, museums, and project and exhibition spaces will connect SYNAPSE participants with the vibrant Berlin art scene.

Jury members
• Katja Blomberg (director, Haus am Waldsee, Berlin)
• Yu Yeon Kim (independent curator, NYC and Seoul)
• Osvaldo Sánchez (curator/director, Museo de Arte Moderno, Mexico City)
• Adele Tan (art historian and critic, Singapore)

Application requirements
The call is open to international up-and-coming curators with initial curatorial experience. Since lectures and workshop sessions will be held in English, applicants must be able to speak and write English fluently.

Facts
An international jury will review the applications and announce the ten selected participants by end of June 2011. Participation in the workshop is free of charge. Each participant will receive a travel subsidy of up to €500. Haus der Kulturen der Welt will support the participants in seeking additional funding and will provide board and lodging for the duration of the workshop.

A project in cooperation with the 4th Moscow Biennale of Contemporary Art 2011.
The Asia-Pacific Weeks are supported by the Stiftung Deutsche Klassenlotterie Berlin.

For more information on how to apply, please visit the The International Curators' Network website

Deadline for entries: May 31, 2011