MMK di FRANCOFORTE Ecco il programma segnalato su e-flux: Changing society, globalization and the increasing significance of the media present museums of the twenty-first century with constant new challenges. The role of the museum as a public space demands perpetual redefinition, and communication as well as mediation play an accordingly important role. “This is reflected in various formats in the institutional, but also in the non-institutional area. Relevant mediation work of the present no longer caters solely to an educational elite of experts, but addresses a substantially broader public”, explains MMK director Susanne Gaensheimer. With a chapter entitled “Museum Public”, the MMK Museum für Moderne Kunst event series “MMK Talks” will now continue with a closer look at how these new challenges affect a museum of contemporary art. This year once again, the “MMK Talks” were conceived jointly by the MMK and the Hochschule für Bildende Künste – Städelschule. Wednesday, October 26, 7 pm, MainTor The major museums are expanding and opening branches all over the world, for example the Guggenheim in Bilbao or the Louvre in Abu Dhabi. What are the consequences of such franchising and the exportation of museological competence to new “markets”? Will art become more international and more diverse, or will it assimilate globally? How important is it to respond to these developments by strengthening national and regional networks? Guests: Tobias Berger (Curator M+ Museum for Visual Art, Hong Kong), Penelope Curtis (Director Tate Britain, London) Tuesday, November, 29, 7 pm, MMK Museum für Moderne Kunst Increasingly, artists and museums are taking over the role of publisher and mediator of their own production. Alongside classical forms of distribution, the Internet and social media are becoming ever more significant, thus defining new publics. Guests: AA Bronson (Artist and Publisher, New York), Hu Fang Creative (Artistic Director, Vitamin Creative Space, Beijing / Guangzhou), Laura Wright (CEO of Tate Enterprise , London) Tuesday, December 13, 7 pm, MMK Museum für Moderne Kunst Owing to changes in economic and societal structures, the relationship between private commitment and the public education mandate has also undergone transformation. What role does art patronage play today? Do private collectors and the ever more frequently established collectors’ museums have any influence on the mediation of art and the development of “trends”? What are the consequences for the museum as a public institution? Guests: Harald Falckenberg (Collector, Hamburg), Robert Fleck (Director Bundeskunsthalle, Bonn), Olaf Nicolai (Artist, Berlin), Rosa Schmitt-Neubauer (Federal Government Commissioner for Culture and the Media, Head of Demission “contemporary art”), Olaf Nicolai (Artist, Berlin) Tuesday, January 17, 7 pm, MMK Museum für Moderne Kunst The museum as a place for the preservation and presentation of art is developing into an institution, which not only mirrors society but also produces societal realities to an ever increasing degree itself, and thus inscribes itself into the social context of its respective urban environment. Its production can take place anytime and anyplace, is no longer tied to a building or specific opening hours, and seeks its public and themes outside institutional boundaries. Guests: Claire Bishop (Art Critic, New York), Phil Collins (Artist, Berlin) Tuesday, January 24, 7 pm, MMK Museum für Moderne Kunst Since the advent of modernism, artists have addressed themselves again and again to the question of what constitutes a museum. What role does the museum play in the definition and mediation of art, how does it change their significance, what makes up a collection? Artists who investigate such matters and develop them further with their work will discuss these questions and talk about the relevance of the museum for contemporary art. Guests. Thomas Kellein (Director Chinati Foundation, Marfa Texas), Pedro Reyes (Artist, Mexico City) Per ulteriori informazioni ecco il sito del museo: |
| MEETINGS ON ART, Venezia in occasione della conclusione della Biennale Il programma riflette molte delle tematiche della “Kunsthalle più Bella del Mondo”.Sabato 19 novembre 2011 – Teatro alle Tese, Arsenale, ore 15 L’arte oggi: tra globalizzazione e nazioni, stanzialità e nomadismo Relatori: Nicolas Bourriaud, Marta Kuzma e Gianfranco MaranielloDomenica 20 novembre 2011 – Teatro alle Tese, Arsenale, ore 15 La definizione di una nuova soggettività: la fotografia da Luigi Ghirri ad Annette Kelm Relatori: David Campany, Giovanni Carmine, Daniela Salvioni e Shirana ShahbaziSabato 26 novembre 2011 – Teatro alle Tese, Arsenale, ore 14.30-16.30 Parliamo di noi Sessione 1 – Blockbuster o Betablocker: curatore di Biennale, curatore di museo Relatori: Paolo Baratta, Bice Curiger, Germano Celant, Massimiliano Gioni, Hans Ulrich Obrist e Letizia Ragaglia Sabato 26 novembre 2011 – Teatro alle Tese, Arsenale, ore 17-19 Domenica 27 novembre 2011 – Teatro alle Tese, Arsenale, ore 14.30 L’obiettivo di Meetings on Art è approfondire alcune delle tematiche, delle intuizioni e delle suggestioni proposte dalla mostra ILLUMInazioni e aprire un vasto spazio di riflessione all’interno della 54. Esposizione. Gli incontri saranno organizzati nel cuore della mostra – l’Arsenale – per rivolgersi direttamente al pubblico così numeroso della Biennale Arte composto, oltre che da addetti ai lavori, da appassionati, studenti e visitatori di ogni età, formazione e provenienza. “Con i Meetings on Art vogliamo confermare il ruolo della Biennale di Venezia – afferma Paolo Baratta – quale istituzione aperta alla conoscenza e allo spirito di ricerca, degna di un grande pellegrinaggio. Qui, tra le opere degli artisti e nel lavoro dei curatori, si incontrano le voci del mondo che ci parlano del loro e del nostro futuro. L’arte è qui intesa come attività in continua evoluzione.” Questa piattaforma di scambio, dialogo e analisi è animata da artisti, filosofi, scrittori, teologi, storici dell’arte, curatori, direttori di musei e critici nel tentativo di affrontare i temi proposti con prospettive diverse e inedite. “Ciò che accomuna gli incontri di Meetings on Art – sostiene Bice Curiger – è la volontà di creare una tensione positiva, una dialettica produttiva tra elementi che nel comune discorso sull’arte vengono considerati opposti o, addirittura, contrastanti: l’eredità del passato rappresentata da Tintoretto e la creazione contemporanea; il ruolo del curatore e quello dello storico nel mondo dell’arte di oggi; la globalizzazione e l’identità nazionale; il lavoro del curatore in una Biennale d’Arte e la sua funzione in un museo.” |
Manifesta 9 Coffee Break:
“The Contemporary at the Service of the Past”
Friday December 9, 2011 & Saturday December 10, 2011
www.manifesta.org
www.manifesta9.org
Casino Modern
André Dumontlaan 2
3600 Genk
Belgium
Towards Manifesta 9 (Summer 2012 in Genk, Province of Limburg, Belgium):
Since 2002, the Manifesta Foundation, initiator and co-organiser of the Manifesta Biennial, has produced a series of encounters between specialists from various fields and the members of the Manifesta Network, to discuss the evolving practices of Manifesta and the broader art field, and its relevance in the current political, social and artistic climate. Manifesta Coffee Break 2011 is organised by the Manifesta Foundation in Amsterdam in collaboration with Manifesta 9 in Genk, Limburg, Belgium.
On December 9 and 10, artists, curators, theoreticians and members of the public will gather at the Casino Modern in Genk, as part of this Manifesta initiative, to discuss the statement and title of the Coffee Break: “The Contemporary at the Service of the Past”. The intent is then to apply their findings to the preparatory process of the forthcoming ninth edition of Manifesta, the European Biennial of Contemporary Art.
The Manifesta 9 Coffee Break will be moderated by the Manifesta 9 Curatorial Team:
Cuauhtémoc Medina, Mexico City
Katerina Gregos, Brussels
Dawn Ades, London
Invited speakers are:
Johan de Boose – Doctor in Slavic Studies, author
Phil Collins – Berlin-based British artist
Ekaterina Degot – independent art historian, art critic, and curator from Kiev
Jeremy Deller – UK-based artist
Eva Gronbach – German fashion designer, based in Cologne
Ibro Hasanovic – Rouen (FR) based Bosnian artist
Vincent Meessen – Brussels-based artist
Victor Misiano – curator of Manifesta 1, Chairman of the Manifesta Foundation, Moscow based
Yan Tomaszewski – Paris-based Polish artist
Manifesta 9 will take place from June 2 to September 30, 2012 at the restored Waterschei mine complex in Genk, curated by the Mexican curator Cuauhtémoc Medina and his associate curators Brussels-based Katerina Gregos, and London-based Dawn Ades.
As well as functioning as an active tool to discuss the concept of Manifesta 9 and current art practices, the Manifesta 9 Coffee Break will also provide an opportunity to look behind the scenes of the preparations for the Manifesta biennial and the accompanying curatorial processes. The Coffee Break involves a meeting between artists, curators and theoreticians like Phil Collins, Jeremy Deller and Victor Misiano who, over two days, will together explore significant questions raised during the curatorial process of Manifesta 9, through presentations of art works, lectures and round table discussions.
“The Contemporary at the Service of the Past” sets out to tackle historical subjects and investigations, the activation of memory and outmoded signifiers or forms of thinking, the exploration of the genealogy of our different cultures and the origins of several modalities of power, and a diverse exploration of the ways groups and individuals address their past. These are issues preoccupying many artists today. Aspects of contemporary art are constantly devoted to the past—curatorial and critical thinking tends to mirror such a condition.
The recent upsurge of historical interest in artistic practice, also visible in the more general fields of the film industry, the novel and tourism, might more be a result of instability in our theoretical and practical interactions with history, rather than a sign of history’s good health. There are various indications of this. The frequent neurotic oscillation between nostalgia and escapism from the past, the way antiquated fantasy worlds proliferate while political thinking finds it significantly more difficult to mobilise genealogies and arguments about social processes, and the fragmentation of historical thinking, all seem to suggest that those previous ideologies directly relating the past to a present-day usage, are no longer applicable. Might it be that the cultural obsession with the past is now disjointed from any true understanding of its agency and use? The mirroring of works of contemporary art which are wholly based on historical research signals a crisis in historical thinking: an anxious need to put “the contemporary at the service of the past”.
General information:
All presentations are in English.
Schedule:
Friday December 9, 2011 from 2 to 7 p.m. and Saturday December 10, 2011 from 10 to 6 p.m.
For the program please visit: www.manifesta.org or www.manifesta9.org
Location:
Casino Modern, André Dumontlaan 2, 3600 Genk, Belgium
Free Admission, RSVP is required:
Registration form on www.manifesta.org or www.manifesta9.org
Deadline for registration: Sunday November 27, 2011
For further information:
Manifesta Foundation
Diana Hillesheim, Liaison Officer
Prinsengracht 175 hs
NL – 1015 DS Amsterdam
The Netherlands
E-mail: dianahillesheim@manifesta.org
Tel: +31 20 672 1435
www.manifesta.org
For press information:
Manifesta 9
Kathrin Luz, Head of Communication
Dennenstraat 5
3600 Genk
Belgium
E-mail: pressm9@manifesta.org
Tel.: +32 89 710 440
STEP 09 NEW ART FAIR
TERZA EDIZIONE 25,26,27 NOVEMBRE 2011
VIA SAN VITTORE 21 MILANO PRESSO MUSEO DELLA SCIENZA E DELLA TECNICA
http://www.step09.com/display_5.php?structure_id=24&lang=ita&wdt=
Per la sua terza edizione Step09 conferma la prestigiosa location del Museo Nazionale della Scienza e della Tecnologia Leonardo da Vinci in pieno centro a Milano. La manifestazione sarà strutturata attraverso un percorso itinerante all’interno delle più importanti e suggestive sale del Museo (Sala delle Colonne, Sala del Cenacolo) e di alcuni spazi all’aperto (Chiostri e Cortili) che faranno da cornice ad una proposta artistica sempre più ricercata e contemporanea. Step09 ospiterà circa sessanta gallerie selezionate tra le gallerie di spicco italiane ed estere.
Museum of Modern Art in Warsaw
Andrzej Wróblewski, “Muzeum” (Museum), 1956.Gouache on paper, 40 x 31 cm.
From the collection of the Museum of Modern Art in Warsaw.
Museum under Construction. Tokyo–Warsaw
14 November 2011
The National Art Centre Tokyo
7-22-2 Roppongi
Minato-ku
Tokyo
15 November 2011
Mori Art Museum
53F Roppongi Hills Mori Tower
6-10-1 Roppongi
Minato-ku
Tokyo
“Museum under Construction. Tokyo–Warsaw” is a programme of lectures and screenings prepared by the Museum of Modern Art in Warsaw. The programme is centered around contemporary institutional critique and the dynamics of attraction/conflict between the artist and the museum. Is there any influence that museums have—through their architecture, collection-building policies or curatorial strategies—on the shape of contemporary artworks? How can artists alter the priorities of an institution and modify their programmes? Can a museum function without artists? The brief history of Warsaw’s Museum of Modern Art—one of the youngest European art institutions hints at the major problems of modern museum-related policy. The speakers at the two institutions in Tokyo, National Arts Centre and Mori Art Museum, are Polish artists and critics, and they will join Japanese theorists in dealing with art from Central and Eastern Europe. They will examine the “side effects” and “margins” of museum operation. The adopted reference points are the problems of politics and history (artist “replacing” the museum), social reflection (artist “teaching” the museum), or activity in public space (artist “leaving” the museum).
Programme:
14 November 2011, The National Art Centre Tokyo
Symposium 13:00–17:00
I. Sebastian Cichocki (Programme Director, Museum of Modern Art in Warsaw) and Hirai Shoichi (Curator, the National Art Center, Tokyo) as moderators, and artists: Marysia Lewandowska, Agnieszka Polska, Jan Smaga II. Sebastian Cichocki and Kasuya Akiko (Art Historian, Kyoto City University of Arts) as moderators, and artists: Joanna Rajkowska, Zbigniew Libera
15 November 2011, Mori Art Museum
“Star City” Film Screening and Performance 19:00–21.30
Introduction by Łukasz Ronduda (Curator, Museum of Modern Art in Warsaw) with Kondo Kenichi(Associate Curator, Mori Art Museum). Guest starring: Paweł Althamer
WHAT DOES AN ART INSTITUTION DO?: A SERIES OF LECTURES AND SEMINARS SEPTEMBER 2011-MAY 2012
A collaboration between CuratorLab/Konstfack BA and Art in the Public Realm/Tensta Konsthall
The purpose of this series of five seminars on the topic of art institutions and “what they do” is to discuss the functions and operations of a precise selection of art institutions. What kind of art they engage with and in which ways, how they are funded and governed, what their histories are, as well as how they relate to local and international contexts. In short how they themselves understand their function and how that is seen by others. In a time of increased spectacularisation of the art world, it is important to look at what specific institutions can offer for art and artists but also for local communities, scenes, etc. In short: how can art institutions be part of civil society?
The structure comprises two speakers from beyond Sweden and one local respondent for each event. The speakers also function as tutors to the students from programs. Students also function as hosts/hostesses and introducers. Each occasion starts with a public lecture at Tensta Konsthall and is followed by, on the next day, a seminar with the speakers. The seminars take place at Konstfack. September 2011 – May 2012.
SEMINAR 2, Thursday 17 November at 18:30-21:00 & Friday 18 November at 10:00-12:00, 13:00-15:00.
In the Beginning: Vasif Kortun on Salt in Istanbul and Anthony Huberman on The Artist’s Institute in New York. Local referent: Magdalena Malm, MAP. On starting a new institution.
ABSTRACT VASIF KORTUN
Against Belatedness
SALT is founded in the global city of Istanbul. The institution chooses to be amorphous, unbound by medium-related, chronological or departmentalized concerns. SALT explores critical and timely issues in visual and material culture, and cultivates innovative programs for research and experimental thinking. Many examples were researched and expert discussions held on the question of what a future institution should look like? How to scale up without going blockbuster, how to be an agile institution and incorporate different temporalities within a coherent totality?
SALT is not a contemporary art space. It is a research institution devoted to social and economic history, built environment and visual art from the late Ottoman period to the present. Research is made public through exhibitions, publications, talks and events. The intention is to be able to produce work based on a variety of disciplines, to suggest an exhibition as question marks, to really be experimental in that sense.
An institution should not harbor hegemonic desires about addressing each and every unprivileged person or group, but it should be engaged in discussions and platforms for debate that reach beyond its traditional support basis. An institution should be transparent and opaque at the same time. Most amazing contributions to public thinking were fermented, tested, and negotiated away from the threatening gaze of the order, and the popular. SALT attempts to realize the kind of multidisciplinary, research-based practice that normally individual artists, collectives and short-lived art centers have been able to pursue. SALT is out to produce its own public interest, who in turn can feed back to SALT. The benchmark for success is not in mass media or an abstract notion of “Public.” SALT is interested in real responses and reactions, and looks for ways in which participants begin to play an active role in the institution’s decision-making processes.
Vasif Kortun (born 1958) is a Turkish curator, writer and teacher in the field of contemporary visual art, its institutions and exhibition practices. He is director of research and programs, SALT, Istanbul, an institution that hosts almost 3,000 m2 (32,000 sq ft) of program space, a library of over 35,000 publications and some of the most important archives on Turkish contemporary and modern art, architecture and economy in the country. Kortun holds a position on the recently re-elected CIMAM board for 2010 – 13; and is part of the board for Foundation for Arts Initiatives (2009-), as well as the 2011 Tate Turner Prize selection committee. In 2011 he is curating the UAE Pavilion for the Venice Biennale. Kortun was founding director of Platform Garanti Contemporary Art Center, Istanbul, which he initiated in 2001. He was also founding Director of Project 4L, Istanbul Museum of Contemporary Art (2001–2003). Between 1994 and 1997 he worked as the founding Director of the Museum of the Center for Curatorial Studies, Bard College and received the 9th annual award for Curatorial Excellence from the Center for Curatorial Studies, Bard College in 2006. Among other biennial projects Kortun was co-curator of the Taipei Biennial along with ManRay Hsu in 2008; Chief Curator and Director of the 3rd International Istanbul Biennial (1992) and Co-Director with Charles Esche of the 9th International Istanbul Biennial(2005); one of the curators of the Tirana Biennial, and 2nd Ceramics Biennial in Albisola, 2003. He curated the Turkish pavilions for the 1994 and 1998 São Paulo Biennial, and the 2007 Venice Bienniale for which he worked with artist Hüseyin Bahri Alptekin on an installation titled Don’t Complain. Kortun has undertaken numerous independent curatorial projects including most recently an exhibition of works by Cengiz Çekil at Rampa in Istanbul (2010) and The Columns Held us Up at Artists Space New York (2009). He has written extensively on contemporary art and the cultural situation in Turkey for publications and periodicals internationally and in 2004 co-authored the book Jahresring 51: Szene Turkei: Abseits aber Tor on the Turkish art scene with Erden Kosova.
ABSTRACT ANTHONY HUBERMAN
The Letter T
The Artist’s Institute is an experimental platform for thinking about contemporary art. Under the umbrella of Hunter College and based in a storefront space on the Lower East Side, The Artist’s Institute brings together the rigor of sustained and precise inquiry, with a dynamic schedule of public events. In contrast to a multi-tasking art world always eager to move on to a next exhibition, next artist and next idea, The Artist’s Institute maintains a longer attention span and a committed focus: the year is divided into two seasons, with each one dedicated to thinking about a single artist. Works by this anchor artist remain on view at the Institute throughout the season, providing a steady reference point, and as the season progresses, these works becomes a lens through which to consider the broader field of contemporary art and ideas. In that context, the Institute hosts a series of loosely associated projects and events by a wide range of other artists, writers, performers, or thinkers from around the world. Some of these projects last a few hours, while others last a few weeks, and each one ensures that existing knowledge and interpretations are constantly tested, complicated, and propelled elsewhere.
Anthony Huberman is a curator and writer based in New York, where he is currently the Director of The Artist’s Institute and a Distinguished Lecturer at Hunter College. Previously, he worked as Chief Curator of the Contemporary Art Museum St. Louis, Curator of the Palais de Tokyo in Paris, and Curator of Sculpture Center in New York, and has organized a wide variety of independent projects around the world. He also directed the education and public programming at MoMA P.S.1, where he initiated WPS1, the museum’s radio station. He has published texts in Artforum, Afterall, Dot Dot Dot, Flash Art, Bomb, and Mousse, as well as in many exhibition catalogues. Huberman is also on the advisory board of The Institute of Continuation, Stockholm.
Magdalena Malm is the founding director of MAP, Mobile Art Production. MAP offers an alternative to the traditional art institution by creating a new mobile structure for the production and exhibition of contemporary art. Instead of originating in the gallery space, MAP originates from the artistic process and an engagement with the audience. Malm holds a master in curating from Goldsmith’s College in London. Malm has previously worked at IASPIS international exchange programme where she has produced a number of exhibitions, seminars, and publications with international artists, critics, and curators. She has also produced several exhibitions in connection to the Venice Biennale, and she was one of the curators of the Swedish Hearts (2004) and the Moderna Exhibition 2006, both at Moderna Museet in Stockholm. Malm is a frequent lecturer and is also on the board of The National Public Art Council (Statens Konstråd), the architectural office Spridd and was on the reference board of visual art in the recent Cultural Study of Sweden (kulturutredningens referensgrupp för bildkonst).
QUI. ENTER ATLAS – Simposio Internazionale di Curatori Emergenti
La Biennale di Venezia, 2011
Meetings on Art
un vasto spazio di riflessione all’interno della 54. Esposizione
Gli incontri del 26 e 27 novembre 2011 avranno come titolo Parliamo di noi e si svolgeranno in tre sessioni centrate sulle differenze e le similitudini del curatore di Biennale e del curatore di museo e su un bilancio delle cinque ultime edizioni della Biennale Arte. A confrontarsi con il Presidente Paolo Baratta e Bice Curiger sono invitati curatori di livello internazionale e di diverse generazioni che hanno ricoperto nella loro carriera uno o entrambi i ruoli: Germano Celant, Massimiliano Gioni, Hans Ulrich Obrist, Letizia Ragaglia, Diana Baldon, Giovanni Carmine, Okwui Enwezor e Beatrix Ruf e Vicente Todoli. Il titolo delle prime due sessioni del 26 novembre, Blockbuster o Betablocker, è un omaggio a Harald Szeemann che da direttore della 48. e 49. Esposizione Internazionale d’Arte ha dato un nuovo impulso alla Biennale Arte sotto la prima presidenza di Paolo Baratta. Szeemann usava il termine “betablocker”, che normalmente indica un farmaco che migliora la capacità di rilassamento del cuore, per indicare quelle opere d’arte che hanno una funzione calmante, anestetizzante e rilassante. In questi due appuntamenti ci si chiederà qual è la funzione del curatore, una figura à metà strada tra l’autodidatta e l’accademico, e quali sono i punti di riferimento per una professione priva di una tradizione ben definita e di una storia scritta. La discussione si concentrerà sulla tensione positiva che esiste tra l’istituzione museo e le Biennali.
Sabato 1 ottobre 2011 – Sala delle Colonne, Ca’ Giustinian, ore 15
illumiNAZIONI: l’arte e la comunità, un dialogo filosofico
Relatori: Carlo Sini e Tommaso Tuppini
Sabato 22 ottobre 2011 – Teatro alle Tese, Arsenale, ore 15
Tintoretto e la Biennale: gli effetti di una nuova contestualizzazione
Relatori: Achille Bonito Oliva, Cecilia Canziani, Pericle Guaglianone, Roland Krischel e Haroon Mirza
Sabato 29 ottobre 2011 – Teatro alle Tese, Arsenale, ore 15
Tintoretto e la Biennale: il pittore della luce e la Biennale delle Illuminazioni
Relatori: Paolo Baratta, Renato Barilli, Melania Mazzucco, Giandomenico Romanelli e Abate Norberto Villa
Sabato 19 novembre 2011 – Teatro alle Tese, Arsenale, ore 15
L’arte oggi: tra globalizzazione e nazioni, stanzialità e nomadismo
Relatori: Nicolas Bourriaud, Marta Kuzma e Gianfranco Maraniello
Domenica 20 novembre 2011 – Teatro alle Tese, Arsenale, ore 15
La definizione di una nuova soggettività: la fotografia da Luigi Ghirri ad Annette Kelm
Relatori: David Campany, Giovanni Carmine, Daniela Salvioni e Shirana Shahbazi
Sabato 26 novembre 2011 – Teatro alle Tese, Arsenale, ore 14.30-16.30
Parliamo di noi
Sessione 1 – Blockbuster o Betablocker: curatore di Biennale, curatore di museo
Relatori: Paolo Baratta, Bice Curiger, Germano Celant, Massimiliano Gioni, Hans Ulrich Obrist e Letizia
Ragaglia
Sabato 26 novembre 2011 – Teatro alle Tese, Arsenale, ore 17-19
Parliamo di noi
Sessione 2 – Blockbuster o Betablocker: curatore di museo, curatore di Biennale
Relatori: Paolo Baratta, Diana Baldon, Giovanni Carmine, Okwui Enwezor, Beatrix Ruf e Vicente Todoli
Domenica 27 novembre 2011 – Teatro alle Tese, Arsenale, ore 14.30
Parliamo di noi
Sessione 3 – Che cosa abbiamo combinato?!
Relatori: Paolo Baratta, Bice Curiger, Francesco Bonami, Daniel Birnbaum, Maria de Corral, Rosa Martinez e Robert Storr
Friday, November 4, 2011, 2–7 pm
Solomon R. Guggenheim Museum
The Solomon R. Guggenheim Museum is pleased to announce The Critical Edge of Curating, a daylong international symposium organized in conjunction with the exhibition Maurizio Cattelan: All on view from November 4, 2011–January 22, 2012.
Curators and artists from around the world discuss critical issues in their practice today, examining the possible impact of exhibitions and related curatorial activities on cultural and social change. Key questions will be addressed as points of departure for a broader theoretical and practical analysis of the field, through conversation amongst colleagues from various institutions and alternative spaces, as well as those working independently.
Speakers include: Ute Meta Bauer (MIT); Shelley Bernstein (Brooklyn Museum); Suzanne Cotter (Abu Dhabi Project, Guggenheim Museum); Tom Eccles (Center for Curatorial Studies); Tom Finkelpearl (Queens Museum of Art); Eungie Joo (New Museum); Weng Choy Lee (School of the Art Institute of Chicago); Chus Martinez (Documenta 13); Rodrigo Moura (Inhotim); Hans Ulrich Obrist (Serpentine Gallery); Yasmil Raymond (Dia Art Foundation); Ralph Rugoff (Hayward Gallery); Christine Tohme (Ashkal Alwan); Anton Vidokle (e-flux); and more.
Co-organized by Nancy Spector, Deputy Director and Chief Curator, Solomon R. Guggenheim Foundation, and curator of Maurizio Cattelan: All, and Kate Fowle, Executive Director, Independent Curators International (ICI).
Discussion topics include:
End Results
For many curators and artists working today, the exhibition no longer serves as the culminating manifestation of their work. For some, it is merely one step along a trajectory of research and planning. For others it has become an entirely dispensable model. This discussion will focus on alternative modes of curatorial activity and the expanded notion of what constitutes an exhibition.
Authorship and Agency
As the relationship between artist and curator increasingly blurs, the notion of authorship comes to the fore. This discussion will address the question of curatorial agency in an expanded field of production, by looking at the shifting distinctions between facilitation and the creative process. It will also examine the role of the audience in determining content for a time newly dominated by social media.
Site-Specificity
In a world of global cultural flows, does the art-historical notion of site-specificity (as it developed in the post-Minimalist practices of the 1960s and ’70s) still resonate, or is it now just a nostalgic attachment to place? This discussion will focus on different modes of “specificity” in use today, including art created in relation to social and political contexts, as well as art adapted to museum architecture, and art situated in an expanded public realm.
Curating as Activism; the Social Responsibility of the Museum
The intersection of global cultural activity (including the building of new museums and emerging biennial models) with the political realities encountered around the world today, raises issues of social responsibility. This discussion will ask whether curatorial practice can have meaningful social or political impact, as well as what the responsibility of the curator and the museum should be to address and/or ameliorate injustice. It will also examine whether art itself can be a transformative force.
Transnational Currents
With the recent emergence of transnationality as an intellectual framework to rethink the concept of globalization and regional-specific studies, the question arises in both the academy and museum, whether the term applies to actual art production or whether it is merely a discursive model for interpretation. This discussion will ask what it means to curate a transnational exhibition in a world of shifting geo-political, cultural, and social realities.
A COSA SERVONO LE MOSTRE?
due giorni di discussione a cura di Adelina von Fürstenberg, Roberto Pinto, Chiara Agnello, Mario Gorni
venerdì 7 ottobre 2011 dalle ore 17.00 alle 22.00
sabato 8 ottobre 2011 dalle ore 10.30 alle 13.30 e dalle 15.00 alle 20.00
Careof DOCVA
Fabbrica del Vapore, via Procaccini 4 Milano
A cosa (e a chi) servono le mostre? Qual è il ruolo del curatore, del direttore di un centro o di un museo d’arte contemporanea? Esiste uno spazio per la critica? Quali sono i margini di lavoro e gli obiettivi di un artista oggi?
Careof – in collaborazione con i curatori Adelina von Fürstenberg e Roberto Pinto – organizza due giorni di discussione su temi che ritiene di grande importanza per il momento che la cultura italiana sta vivendo.
Nuovi paradigmi globali sembrano prevalere oggi nell’arte contemporanea. L’aumento delle fiere e delle biennali, il crescente numero di persone che frequentano eventi artistici, la spettacolarizzazione degli stessi, l’interesse prevalente per il valore mercantile, provocatorio o glamour dell’opera, l’identificazione del curatore con un fornitore di intrattenimento e di status o un advisor per investitori, sono solo alcuni degli aspetti che portano alla messa in discussione del valore dell’arte e della critica.
In quest’ottica guardare alle mostre recenti, al ruolo e alle necessità dell’artista, del curatore, della critica e del pubblico, rappresenta un passaggio obbligato per ridefinire la funzione dell’arte, sottolineandone la sua capacità di comprendere e rileggere la contemporaneità.
venerdì 7 ottobre (17.00>21.00)
rispondono alla domanda A cosa (e a chi) servono le mostre? Qual è il ruolo del curatore?
modera Adelina von Fürstenberg
Chiara Bertola
Andrea Lissoni
Patrizia Brusarosco
Marco Scotini
Stefano Arienti
Marco De Michelis
Francesca Guerisoli
Francesca Pasini
Katia Anguelova
Gabi Scardi
Stefano Baia Curioni
Eva Fabbris
Giacinto Di Pietrantonio
Adrian Paci
Paola Nicolin
sabato 8 ottobre (10.30>13.30)
rispondono alla domanda Esiste uno spazio per la critica?
modera Roberto Pinto
Francesco Poli
Angela Vettese
Emanuela De Cecco
Valerio Del Baglivo (Radical Intention)
Francesca Alfano Miglietti
Anna Daneri
Francesco Tedeschi
Lea Vergine
Alberto Garutti
Alessandra Galasso
Massimiliano Gioni
sabato 8 ottobre (15.00>20.00)
rispondono alla domanda Quali sono i margini di lavoro e gli obiettivi di un artista oggi?
modera Mario Gorni
Anna Stuart Tovini e Vincenzo Chiarandà (Undo.net)
Giorgio Zanchetti (Dipartimento di Storia delle Arti, Università degli studi di Milano)
Luisa Protti (Casa degli Artisti)
Marta dell’Angelo
Remo Salvadori
Gianni Caravaggio
Stefano Boccalini
Paolo Rosa
David Casini
Elena Quarestani
Simeone Crispino (Vedovamazzei)
Claudia D’Alonzo (DIGICULT)
Massimo Uberti
Italo Zuffi
Cesare Pietroiusti
QUI.Enter Atlas
25.05.09 – 27.05.09
QUI. ENTER ATLAS – SIMPOSIO INTERNAZIONALE di CURATORI EMERGENTI
A cura di Jörg Heiser e Alessandro Rabottini
25 – 26 – 27 maggio 2009, ore 10.00 – 18.00
Spazio ParolaImmagine
La GAMeC – Galleria d’Arte Moderna e Contemporanea di Bergamo, organizza la III edizione di Qui. Enter Atlas – Simposio Internazionale di Curatori Emergenti a cura di Jörg Heiser e Alessandro Rabottini.
Il Simposio è un evento pensato per affiancare alla competizione rappresentata dal Premio Lorenzo Bonaldi per l’Arte – EnterPrize un momento di discussione e di confronto.
Il formato del Simposio è in continua trasformazione, e quest’anno la GAMeC ha invitato come co-curatore ospite Jörg Heiser, co-redattore della rivista internazionale d’arte Frieze.
Per l’edizione 2009 i due curatori del convegno, Jörg Heiser e Alessandro Rabottini, hanno invitato 10 curatori under 35 provenienti da tutto il mondo che insieme ai 5 candidati del Premio Bonaldi si confronteranno nelle tre giornate intorno al tema “La fine del curatore globale”.
Il Simposio si propone di fare il punto su opinioni, prospettive, problematiche e progettualità della professione di curatore nel sistema internazionale. Nelle tre giornate, infatti, 15 giovani curatori under 35 provenienti da tutto il mondo e attivi nell’ambito di istituzioni pubbliche, spazi no-profit o come curatori indipendenti, confrontano esperienze personali e posizioni teoriche e metodologiche, analizzando le possibili modalità di crescita professionale attraverso uno scambio di idee ed esperienze in interazione continua anche con il pubblico.
La manifestazione testimonia la presa di coscienza dell’ormai consolidato ruolo che il curatore ha assunto nell’economia culturale mondiale, col preciso intento di offrire un’opportunità di scambio e incontro ad una generazione emergente di professionisti.
Parteciperanno al Simposio:
Richard Birkett, assistente curatore ICA, London
Lorenzo Bruni, critico d’arte e curatore, Firenze
Carson Chan, Direttore/curatore, PROGRAM: Initiative for Art and Architecture Collaborations, Berlin
Áron Fenyvesi, critico e curatore indipendente, Budapest
Christophe Gallois, curatore Mudam, Luxembourg
Yoann Gourmel & Elodie Royer, critici d’arte e curatori, Paris
Matthew Hyland, Direttore ad interim e curatore, Oakville Galleries, Oakville
Shahira Issa, critico e curatore; fondatrice di Pericentre Projects, Cair
Mia Jankowicz, curatore indipendente, London
Graciela Kasep, Direttrice e curatore Nina Menocal Gallery, Mexico City
Yinghua Lu, curatore e critico d’arte, Beijing
Mihnea Mircan, curatore indipendente, Bucharest
Caterina Riva & Pieternel Vermoortel, Direttori/curatori FormContent, London
Bart van der Heide, curatore/critico, London
Raluca Voinea, critico d’arte e curatore, Campina, Romania
È in programma per ottobre 2009 una pubblicazione bilingue in cui confluiranno opinioni, prospettive, problematiche e progettualità discusse e maturate durante i tre giorni del simposio.
Il convegno si chiuderà mercoledì 27 maggio alle ore 18.30 con la cerimonia di premiazione del vincitore del Premio Lorenzo Bonaldi per l’Arte – EnterPrize e con l’inaugurazione delle mostre personali Studio A: Monumental Detours / Insignificant Fixtures (2008 – ongoing)di Tris Vonna-Michell, e Ginnastica Oculare di Meris Angioletti, entrambe a cura di Alessandro Rabottini.
STEP 09
