Maria Lind Presentation

Un’anticipazione della giornata sul curating del 29 Novembre.

In this lectures Maria Lind introduces the idea and the exhibition The Abstract Possible:


4 thoughts on “Maria Lind Presentation

  1. Valentina ha detto:

    Piccolo Estratto da Artforum, October 2009:


    Is there something we could call the curatorial? A way of linking objects, images, processes, people, locations, histories, and discourses in physical space? An
    endeavor that encourages you to start from the artwork but not stay there, to think with it but also away from and against it? I believe so, and i image this mode of curating to operate like an active catalyst, generating twists, turns, and tensions – owing to site-specific and context-sensitive practices and even more to various traditions of institutional critique. The curatorial would thus parallel Chantal Mouffe’s notion of “the political”, an aspect of life that cannot be separated from divergence and dissent, a set of practices that disturbs existing power relations. At its best, the curatorial is a viral presence that strives to create friction and push new ideas, whether from curators or artists, educators or editors.

  2. Valentina ha detto:


    What do museums of contemporary art stand for today? The last two decades has seen an unimaginable diversification of the museum as a place for exhibiting art and telling histories, producing innovative education models, promoting international collaborations, forming alternative archives, and facilitating new productions.

    This conference aimed to tackle key questions around the museum as an institutional entity and contemporary art as an art historical category. Speakers provided an overview of developments across the Americas, Europe, Asia, Africa, and the Middle East. Particular attention was paid to the construction of historical narratives (or their abandonment) through collection displays, the role of research in relation to contemporary art, the alternative models that are already having an impact, and their relationship to more traditional museum infrastructures.

    Presented by the Ph.D. Program in Art History at the CUNY Graduate Center, Independent Curators International, and the New Museum.
    The Now Museum: Contemporary Art, Curating Histories, Alternative Models

    Saturday, March 12 | 12–6 p.m. | New Museum

    12:00 p.m. Welcome
    by Eungie Joo, Director and Curator of Education and Public Programs at the New Museum, and Kate Fowle, Director of Independent Curators International

    12:15 p.m. “Extending Infrastructures, Part I: Platforms & Networks”
    The last decade has seen the evolution of institutions that enable the development of networks and collaborations between artists, curators, and organizations both regionally and internationally. These platforms have generated programming and research that goes beyond national or localized mandates of the traditional contemporary art museum, and instead encourages the accumulation of knowledge through shared concerns based on experience and practice. This has led to new ways of thinking about collecting, recording histories, and producing discourse, as well as extending exhibition models and the involvement of artists in the creation of institutional structures. What are the key issues and practices that have generated these new frameworks?

    A panel discussion with Zdenka Badovinac, Director, Moderna Galerija, Ljubljana; Anthony Huberman, Distinguished Lecturer, Hunter College and Director, The Artist’s Institute, New York; Maria Lind, Director, Tensta Konsthall, Stockholm; and Lu Jie, Director and Chief Curator, Long March Project, Beijing.
    Chaired by Kate Fowle, Director, Independent Curators International, New York.

    Maria Lind, Anthony Huberman, and Kate Fowle; Zdenka Badovinac, Lu Jie and Claire Bishop; Maria Lind and Anthony Huberman.

    Zdenka Badovinac is a curator and art critic who has served as Director to the Moderna Galerija (Museum of Modern Art) in Ljubljana since 1993. In her work, she highlights the difficult processes of redefining history alongside different avant-garde traditions within contemporary art. Badovinac’s first exhibition to address these issues was Body and the East—From the 1960s to the Present (1998). She also initiated the first Eastern European art collection, Arteast Collection 2000+.

    Anthony Huberman is a curator and writer based in New York, where he is currently 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, Curator of SculptureCenter in New York, and has organized a wide variety of independent projects around the world. He also was Director of Education and Public Programs at P.S.1 Contemporary Art Center, where he initiated WPS1, the museum’s radio station. He has written for magazines such as Artforum, Afterall, Dot Dot Dot, Mousse, and Bomb, among others, as well as exhibition catalogues. With Larissa Harris, he co-directs The Steins, a series of occasional exhibitions and events.

    Maria Lind is Director of the Tensta Konsthall and an independent curator and writer interested in exploring the formats and methodologies connected with the contemporary art institution. She was the director of the graduate program at the Center for Curatorial Studies, Bard College from 2008–10. Before that, she was director of lASPIS in Stockholm (2005–07) and Director of the Munich Kunstverein (2002–04). Previous to that she was curator at Moderna Museet in Stockholm (from 1997–2001) and in 1998 was co-curator of Manifesta 2, Europe’s nomadic biennial of contemporary art. Lind was the 2009 recipient of the Walter Hopps Award for Curatorial Achievement. A compendium of her essays to date, Selected Maria Lind Writing, was published by Sternberg Press in 2010.

    Lu Jie is Director and Chief Curator of Long March Project and Founder of Long March Space in Beijing. Long March Project is a complex, multi-platform, and ongoing research-led art project based in Beijing. Widely exhibited internationally during its nine-year foundation, the latest endeavor of Long March Project was Ho Chi Minh Trail (2008–10), a major project for “Rehearsal,” the 8th Shanghai Biennial. Lu Jie is on the Editorial Board of the Yishu – Journal of Contemporary Chinese Art and advisor to the Asia Art Archive. He has lectured in numerous museums and academic institutions and is an adjunct professor at the China Academy of Art, Hang Zhou.

    Kate Fowle is Director of Independent Curators International (ICI) in New York. From 2007–08 she was the inaugural International Curator for the Ullens Center for Contemporary Art in Beijing, and from 2002–07 the Chair of the MA Program in Curatorial Practice at California College of the Arts in San Francisco, a program she established with Ralph Rugoff in 2002. In 2005 she co-founded the backroom, an itinerant research-oriented project that provides access to over seventy international artists’ source materials. Born and trained in England, Fowle was the curator at the Towner Art Gallery in Eastbourne before co-founding smith + fowle in 1996, a curatorial partnership based in London that developed exhibitions and commissions with over fifty international artists across the U.K.


  3. Valentina ha detto:


    Detours is an ongoing series of talks presenting views from elsewhere by leading curators, critics and museum directors. Speakers explore the connection between practice and context: looking at how different institutions and professional practices have taken shape in relation to specific places or situations. To date speakers have included Juliana Engberg, Alex Farquharson, Richard Flood, Vasif Kortun, Jenni Lomax, Nicolaus Schafhausen, Polly Staple, and Adam Szymczyk.

    Detours is a collaboration with The Glasgow School of Art (School of Fine Art)

    29 April 2010
 The Trades Hall of Glasgow.

    The Trades Hall of Glasgow was designed by Robert Adam in 1791 — 94. The medieval cathedral aside, it is the building is the oldest in Glasgow still in regular use for its original purpose

  4. Valentina ha detto:

    A.P. Maria Lind on Education and Spectatorship Models:


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