Giovanna Bragaglia

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Artistic and curatorial practices can be seen as the prime testimonies of transformative movements—on the one hand situated in a specific site and region, and on the other, transgressing disciplines, classes, norms—proposing new forms and relations of living and establishing these practices (building centres along the way) but at the same time always changing their positions, never staying at the centre, but instead unfolding on the periphery of social life. In this OnCurating Issue, we searched for and researched projects and institutions that hold at their core something between the lines of centres–peripheries with their transversal practices and modus operandi. For ...
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For the Oncurating Issue 34, we asked artists, theorists, and researches to send us their proposals for a decolonized art practice, or how to deal with institutions in that regard. The 34 invited artists were given a carte blanche to contribute to the topic of decolonising art institutions. The aim: to provide a platform for a multiplicity of voices from the arts. These voices would propose an image of a decolonised art practice, all the while raising questions with regard to how one can engage with pre-existing institutions in a congruent manner. The material was then displayed as printouts by ...
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This issue gathers contributions that emerged from the conference and workshop “Situated Knowledges – Art and Curating on the Move” in June 2021 and exemplify the partiality and situatedness of one’s own position in our respective fields of expertise, within our educational frameworks and contact zones. The term “situated knowledges” coined by Donna Haraway declares that all scientific knowledge is fundamentally conditional. Against an assumption of the apparently neutral and unmediated knowledge of the (male, white) Western idea of science and its representation through totalizing visualization techniques, Haraway develops her concept of situated and embodied knowledges.
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This issue seeks to bring to the forefront the various positions and strategies of the most diverse art initiatives, from project and off-spaces to personalities within the art field, as well as those of established galleries and institutions and city officials based in Zurich in 2020. Originally, this issue was intended to draw a picture of the Zurich art scene and was meant to be published parallel to Art Basel 2020. Though with the current pandemic’s additional layering, the main focus of the precariousness of the independent art scene in Zurich has increased dramatically. In this respect, we would like ...

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