Silvia Simoncelli

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PublisherOnCurating.org2013
The present issue of On Curating contributes to a critical re-engagement with New Institutionalism. This conceptual framework is used to encompass a series of curatorial, artistic and educational practices that, in various places around the turn of the Millennium, developed concrete ideas to change art institutions, their mandates and formats: art institutions were to function as sites of research and socially engaged spaces of debate. The fact that discussions about the function of and demands for change within art institutions have become increasingly topical in the context of the controversial and much criticized revised Swiss cultural policy for 2012-2016, and ...
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PublisherOnCurating.org2013
Does the activity of exhibiting resemble the process of assigning meaning in language? By showing cultural artefacts of different authors, one necessarily makes links. If an exhibition is presented to an audience and retold in conversation, its spatial choreography gives rise to a syntax. Experience and perception are translated into linguistic expression. Thus, the act of exhibiting has close ties with the communicative activity of organizing the show, and with texts and discussions. Design then adds an action-based level to this communicative dimension — actions which, as one walks through the exhibition space, are at least imaginable, and in some ...
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PublisherOnCurating.org2010
On DVD editions of feature films, it is almost a matter of course: in addition to audio comments, an alternative ending, scenes shot and later omitted, a selection of funny slips of the tongue and various trailers, the so-called bonus material also includes a ‘Making of.’ The ‘Making of’ is usually a short documentary which takes a look behind the scenes during production, explains special effects, shows persons involved in the production process at their work – persons who will no longer be seen later, in the actual movie. Naturally, on the one hand this and other extra material merely serves ...
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PublisherOnCurating.org2013
This issue of ONCURATING.org brings together a range of interviews and essays, inspired by the symposium, “Why Artists Curate,” held by the Kunstbüro der Kunststiftung Baden-Württemberg in cooperation with Columbus Art Foundation in July 2011. The feedback from this conference prompted a discussion on authorship in contemporary art, from artists, curators and artist-curators. Walter Benjamin’s well known essay, The Author as Producer, outlines that artists became producers when they shifted their labour from an independent creator relent on conventional artistic apparatus, to an operative, in which the skills and accomplishments of the artists are transformed by the advanced technical content of ...
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PublisherOnCurating.org2012
This issue of the journal brings together contributions from an international group of art practitioners, curators and theorists exploring the relationship between performance and installation in the context of the contemporary art exhibition. Key amongst the concerns of the journal is the possibility for rethinking the static model of exhibition and exploring the way in which ‘performative’ approaches, adopted by artists and curators alike, can reframe the exhibition as an environment undergoing formal or relational transformation…
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PublisherOnCurating.org2013
The general shift from manufacturing to services as a source of employment has effected also the field of visual art, changing the labour market for curators. Their position in the division of labour has become closer to the one of artists, in the sense becoming much more unstable, short term, flexible, and exploited. An important aspect of the new working conditions is the demand for physical and mental mobility. This is affecting both the curators with “steady” jobs whose working places and working hours are becoming fluid, and even more so the freelance curators who offer their services to a ...
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PublisherOnCurating.org2013
In the process of conceiving the current issue of On Curating, the debate between Claire Bishop and Grant Kester, which in 2006 occupied the pages of Artforum with a vehement discussion about the impact and merit of relational art, or what is most commonly referred to as socially engaged art, re-emerged as an unfinished discussion, especially in the context of the publication of each of their books in 2011 further developing their positions. Therefore, Cătălin Gheorghe and myself, decided to revisit the topic and in this issue of On Curating, Social Curating and Its Public: Curators from Eastern Europe Report ...
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PublisherOnCurating.org2013
This issue of OnCurating, Total Abstraction began in 2011 as one of the manifestations of the exhibition project Abstract Possible. The Zurich Test, which was held at White Space in Zurich between May and June 2011. The exhibition was curated by Maria Lind and mediated and produced by students in the ZHdK Postgraduate Programme in Curating. Abstract Possible explored different key characteristics of abstraction – intended as formal, economic and “withdrawal.” It travelled in a variety of forms to different venues, before arriving for its last episode in Stockholm between January 2011 and April 2012, where it was presented at ...

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