Curators

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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.org2010
The issue 1,2,3, — thinking about exhibitions combines discussions, interviews, and articles concerning recent discussions in Rotterdam and Hamburg. The symposium in Rotterdam, The Curators, at Witte de With emphasized the role of the curator-subject. This issue includes two interviews which critically review the contributions and results of the symposium, revealing different aspects and controversial facets of their topics. The two featured interviews include one with Nikolaus Schaffhausen and Zoe Gray, those responsible for the organization of the symposium, as well as one interview with Paul O’Neill, a contributor…
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PublisherOnCurating.org2014
Dan Perjovschi’s 2005 drawing that precedes these pages laconically addresses the hierarchies operative in an art institution’s value chains, and it does so on the basis of an inventory of whoever holds agency in this context. Strikingly, this list doesn’t at a first glance seem to be in any way exhaustive, as it apparently lacks a varied range of other roles and functions at play in art institutions, such as security guards, visitor and technical services staff—as well as gallery educators. Is their absence from the work due to their evanescent significance within the hierarchy Dan establishes in his diagram, ...
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Created in 1952 by photographers and writers as “common ground for the advancement of photography,” Aperture today is a multi-platform publisher and center for the photo community. From our base in New York, we produce, publish, and present a program of photography projects, locally and internationally.
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PublisherOnCurating.org2019
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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PublisherOnCurating.org2011
The reader presents a cross-section of the voices that populate the ongoing debate about, on the one hand, how and in what terms curating functions as a critical cultural practice, and on the other, what methodologies and histories exist with which we can critically analyse curatorial work today. This collection of essays was first published in 2007 by Revolver, in Frankfurt am Main and ICE, Institute for Curatorship and Education as the first ICE Reader…
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PublisherOnCurating.org2015
When we started a discourse on curating in 1998 with the conference “Curating Degree Zero,” we could not have imagined the intensity of interest in this subject in the coming years. In 2003 we wanted to re-examine the field together with Annette Schindler, but when we failed to organise enough funds, we changed the concept and concentrated on the archive, which originally should have just accompanied the symposium. This decision, half by chance and half out of a deeply felt interest in archival practices, proved to be valid, insofar that the archive grew and developed rapidly. Curating Degree Zero Archive ...
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PublisherOnCurating.org2010
This latest edition of On-Curating.org presents seven interviews with curators who work primarily with the format of film and/or video. These interviews were all conducted in May 2009 during the Oberhausen International Short Film Festival. In the past years, there has been an increasing presence of film and video works in art exhibitions. Where does it come from, this growing predilection for a medium which is not particularly easy to present in an art show setting?…
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PublisherOnCurating.org2016
Curators and their partners are working in a contested field, in which the meanings of institutions, their power structures and modes of participation can be debated and reshaped. The number and diversity of high-profile major museum exhibitions in the twenty-first century that have been devoted to the themes of feminist and women’s art has attracted an unprecedented critical attention to the practice of feminist curation. The diversity of the ways in which feminism has been represented in curatorial projects—from Womanhouse (1972) to Gender Battle (2007)—is explored here most fully in the essays by Amelia Jones and Hilary Robinson, which identify ...
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PublisherOnCurating.org2017
This issue compiles the outcome of the symposium at the Kunstmuseum Basel and a summer academy at the Zurich University of the Arts. The symposium “De-colonizing Art Institutions” took place at Kunstmuseum Basel, June 21 and 22, 2017, with the speakers Sabih Ahmed (Asia Art Archive), Jeebesh Bagchi (Raqs Media Collective), Binna Choi (Casco), Eyal Danon (Holon Digital Art Archive), Kadiatou Diallo (SPARCK), Same Sizakele Mdluli (Lecturer, Wits University), Rohit Jain (ISEK, Uni Zürich), Shwetal A. Patel (Kochi-Muziris Biennale), Dorothee Richter (Postgraduate Programme in Curating, ZHdK), Roma Jam Session art Kollektiv (RJSaK), and Søren Grammel. You will find contributions by ...
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PublisherOnCurating.org2017
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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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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