SUMMER SCHOOL CURATING IN CONTEXT

SEMINAR by Kirsten Maar (Germany): New Schools: New Formats of Teaching and Mediating Topic Tags: emancipated spectator ignorant master How do we know what we know? How do we learn from each other? How do we deal with knowledge on an ethical level? And, how can we develop alternative forms of learning? Or establish “ecologies of practice” (Stengers)? Close to critical curatorial practice the field of mediation and teaching, the workshop-seminar asks for its own conditions, it looks at ways of mediating and producing knowledge in the cultural field beyond disciplines, within collaborative, practice-based and diverse research methods. We will work, based on short texts and material distributed beforehand (Moten/Harney, Manning et al..), starting with an input in the form of a lecture, going on in smaller working groups and then altogether to finally develop an adequate form of presentation. Reading document: Luis Camnitzer, "What makes an art school a good art school?",

  Artists and Curators Talk with Marta Popivoda (Serbia/Germany) Topic Tags: Social choreography social drama archive collective slow cinema Yugoslavia: How Ideology Moved Our Collective Body ( https://vimeo.com/155110078) Embodied socialist ideology Social choreography (concept by Andrew Hewitt): aesthetic reflex, how our bodies are organized in space under direct influence of the dominant ideology Social drama (concept by Victor Turner): liminal moments in society when change is possible, a moment of breaking social choreography Cherishing collective practice in art-making and research Politics of slowness and slow cinema Landscape dramaturgy: landscapes of revolution and resistance How can we inhabit the landscape with different gazes at the same time (if the camera presents one gaze)? How can we multiply these gazes? Body as an archive Slow cinema reflecting on performing arts: slow dance, slow movem

  Artists and Curators Talks with Dragana Alfirevic   Topic Tags: Public interest co-living collective private interest curating in context What does it mean to be co-living or co-existing? No borders between artistic and production questions to avoid creating antagonisms Performance as a model of production instead of a model of politics Thinking and creating from the context: a vicious circle? What is public, even if it exists as such? What is public interest? Distinction be tween private interest and personal interest Collective work: a process of emancipating personal interest or deepening it, making it more accessible Non-antagonistic and non-hierarchical models of collaboration Curating in context: to create a possibility to become watched and visible, to be present on the stage, to exist in a non-fixed position Can producing things out of context help in producing things in context? Dragana Al

  SEMINAR  Discussion  – Goran Sergej Pristaš: Theatre by Other Means  Topic Tags:  Apparatus   white box   watching   showing   modalities of translation Thought experiment for 28.08.2020 Imagine a white box and fill it with rows of chairs until you fill the whole space. It is as if you create a space in which only watching happens. There are only white walls and there is no stage in the surroundings. How can you change the chairs and reorganize in order for something to happen even without bringing any artworks? What could happen at the stage of watching instead of the stage of showing? How does the difference between the place of showing or place of watching appear or disappear with these interventions?   Discussion: Gaze of inclusion and exclusion The gaze and the logic of curating 20 th  century: the emergence of the critical gaze which dissects things on the analytical stage Logic of taking care of the work in relation to watching (curating): the gaze of one who knows more than t

  SEMINAR – Goran Sergej Pristaš and Discussion: "Theatre by Other Means"  Croatia Topic Tags: Apparatus white box watching showing modalities of translation If we attempt to approach theatre not as an empty space but as infrastructure of watching, then it is a space already overwhelmed and prestressed by different dispositives of watching and showing. Could we imagine a stage of watching and not a stage of showing, an ideal space for theatrical work, an atelier, a dance studio, an auditorium, a white box, a film studio, a forensic laboratory, an archive.. and all at once? Is it a space that does not have to be filled but cleansed to be able to accommodate production, rehearsing, exhibiting, disassembling, folding, archiving, watching...etc. Apparatus of showing and watching Cinematic leaflet: another apparatus of presenting Modalities of translation from one coordinate system to another If we move a cinematic object (an object can be any cine

  Artists and Curators Talks with Martin Sonderkamp and Darko Dragičevič   Topic Tags: Non-hierarchical collaboration curating curatorial disciplines   Non-hierarchical approach in collaboration: switching roles, distribution of powers Laurie Anderson's advice on classifications: never call yourself by one name, open possibilities by calling yourself a multimedia artist Curating as taking care and opening spaces Space as a vulnerability that can be accessed and shared The curatorial is not a position or roleplay, it’s a function that can rotate Curating means – what are methods and platforms through which autonomy can exist? How can you make sure that someone can tell their story, access their story and experience? What is artistic knowledge and how do you produce something like that? What is the reaction/reception to the method? How do we get out of ‘disciplines’? The idea of the non-disciplinary.

  Artists and Curators Talks with Maria de la Paz Ponce (Spain/ Germany) Topic Tags: Collaborative underground architectures of encount alterity biographical collective    Project: The Art of Living Together (allegory for 15 organizations that lobbied about the interests of the artists in different disciplines of the city, a forum of symbiotic cooperation, collaborative underground systems, regenerative self-maintained habitats) The energy of the collaborative underground, rhizomatic formats of the independent art scene Book: The Mushroom at the End of the World Architectures of Encounters AGORA collective, a prototype of a community Where does art intersect with the social? How do you embrace alterity? How to create stable frames of art production? What type of biographical collective project can we produce together? How do you assert the more antagonistic dimension of the political and aesthetic?

  LECTURE – Lydia Bell (USA): Performance-Based Curatorial Strategies in New York City 2018-Present: Where Do We Go from Here?   Lydia Bell, U.S.-based independent curator and creative producer, will speak about curatorial strategies within the context of recent dance and performance projects in New York City. Topics will include: collective research practices, institutional interventions, de-centering whiteness, and the historical imagination. Case studies will include  Dancing Platform Praying Grounds: Blackness, Churches, and Downtown Dance , a Danspace Project Platform curated by Reggie Wilson in 2018 that examined the relationship between race, dance, and religious architecture in New York City. Another case study will be  collective terrain/s , co-organized by Bell, Jasmine Hearn, and Tatyana Tenenbaum in 2019, a collective research process into sounding in the body. Questions from these case studies to be examined include: How did civil rights grassroots activism and organizat

SEMINAR – Suzana Milevska (North Macedonia): Becoming-Curator vs. Becoming a Curator Abstract :  Topic Tags: Curating curatorial curator offspring curatorial agency In recent times, curating has provided a point of cross-disciplinary interchange between several distinguished disciplines and professions that deal with art. The courses and university departments that initially taught curating as a subject mainly focused on its practice, but such a dichotomy no longer exists now that curating is taught as a subject or course in many different departments and universities, and the term itself is used in a much broader terms. This presentation will therefore address the question how the concept of curatorial relates to both the theory and practice of curating. I want to argue that “curatorial” and “curatorial knowledge” have advanced into terms that encompass the condition in which philosophy, theory and epistemology are intertwined and produced a new discourse and culture that a