SUMMER SCHOOL CURATING IN CONTEXT

LECTURE & SEMINAR ///   Suzana Milevska Ph.D. in Visual Cultures from Goldsmiths College London, curator and theorist of visual culture ///   Curating Participatory Art as Means for Social Change ///               Abstract: Some of the main questions to be addressed in this lecture and seminar will be what kind of socio-political conditions and juridical structures call for, allow and/or prevent the participatory art to fulfill the given promises for social and cultural change. The conundrums of participatory art are many. Curating Participatory Art as Means for Social Change is imagined as a curated participatory and self-reflexive back and forth conversation that will eventually result with a collaboratively composed cross-disciplinary questionnaire. I’ve already discussed some of the crucial contradictions and frustrations of the participatory art practices in the context of neoliberalism-driven cultural movements. For example in t...

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?", ...

  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 watc...

  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...

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 th...