Sobre teoría y práctica curatorial colaborativa

Aborda prácticas artísticas y políticas que desarrollan su actividad en el ámbito del arte público, arte crítico, la intervención y la acción. Incluye fragmentos de textos de autores claves en el estudio de estas temáticas como: Hal Foster, Douglas Crimp, Martha Rosler, Brian Holmes, Michel de Certeau, o Nicolas Borriaud, entre otros.

'Institutional critique' is a term designating artistic practices and positions such as those of Michael Asher, Marcel Broodthaers, Daniel Buren, Andrea Fraser and Hans Haacke. The question is: how can a practice that intends to radically show the conditionality of art, its financial entanglements, and its function as a means of distinction be related to institutions and curators’ activities th...

The second part of the publication for the symposium, Institution as Medium. Curating as Institutional Critique?, organised by the Kunsthalle Fridericianum and the Zurich Postgraduate Programme in Curating (Institute for Cultural Studies, Department of Cultural Analysis, Zurich University of the Arts), deals with notion of art-mediation and addressing publics in the realm of institutional criti...

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http://transductores.net

Schwartz investiga un amplio conjunto de copias: falsificaciones artísticas, maniquíes, retratos, clones, fotocopias, museos de cera... Examina también un amplio grupo de teorías sobre la representación y la reproducción mecánica. Este libro es, en definitiva, una reflexión sobre los problemas de la autenticidad, la identidad y la originalidad.

http://traficantes.net/index.php/distribuidora/catalogo/libros/creacion_e_inteligencia_colectiva

http://traficantes.net/index.php/editorial/catalogo/coleccion_mapas/produccion_cultural_y_practicas_instituyentes_lineas_de_ruptura_en_la_critica_institucional

http://ypsite.net/biblio.php

In her recent anthology Participation, Claire Bishop targets the suspect utopianism of relational aesthetics – a new model public art for the age of consensus. But, writes Paul Helliwell, her alternative reading of participation, made across a set of historical texts and concerned to preserve the autonomy of art, may have blocked itself with her deployment of the fashionable Jacques Rancière

So can a true collaboration exist within the institutional framework? Is it possible for curators and artists to collaborate on a gallery-based project without collaboration becoming a smokescreen for homogeneity? Can curators be collaborauteurs rather than curator-auteurs? If collaboration allows galleries to do things that 'would not otherwise be possible to do individually'[6] it is clear th...

We can see how the collapse of the economy is affecting everyone. Something must be done. Let’s talk. No, it can’t wait. Things are bad. We have to work things out. We can only do it together. What do we know? What have others tried? What is possible? How do we talk about it? What are the wildest possibilities? What are the pragmatic steps? What can you do? What can we do?

Astrophysicists describe dark matter1(and more recently dark energy) as invisible mass predicted by the big bang theory, yet so far only perceived indirectly by observing the motions of visible astronomical objects such as stars and galaxies. Despite its invisibility and unknown constitution, most of the universe, perhaps as much as ninety six percent of it, consists of dark matter - a phenomen...

Art starts from groups. Collectivity is the basis for artistic production. Special forms of social relations are the soil in which artists are rooted. From this soil the flowers of art bloom, are cut, and carried to the vases in arrangements like those in large vases in the lobby of New York’s Metropolitan Museum of Art. There they may be understood as emblems, as a language of flowers, speakin...

In 1996 Nicolas Bourriaud (1996) proposed the concept of a relational aesthetics in order to identify the common artistic practices that were evident in the exhibition Traffic. He subsequently claimed that the a interhuman sphere: relationships between people, communities, individuals, groups, social networks, interactivity that existed in the work of artists such as Pierre Huyghe, Maurizio Ca...

The History of Modernism is, it would seem, inscribed with collaboration and collectivity. The succession of international, interlinked avant-garde movements which make up the historical and mythical trajectory of modernist art is founded in a perception of artists coming together with a mutual and coherent project in mind. The very notion of artistic movements bearing a collective label intima...

http://www.sarai.net/publications/readers/01-the-public-domain

Rivets+Denizens is an investigation and case study of collaboration strategies that are being explored by artists and curators. The title of the show suggests two different breeds of collaborator: a rivet, who is an integral, functional part of the structure it resides in, and a denizen, who lives on a collaborative structure as an inhabitant. A Rivet is more deeply set in the architecture of t...

Walter Benjamin may have felt that the art work became democratized in the age of mechanical reproduction but forty years later in 1976, for Rosalind Krauss (The artworld) has been deeply and disastrously affected by its relation to mass-media. That an artist’s work be published, reproduced and disseminated through the media has become, for the generation that has matured in the course of the l...

The trouble with the group is there is always someone who wants to be the leader. To prove exemplary as a communal organization, the group must withstand threats from within, produced by the contest for charismatic pre-eminence among members. So then, why do groups work fine elsewhere but not in visual art? Is the music group somehow less prone than the art group to individual megalomania, or d...

The Art - Place - Technology International Symposium on Curating New Media Art took place at The School of Art and Design and FACT in Liverpool 30 March - 1 April 2006. This post on the CRUMB mailing list reviews a selection of the conference presentations and also mentions Mute

Based on empirical research around two events that happened in response to the G8 meetings in Germany in summer 2007, this paper examines relations between the organizational practice and the discourses that set up and guided both these events. One of them was a meticulously coordinated blockade action ("Block G8") close to Heiligendamm, and the other a theory-inspired "summit" calling initiati...

If relational aesthetics and open source were always commercial, can the musical score provide a way of thinking through different relationships between creativity and code? The return to improvisation in 'livecoding' draws parallels with experimental practices developed by maverick musicians, programmers and educators from Sun Ra, The Art Ensemble of Chicago and the Scratch Orchestra to Seymou...

Número especial sobre “colaboración” de la revista m/e/a/n/i/n/g.

Collaboration as an alternative to or an enrichment of individual art practice is an idea that is definitely in the air. We first thought of collaboration as the theme for an issue of M/E/A/N/I/N/G Online last summer. Since then work by the Winnipeg-based collective, the Royal Art Lodge, has been exhibited at the Drawing Cente...

Entre el 15 y el 18 de diciembre de 2006 se celebró en la sede Antonio Machado de Baeza (Jaén) de la Universidad Internacional de Andalucía el encuentro 10.000 francos de recompensa (el museo de arte contemporáneo vivo o muerto) cuyo principal objetivo fue reflexionar sobre las tareas y funciones de los museos y los centros de arte contemporáneo en la sociedad actual. Dirigido por la Asociación...

Between 1969 and 1974, Lucy Lippard curated four exhibitions of contemporary art, which have become renowned as her “numbers shows.” Each took the population of the city in which it was shown as its title: 557,087 in Seattle, 955,000 in Vancouver, 2,972,453 in Buenos Aires and c. 7,500, which opened in Valencia, California, before touring the U.S. and then traveling to London. From Conceptualis...

Despite the recent proliferation of curatorial courses and increased awareness of exhibition history, art history continues to be written through the interlinked stories of artists and movements. Walther König's new Exhibition Histories series corrects this oversight with its inaugural volume on two of the most famous and influential exhibitions of the 1960s: Wim Beeren's Op Losse Schroeven (St...

The main focus of this text is to argue that one answer to critical effectiveness in curatorial practice, as well as how to address tensions between utopian, social and political thought in the display of artworks and an avoidance of curatorial narcissism, is through an ethical approach to exhibition making that involves affirmative modes of critical humour and humility against postmodern irony...

The Journal of Curatorial Studies is an international, peer-reviewed publication that explores the cultural functioning of curating and its relation to exhibitions, institutions, audiences, aesthetics and display culture. The journal takes a wide perspective in the inquiry into what constitutes “the curatorial.” Curating has evolved considerably from the connoisseurship model of arranging objec...