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Leitzke, Maria Cristina Padilha. "Curadorias compartilhadas : um estudo sobre as exposições realizadas no Museu da Universidade Federal do Rio Grande do Sul (2002 a 2009)". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/40485.
Testo completoAbstract (sommario):
Esta dissertação tem como foco de estudo as curadorias compartilhadas no Museu da UFRGS, no período de 2002 a 2009. Trata-se de um estudo de caso, constituído pela análise das curadorias referentes a quatro exposições: Artistas Professores (2002), Total Presença: Gravura (2005), Homem-Natureza: cultura, biodiversidade e sustentabilidade (2006) e Em casa, no universo (2009). Para a realização do estudo proposto foram utilizados três tipos de fontes: escritas, orais e visuais (imagens, constituídas por fotografias). O referencial teórico abarca autores da história da educação e da história cultural, da historicidade e dinâmica dos museus, bem como estudos recentes sobre curadorias em museus. O objeto de pesquisa constituiu-se, inicialmente, numa primeira aproximação com os catálogos e demais materiais impressos, disponíveis no arquivo do museu, resultado das exposições realizadas. Logo, em seguida, foram feitas as entrevistas com os agentes internos e externos ao museu, envolvidos na concepção, produção e realização destas exposições. Por meio da análise destas narrativas buscou-se identificar as experiências dos professores-pesquisadores com curadorias, bem como evidenciar alguns elementos que corroboram ou negam a assertiva de que as curadorias no museu da UFRGS podem ser consideradas curadorias compartilhadas. Além disso, procurou-se saber acerca da atuação dos professores-pesquisadores da Universidade como curadores de exposições, bem como sobre as representações destes docentes, com relação ao museu da UFRGS. Os resultados apontam no sentido de que as exposições realizadas no Museu da UFRGS podem ser caracterizadas como casos de curadorias compartilhadas, principalmente, com relação às curadorias das exposições de ciências.This dissertation focuses on the study of the shared curatories at the UFRGS Museum, from 2002 to 2009. This is a case study, constituted by the analysis of the curatories related to four exhibitions: Artists Professors (2002), Total Presence: Picture (2005), Human-Nature: culture, biodiversity and sustainability (2006) and At home, in the universe (2009). To conduct the proposed study it was used three types of sources of information: written, oral and visual (images, consisting of photographs). The theoretical framework includes authors of the history of education and cultural history, history and dynamics of museums, as well as recent studies of museum curators. The object of research was, initially, an approach to the catalogs and other printed materials available in the archives of the museum, produced on the exhibitions. After, interviews were conducted, with internal and external agents, which were involved in the design, production and implementation of these exposures. By analyzing these narratives it was searched the experience of research-professors as curators. Furthermore, by analyzing these stories it was possible to evidence some elements that corroborate or deny the assertion that the curatories of the UFRGS Museum can be considered as shared. In addition, this work tried to know about the performance of research-professors of the University as curators of exhibitions. The results point that the curatories at the UFRGS Museum can be characterized as shared, especially those related to science exhibitions.
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Larsson, Camilla. "Curatorns ordning : En diskursanalys av curatorns yrkesroll utifrån 15 curatorutbildningar". Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-18473.
Testo completoAbstract (sommario):
This study departs from the observation that since the late 1980´s educational programmes for curators have been established and since then expanded greatly. The programmes are part of a process of institutionalization and professionalization of the role of the curator within the international contemporary art field where the role as such has gained much power. Even though many statements have been made about this relatively new phenomenon of curatorial studies, there is a lack of sufficient research. The intention of this study is therefore to examine the educational programmes as such. The selection of 15 programmes has been made with the purpose to include early as well as newly established and to cover a wide geographic area. The starting point has been to ask what kind of knowledge and role of the curator the programmes are given prominence to. Using Michel Foucault´s and Norman Fairclough´s theory and methods on discourses I examine the programmes as a discursive practice. The analysis shows that there is a strong coherence within the field of the programmes and certain ideals, conventions and procedures are shared among them. The programmes are highly dependent on the professional field of curators – individuals as well as institutions are frequently being invited to lecture and support the students. The application procedures make sure that students who are willing to adopt to given ideals and norms, are being accepted. Furthermore the ideal role of the curator has been defined with the following concepts – new institutionalism, an expanded working field and discursive curating. The curator is highlighted as creative, critical and independent. These concepts have been singled out and made explicitly unique for the role of the curator by the programmes although aspects have clearly been taken from the role of the artist and the critics. The result has been a stronger competition between these positions. The programmes are institutions that promote the curator as an important and irreplaceable agent and to claim even a stronger position new assets have been singled out in the form of a theoretical and academic capital. Educational programmes included in the study: École du Magasin, Grenoble, Whitney Independent Study Program, New York, Curating Contemporary Art, Art Royal College of Art, London, De Appel Curatorial Programme, Amsterdam, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York, MFA Curating, Goldsmiths, London, CuratorLab - Curatorial Program for Professionals in Arts, Crafts and Design, Konstfack, Stockholm, Curating Art - International Master Programme in Curating Art, including Management and Law, Stockholm university, Curatorial practice, California College of the Arts, San Francisco, Post-graduate Programme in Curating, Zürich University of the Arts, PhD-programme Curatorial/Knowledge, Goldsmiths, London, Cultures of the Curatorial, Academy of Visual Arts Leipzig, CuMMA - Curating, Managing and Mediating Art, Aalto University, Helsinki, PhD-programme Curating, Zürich University of the Arts in collaboration with the university of Reading, Praxis Master’s Programme, Finnish Art Academy, Helsinki.
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Yee, Poyan. "Healing through curatorial dialogue". Thesis, Northumbria University, 2011. http://nrl.northumbria.ac.uk/1123/.
Testo completo
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Allain, Bonilla Marie-Laure. "Visualiser la théorie : usages des théories postcoloniales dans les pratiques curatoriales de l’art contemporain depuis les années 1980". Thesis, Rennes 2, 2014. http://www.theses.fr/2014REN20028.
Testo completoAbstract (sommario):
Cette thèse se veut une réflexion sur l’articulation entre les théories postcoloniales et les pratiques curatoriales de l’art contemporain ; elle cherche en effet à souligner les perméabilités et la relation dialogique qui se sont instaurées entre celles-Ci. Il ne s’agit pas d’expliquer les théories postcoloniales appliquées aux pratiques curatoriales et d’en donner une sorte de mode d’emploi, mais plutôt de les visualiser. Par visualiser nous n’entendons pas illustrer, ou fournir une translittération de la théorie, mais bien donner à voir les différents développements et incarnations de celle-Ci. Les contextes britannique et américain des années 1980 et du début des années 1990 font l’objet de la première partie de la thèse dans la mesure où tous deux sont à la fois les lieux d’émergence des théories postcoloniales et des sociétés clés de l’histoire coloniale. La deuxième partie s’attache à la seconde moitié des années 1990 et au début des années 2000, un moment où les théories postcoloniales deviennent des outils indissociables de l’analyse de la globalisation. Enfin, la troisième partie propose d’envisager un monde post-Occidental au XXIe siècle, post-Occidental dans le sens où l’éclatement de la notion de centre/périphérie nécessite des déplacements et des réajustements épistémologiques dont les expositions d’art contemporain sont d’actifs vecteurs, particulièrement celles cherchant à articuler un propos postcolonialThis thesis is a reflection on the relationship between postcolonial theory and curatorial practices in contemporary art, with an emphasis on the permeabilities and dialogic relationship that has developed between them. It does not seek to explain postcolonial theory as applied to curatorial practices or to provide a so-Called user manual, but rather to visualize them. By “visualize” we do not mean to illustrate or present a transliteration of the theory, butinstead to note various developments and embodiments thereof. The United Kingdom and America during the 1980s and early 1990s are the subject of the first part of the thesis to the extent that they are both places of emergence of postcolonial theory and also key societies in the context of colonial history. The second part focuses on the second half of the 1990s and early 2000s, a time when postcolonial theory as a tool become inseparable from the analysis of globalization. Finally, the third part proposes to consider a post-Western world in the 21stcentury, post-Western in the sense that the dissolution of the concept of center/periphery requires certain shifts and epistemological adjustments for which contemporary art exhibitions are active vectors, particularly those seeking to articulate a postcolonial discourse
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Molina, Posadas Carlos AndreÌs. "Curatorial practice in Mexico, (1822-1964)". Thesis, University of Essex, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.446019.
Testo completo
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Baglietto, Francesca. "Curating across interfaces : an account of a (hybrid) expanding exhibition". Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12029/.
Testo completoAbstract (sommario):
The practical aspect of this research has been the curation of a series of hybrid exhibitionary spaces. These exhibitionary forms have resulted from creating a series of interfaces under the umbrella of 'that’s contemporary',a non-profit organization that I co-founded and have run since 2011. In this thesis, the practice of curating is taken to be the operation of 'inscribing' a program of actions (i.e.a script) into the design of interfaces; 'prescribing' these actions to the users of these interfaces; and 'describing' how users actually use the interface. My research argues that interfaces, by being used, unfold hybrid exhibitionary spaces. They are hybrid because the interfaces through which the exhibition is used and produced fluctuate between digital and physical space, in a hybrid zone. In this sense, physical exhibitions are curated along with the organization of their multiple replications on digital and non-digital interfaces. My concept of hybrid exhibitionary space is shaped by theory (Lefebvre, 1991; Massey, 2005; Kennedy, 2012)that understands space to be produced by social relations meaning that users create the exhibitionary spaces they inhabit. From this point of view, the exhibition does not pre-exist its users, rather it takes place in an unremitting process of use, opening up the possibility for its multiple descriptions to be made. This idea of use as a form of exhibition production is applied to the concept of 'network curation', which refers to a type of collective curatorial process that is engendered by users, reiterating and re-contextualizing the exhibition along digital networks. Inspired by Actor Network Theory, the written component of this research has been interlaced together into an exhibitionary description. This method acts to document while, at the same time, it re-performs the‘curating’ and ‘curatorial’ processes that originally gave form to these exhibitionary interfaces. In this way, the thesis turns into an interface that mediates between its exhibited objects – my practice – and its users – the readers – while, simultaneously 'enacting' the research along this process of mediation.
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Isaac, Jaimie Lyn. "Decolonizing curatorial practice : acknowledging Indigenous curatorial praxis, mapping its agency, recognizing it's aesthetic within contemporary Canadian art". Thesis, University of British Columbia, 2016. http://hdl.handle.net/2429/58182.
Testo completoAbstract (sommario):
For decades, Indigenous art, artifacts and objects have had a contested history within galleries and museums. This is because Indigenous material culture was collected, interpreted, displayed and described through a Western colonial ideology, without Indigenous consent, intellectual or cultural contributions. The history represented in galleries and museums was deficient and perpetuated harmful myths and systemic racism. In order to substantiate change and demand for Indigenous leadership, it is necessary to understand the reality of the Indian as a dehumanized population, whose voice and knowledge in historical narratives has been systematically undermined, undergrounded and dismissed. More than 150 years of ‘education’ in the residential school systems, and forcible separation from Indigenous cultural traditions in ceremony, life ways and language, has affected more than seven generations. In the late 60s and early 70s Indigenous peoples en masse united to confront the disconnection from their cultural knowledge and language, and became a time of cultural resurgence and Indigenous renaissance. Indigenous Curatorial Praxis developed to assert, advance and frame Indigenous art as contemporary and relevant. By providing an historical context for its development, my main thesis seeks to identify and acknowledge the agency and aesthetic of Indigenous curatorial praxis and methodology. Indigenous curatorial practice is a stream of contemporary curatorial practice and this research seeks to recognize Indigenous methods embodied within the larger practice. This thesis inquires what it means to decolonize and Indigenize museum, gallery, and exhibition spaces and demonstrate how Indigenous curatorial contributions have affected the Canadian artistic landscape. The contextual genesis of my philosophy is rooted in a framework of Indigenous knowledge, decolonizing methods and my Anishnaabe-Indigenous familial, curatorial and artistic knowledge.Graduate Studies, College of (Okanagan)
Graduate
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Silver, Sean R. "The curatorial imagination in England, 1660-1752". Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1720866751&sid=20&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Testo completo
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Urrutia, Barriga Camila. "Estética relacional : la acción curatorial como obra". Tesis, Universidad de Chile, 2014. http://repositorio.uchile.cl/handle/2250/139343.
Testo completoAbstract (sommario):
Magíster en artes, con mención en teoría e historia del arteTesis no autorizada por su autora para ser publicada a texto completo en repositorio institucional.
Este documento revisa el texto Estética Relacional de Nicolas Bourriaud, considerado como una curaduría: una selección y exposición de obras, examinando, por una parte, las afirmaciones que propone esa selección para referirse al arte contemporáneo; y, por otra parte, la posibilidad de la acción curatorial para ser definida como obra. Este ejercicio es realizado por medio de la relación de los textos de Bourriaud: Estética Relacional, Formas de vida. El arte moderno y la invención de sí, y Postproducción; así como por medio del diálogo de esos textos con distintos autores que sirven como referencia y contrapunto para realizar este ejercicio. Desde esta relación de textos, se propone a la acción del dandy en convergencia con la acción
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Haidet, Roza. "Socially Engaged Art: Managing Nontraditional Curatorial Practice". University of Akron / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=akron1374491330.
Testo completo
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Carvalho, Ananda. "Redes curatoriais: procedimentos comunicacionais no sistema da arte contemporânea". Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/4647.
Testo completoAbstract (sommario):
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This research seeks to map the creation procedures of curatorial networks, understanding them as communication practices in contemporary art system. Such networks are mappings of these procedures, developed by curators in contemporary art exhibitions, mainly in São Paulo city in the last decade. From the methodological point of view, the research analyzes the objects according to the theory of the creation processes in network proposed by Cecilia Almeida Salles. From the communication point of view, it likewise relies on the theory of complex thinking developed by Edgar Morin. To understand the term contemporary art, this research agrees with Anne Cauquelin, who argues for the existence of an art system that prevails in a communication society. The thesis begins by presenting the introductory courses of curatorial networks with the aim of demonstrating their complexity. Then, it observes the São Paulo s curatorial production from files used for the communication of the exhibitions as curatorial texts, interviews with curators published in the press, photographs and videos of the exhibitions. Through the analysis of these files, the research highlights three major procedures: the relationship between curating and reconstruction of historical discourse; the spatialization of curatorial thinking through exhibition s resources as texts and the organization of the artworks in the space; and the relationship between curating and distribution, that accounts discourse practices that trespass one another, connecting the production and the reception processes. It also analyzes curatorships with historic importance those contextualize the mapped procedures. The three major procedures are broken down into several others, that could interact with each other forming communicative spaces from the perspective of a complex system. Finally, this thesis presents a broad overview of the studied field with a methodological approach that provides the curatorship analysis under an unprecedented point of view of the subject in Brazil
A presente pesquisa busca mapear os procedimentos de criação das redes curatoriais, compreendendo-os como práticas da comunicação no sistema da arte contemporânea. Tais redes são mapeamentos desses procedimentos, desenvolvidos pelos curadores em exposições de arte contemporânea realizadas, principalmente, na cidade de São Paulo na última década. Do ponto de vista metodológico, a pesquisa analisa os objetos de acordo com a teoria dos processos de criação em rede proposta por Cecilia Almeida Salles. Do ponto de vista da comunicação, também se apoia na teoria do pensamento complexo elaborada por Edgar Morin. Para compreender a denominação arte contemporânea, esta pesquisa concorda com Anne Cauquelin, que defende a existência de um sistema da arte que impera num regime da sociedade da comunicação. A tese inicia apresentando os percursos introdutórios das redes curatoriais com o objetivo de demonstrar a complexidade dessas redes. Em seguida, observa a produção curatorial paulistana a partir de arquivos utilizados para a comunicação das exposições como textos curatoriais, entrevistas dos curadores publicadas na imprensa, fotografias e vídeos das exposições. Por meio da análise desses arquivos, destacam-se três grandes procedimentos: a relação entre curadoria e reconstrução do discurso histórico; a espacialização do pensamento curatorial através dos recursos expositivos como textos e organização das obras no espaço; e a relação entre curadoria e partilha, que diz respeito a práticas discursivas que atravessam umas às outras, conectando processos de produção e de recepção. Também são analisadas curadorias de importância histórica que contextualizam os procedimentos mapeados. Os três grandes procedimentos são desdobrados em diversos outros, que podem interagir entre si constituindo espaços comunicacionais sob uma perspectiva de um sistema complexo. Por fim, esta tese apresenta uma visão ampla do campo estudado com uma abordagem metodológica que oferece a análise da curadoria sob um ponto de vista inédito do tema no Brasil
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Ross, Alexandra C. M. "Continuous curatorial conversations : an exploration of the role of conversation within the writing of a supplementary history of the curatorial". Thesis, University of Dundee, 2014. https://discovery.dundee.ac.uk/en/studentTheses/af610c50-f15e-43f0-8801-2b07defff126.
Testo completoAbstract (sommario):
Continuous Curatorial Conversations is a practice-led exploration of conversation, both as a medium and as a tool for capturing supplementary histories of the curatorial. The primary question of this research project is how the medium of conversation can be explored to write supplementary histories of the curatorial which thus far have been omitted from extant publications on the subject. Three important sub questions guide this exploration. First, what is and has been the role of conversation within the curatorial? What are the possibilities and limitations within the medium of conversation? What roles do conviviality and hospitality play within the process of conversation? This thesis reflects upon a series of curated projects that explore the sp/pl/ace for curatorial conversation and also reviews a collection of one-to-one recorded conversations conducted by the author, including conversations with Alfredo Cramerotti, Hedwig Fijen, Mel Gooding, William Furlong and Sarah Lowndes. Sites of fieldwork include: the 54th Venice Biennale; Manifesta 8, The European Biennial of Contemporary Art; and Glasgow International Festival of Visual Art 2012. Through these projects and related recordings it unpicks the norms and possibilities of what and when one can record on the subject of the curatorial. The hypothesis of this study is that a great deal of curatorial activity is locked up in conversation, yet a disproportion makes it to the pages of the history of the field. Furthermore, in its clean transcribed form it misrepresents the fragility and nuance of the original exchange. The theoretical context of this research looks at Nicolas Bourriaud’s notion of Relational Aesthetics, the writing of Maria Lind and Paul O’Neill, with a focus on Audio Arts. A new methodology relating to curatorial conversation and its recording has therefore been identified as ‘critical conviviality’. The writing relating to Continuous Curatorial Conversations research takes the form of four books. The book ‘An Introduction’ comprises the PhD thesis and sits next to a bespoke online platform www.continuous-curatorial-conversations.org which hosts a selection of audio recordings collated during the research process. The books ‘Continuous’, ‘Curatorial’, and ‘Conversations’ unpack the lineage and context of Alexandra C.M. Ross’s practice and projects conducted during her research and are to be read in no strict order. The new knowledge resulting from this thesis and relating practice is the attention to the subtleties of conversation and its capture as it relates to the instigation, recording and presentation of semi-private matters in semi-public contexts.
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Arrigoni, Gabriella. "Artistic prototypes : from laboratory practices to curatorial strategies". Thesis, University of Newcastle upon Tyne, 2017. http://hdl.handle.net/10443/3572.
Testo completoAbstract (sommario):
My thesis introduces new kinds of understandings of artistic practice taking place in laboratories and engaging with the design, production and critique of technological artefacts. The recent spread of artworks based on physical computing widened and enhanced the role of prototyping in the making of new media art. Indeed prototyping can be now considered as a medium in its own right. My point of departure was an investigation of artists working in academic labs, which led me to question the relationship between research and aesthetic production. My initial argument was that the research process is having a specific impact on art practice, with artefacts understood at least by their makers as incomplete and expecting further manipulation. These artworks are open to transformation and collaborative intervention and refuse any form of material or conceptual black-boxing. The notion of artistic prototypes emerges to enrich the vocabulary to comprehend, evaluate and curate the outcomes of these practices. By analysing a range of artworks that could be conceptualised as prototypical, I soon realised that artistic prototypes are often created for activist purposes too, as a way to critique current behaviours and attitudes and to demonstrate that alternative ones are possible. A major contribution of the thesis is a theoretical framework that outlines the behaviour of artistic prototypes. Openness and fictionality are introduced as key features and it is explained how they support both activism and research. The thesis also provides a contingent aesthetics of prototyping addressing both practitioners’ choices and public reception. A further contribution comprises a number of curatorial projects that develop or respond to the framework. The latter can have an impact on creative practitioners, and on curators and heritage professionals, to the point of deeply affecting established principles of conservation and interpretation.
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Gronemeyer, Wiebke. "The curatorial complex : social dimensions of knowledge production". Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/15878/.
Testo completoAbstract (sommario):
My research explores whether and in what ways curatorial practices assume a social function. By analysing how artistic and curatorial practices can activate processes and generate structures that facilitate dialogical spaces of negotiation between curators, artists and their publics, this research argues for an intrinsic social dimension to forms of knowledge production in the curated encounter. Point of departure for my research are the following examples: (1) Michael Fullerton’s exhibition Columbia (2010), Chisenhale Gallery, London; (2) The Potosí Principle (2010), HKW, Berlin; (3) Unitednationsplaza (2006-2007), a discursive art project organised by Anton Vidokle; (4) Former West (2008-2016), a multidimensional art research project coordinated by BAK, Utrecht. These examples are discussed on the backdrop of the continuous dematerialisation of practices in the expanded field of the curatorial. Rather than furthering the construction of an opposition between the “curatorial” and curating as exhibition-making, my research elaborates on the differences of exhibitionary, discursive, and performative forms of engagement arguing for a diversification of the exhibition as a medium of practice, not its dismissal. A central claim of this thesis is to perceive the exhibition as a space of action for public engagement beyond spectatorship and the production of sociality beyond hosting relations. Contextualised by a discussion of terminologies in social theory, such as communication, practice and sociality, this thesis develops a model of practice applicable to curating that operates self-reflexively with regard to the social, political and cultural conditions it is formed by. My research argues against an understanding of curatorial practices as a form of exhibiting and collecting the views and values belonging to a particular society, but claims a notion of practice that fosters the creation of sociality as an embodied form of knowledge production whose material quality is as important as its discursive capacity for emergence and enquiry.
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Hintzen, Sander. "Making Material Matter : Outlining a Contemporary Curatorial Method". Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-176137.
Testo completoAbstract (sommario):
The thesis explores a multidisciplinary approach, bridging together perspectives from art-historical, philosophical and anthropological fields of knowledge to question and outline the way materiality has been thought about, and how this in turn can be informative to developing a curatorial methodology. By looking at Moderna Museet Stockholm, the thesis will demonstrate the mileage of thinking materially in the act of exhibition making and the curatorial position. In doing so, the thesis explores various discursive arenas of the institution such as the museum, the temporary exhibition and the permanent collection. Central to developing the methodology are concepts such as agency, revisionist history and cultural modernity.
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Persson, Sophia. "New Urban Monuments: Critical Urbanism as Curatorial Practice". Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21576.
Testo completoAbstract (sommario):
New Genre Public Art was originally defined by Suzanne Lacy in 1991 as an activist approach to the public; it was a type of public art that was often created outside the institutional structure which brought the artist into direct engagement with the audience, while addressing social and political issues. In 1993, the public art exhibition ’Culture in Action’, curated by Mary Jane Jacob, marked a conceptual shift from static to dynamic public art. The exhibition is considered a landmark event in the development of public art as it was among the first projects to frame communities as the structure and content of its art.During the past decade (2010–2020), urban development has become incorporated as an integral part of the work of the Public Art Agency Sweden, and the agency have established their own curatorial department in order to curate and produce their own public art exhibitions. As Public Art Agency Sweden is a State agency, their work is largely determined by official policies formulated by the Swedish government. This thesis analyzes the contemporary policies of urban public art by conducting an interdisciplinary critical discourse analysis that merges art history, curatorial– and urban studies, in order to trace the influence of discourse to how Public Art Agency Sweden has operated within this intersection during the last decade––ultimately to discuss what the Swedish policies on public art strive to achieve and the risks, ethics and responsibilities of the emerging field of urban, context-based curatorship.
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Healy, C. "Thin place : an alternative approach to curatorial practice". Thesis, University of the West of England, Bristol, 2016. http://eprints.uwe.ac.uk/26057/.
Testo completoAbstract (sommario):
The ideas proposed in this thesis emerged out of a practice based interdisciplinary curatorial research project titled Thin Place, which was installed at Oriel Myrddin, Carmarthen in early 2015. Fully funded by Arts Council Wales, the exhibition, education programme, publication and symposium aimed to dissolve boundaries that separate fields of knowledge and in so doing, attempted to create a metaphysical ‘thin place’ within the gallery. In ancient times it was believed that the delineation between worlds was more permeable in certain anomalous areas in a landscape; these areas were known as ‘thin places’ and were sometimes signified by burial mounds or standing stones. The five exhibiting artists and the many other contributors to the project produced work that was concerned with or responded to two particular locations: West Wales and the West of Ireland. These were locations where, it was believed, souls could easily enter Otherworlds. Building upon this notion of a ‘thin place’, this practice based doctoral project addresses the ways in which we value our relationship with Place, particularly in landscapes where animism was once a well established world-view, and where ambiguities in liminal spaces were embraced. By attending to these archaic ideas through contemporary curatorial practice, Thin Place questions current socio-political and socio-ecological paradigms and proposes new modes of ecological/environmental knowing through alternative forms of curating.
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Doove, Edith M. "Laughter, inframince and cybernetics : exploring the curatorial as creative act". Thesis, University of Plymouth, 2017. http://hdl.handle.net/10026.1/10382.
Testo completoAbstract (sommario):
This thesis identifies and responds to a contemporary impasse in the curatorial, which is thought of as the realm that encompasses curating as a complex action and interaction; a verb that includes the conceiving, organising and executing of exhibitions as well as critical thinking around curation as a discipline. The current impasse in curation the thesis responds to is caused, on the one hand, through its rapid expansion since the late 1980s and, on the other, through its mainstream and populist appropriation, which confuses understandings of it. The thesis proposes a strategy for the recovery for curating’s most basic work of ‘taking care’ and situates the curatorial as a creative act. It adopts Duchamp’s inframince as an artistic concept, and uses it as a lens to reveal the role of the speculative, poetic and absurd, the personal and subjective and the instant of emergence of creativity in curatorial practice. This facilitates an essentially diffractive methodology as well as a textual method of ‘an imaginative leap’ through friction, rhythm and repetition, building on Whitehead and Barad, (among others) to connect ideas of non-linearity and relay in (art) history. Opening up this rich meshwork thus allows for a reconnection of the curatorial to its original provenance and connoisseurship. The poetic investigation of an invisible force, the inframince, which is seen as instrumental to the curatorial and meaning making in general, is underpinned by the investigation of two other major, intertwining narratives – laughter and cybernetics. This liberates the inframince’s versatility and makes it potentially an operative tool, following Deleuze and Guattari’s concept of becoming minor and O’Sullivan’s interpretation, within a wider trans-disciplinary framework of art-science collaborations. Through this discussion, the thesis then reaffirms the curatorial (as it is intended here) as a practice that shapes the collaboration between specific human and nonhuman elements: the curator, and the artist (and/or scientist) and texts, artefacts, spaces and time.
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González, Vásquez Angélica. "Les écrits des curateurs : analyse depuis la théorie curatoriale et l'histoire des expositions". Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080091.
Testo completoAbstract (sommario):
Cette thèse interroge le champ de pratiques et de positions discursives appelées récemment « curating ». L’approche que nous avons choisie est celle de l’analyse des écrits des curateurs d’art contemporain. De nature très variée, ils nous permettent de percevoir leurs conceptions à partir de leurs pratiques d’organisation d’expositions et des diverses activités de présentation publique de l’art. Il s’agit de traiter la proximité, ainsi que la distance, entre la construction d’une théorie curatoriale et la pratique à travers un ensemble de règles et d’opérations de normalisation décidées par une communauté disciplinaire et professionnelle. La notion de champ de curating est abordée à partir des diverses conceptions sociologiques et philosophiques qui nous conduisent à approfondir la question de l’écriture des curateurs sur un terrain concret au sein des expositions. À travers des cas historiques, nous abordons la question des traces écrites laissées par une exposition ; nous examinons également certains problèmes associés à la construction de l’histoire des événements artistiques d’art contemporain. La dernière partie de cette recherche est consacrée à la question des stratégies discursives de positionnement des curateurs à partir des publications parues depuis les années 1990. Ces formes discursives constituent entre autres la base de l’enseignement des formations curatoriales récentesThis thesis questions the practice field and discursive positions recently called curating. The perspective we have selected is the analysis of writings by contemporary art curators. Of varied nature, these texts allow us to discern their understanding of their practice of organizing exhibitions and diverse activities for the public display of art. With the purpose of tackling the proximity and the distance between the construction of curatorial theory on one hand, and on the other, curatorial practice as determined by a set of rules and processes decided by a disciplinary and professional community. The notion of the curatorial field is approached through various sociological and philosophical concepts that lead us to deepen our inquiry about writing to a concrete field of exhibitions. Selected historical cases allow us to address the issue of written traces left by an exhibition; equally important, we examine certain problems related to the construction of the history of art events in contemporary art. The last part of this research is devoted to the question of discursive strategies of positioning by curators, starting with publications that first appear in the 1990s. These discursive forms, among others, constitute the foundation of teaching in recent curatorial training
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Asanuma, Gisele Dozono. "Sutisintervenções curatoriais: ou como criar um sismógrafo para si". Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-04122018-124645/.
Testo completoAbstract (sommario):
SUTIS INVENÇÕES CURATORIAIS é uma montagem poética de acontecimentos colhidos na arte, na clínica e também onde elas se encontram e faíscam. Um maquinário estético-clínico que pretende dar a ver certos invisíveis, ilegíveis e indizíveis. Essa montagem reúne em três constelações curatoriais [CAIXA PRETA], [PONTO CEGO] e [SISMÓGRAFO] imagens, gestos e palavras, fabricações artesanais agitadas de um extremo ao outro, tremores na fronteira com a linguagem, segundo Deleuze. Invenções estéticas que constituem saberes, na forma de apreensão do mundo, na variação dos tempos e na apropriação das experiências, indagando o que essas imagens-gestos apresentam de um tempo e de uma força, na insistência em existir apesar de tudo, nas palavras de Didi-Huberman. Balizam esse trabalho os conceitos de inoperância proposto por Agamben com o intuito de nos ajudar a desmanchar a exigência de respostas na chave da eficiência/eficácia, funcionalidade ou completude e de rememoração, de Benjamin, convocado pelas narrativas menores, lacunas da história, que na opacidade podem cintilar devires. Uma montagem poético-curatorial que joga com a ideia de curadoria em arte e cuidadoria (do cuidado) em saúde, reunindo gestos, imagens e narrativas que surgem de uma sobrevivência a prescritivos modos de vida, resistindo aos ideais de cura e de protocolos existenciais normatizantes.SUBTLE CURATORIAL INVENTIONS is a poetical assembly of events harvested from art, clinic and at points where art and clinic meet and sparkle. It is a aesthetic-clinic machinery created in order to show some invisibles, illegibles and unspeakables. This assembly reunites in three curatorial constellations [BLACK BOX], [BLIND SPOT] and [SEISMOGRAPH] images, gestures and words, artisanal manufactures wiggled from one end to the other, quivering at the edge of language, according to Deleuze. Aesthetical inventions that constitute knowledge, forms of world-apprehension, variation in time and appropriation of experiences, inquiring as to what these images gestures present from a time and a strength, insisting on existing in spite of everything, to quote Didi-Huberman. This work is constructed upon the concept of inoperability proposed by Agamben aiming at helping us to dismantle the demand for answers on the key efficiency/efficacy, functionality or completeness and the concept of remembrance, from Benjamin, evoked by smaller narratives, history gaps, that in opacity may twinkle becomings. A poetic-curatorial assembly which plays with the concepts of curatorship from art and careship from care in health, gathering gestures, images and narratives that come from surviving prescriptive ways of living, resisting ideals of cure and normalized existential protocols.
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Castillo, Nirlyn Seijas. "Práticas curatoriais como possíveis ações políticas: perspectivas latino-americanas". Instituto de Humanidades, Artes e Ciências Prof. Milton Santos, 2014. http://repositorio.ufba.br/ri/handle/ri/15763.
Testo completoAbstract (sommario):
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Recentemente, as Práticas Curatoriais desenvolvidas na América Latina ganham relevância pelas reverberações que produzem nos seus contextos locais, na criação artística, na relação com os patrocinadores, na distribuição de conhecimentos, artistas e obras, na interlocução com os públicos e na possibilidade de construção política. Nestas circunstâncias, esta pesquisa inicia discussões em torno destes assuntos, oferecendo diversas perspectivas, legitimando os saberes produzidos, questionando suas dimensões políticas, abrindo passo à dúvida e à contextualização das ações curatoriais realizadas nestas latitudes. Para isso, toma como referência as noções de política, polícia, consenso, dissenso (Rancière), as discussões sobre o papel dos artistas e dos intelectuais na sociedade contemporânea (Rancière, Said, Cortázar) e as reflexões curatoriais de dezessete profissionais latino-americanos.
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Maziere, Jean-Michel. "Testing the curatorial in artists' film and video installation". Thesis, University of Westminster, 2017. https://westminsterresearch.westminster.ac.uk/item/9zx1z/testing-the-curatorial-in-artists-film-and-video-installation.
Testo completoAbstract (sommario):
This PhD by published work critically examines ten years of curatorial practice in the field of artists' film and video by the author. The aim of the thesis and publications is to question and challenge the contemporary integration of artists’film and video installation into the language of the visual arts, the context of the white cube and the privileged definitions of curatorial practice. This PhD also places these questions in a historical context, taking into account the early and often overlooked developments of artists’ film and video exhibition. This research was carried our through individual curatorial projects in the field by scrutinising specific constituent parts of artists’ film and video installation such as the screen, time, space, image, projection, site and audience. The curated exhibitions (the Projects) all took place at Ambika P3, a large postindustrial venue converted into a project space for this purpose in 2007. Each project manipulated these constituent elements and built on them in order to provide new artists’ commissions under the rigour of an experimental and research-led approach. Through this commissioning process, this research developed new collaborative models of curatorial practice, examined and identified key critical areas of curatorial and artistic practice which have been overlooked by critics, writers, curators and the public and proposed new forms of artists’ film and video exhibition. This testing of the boundaries of artist’s film and video installation demonstrated that both the history and context of the practice is engaged with a broad range of paradigms inherited from cinema, sculpture and site specific practice. Furthermore it established that curation is a collective practice engaging numerous participants according to the needs and requirements of each project. The projects revealed that a self reflexive and historically aware approach to curating artists’ film and video can deliver innovative and immersive works outside of the white cube, through an attention to materials, site and form. Through the publications and the commentary it is shown that a critical, collective and process based curatorial practice, attentive to context and its origins expands both the language and the power of the exhibited work.
23
Weinberg, Lee. "Curating immateriality : in search for spaces of the curatorial". Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/16761/.
Testo completoAbstract (sommario):
This research aims to redefine the role of the curator in relation to the development of new communication technologies, examining the ways in which they have influenced the frameworks of Curatorial Practice in terms of production, distribution and communication mechanisms. This change can be summarized briefly as an alteration in the way human culture perceives geographical space, time, history, identity and, more importantly, objects, as fluid and non-absolute notions. In an attempt to contribute to the investigation of such changes, this research aims to broaden the definition of the profession beyond its current historical and theoretical scope, taking the view that curating has been part of cultural activity since prehistoric times, in parallel with, and related to, the development of other disciplines with which it is associated: namely, collectable objects, art and space. As such, it is defined as an independent and autonumous practice, for which a theoretical framework needs to be developed. The notion of the curatorial as introduced by Maria Lind (Lind, 2010) is used as a means to separate the operational and methodological aspects of Curatorial Practice from its raison d’être or ontology in order to delve into the motivational roots of the practice. This separation leads to an understanding of a proposed theoretical ground for curating, which is independent of the frameworks in which it currently operates. Through the juxtaposition of curating and chosen adjucent fields (collecting, art and physical space), spaces in which the curatorial appears are exposed and examined. This re-thinking of the curatorial seeks to contribute to an expansion of the understanding of the role of the curator in contemporary culture, particularly with the development of new communication models. Being a practice-based study, the research will also examine spaces of the curatorial within the writer’s own practice through critically examining projects in which she was involved as a curator.
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Spaid, Susan Elizabeth. "Work and World: On the Philosophy of Curatorial Practice". Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/219943.
Testo completoAbstract (sommario):
PhilosophyPh.D.
Even though viewers typically experience multiple artworks at a time, philosophers have tended to parse visual art experiences into individuated experiences with singular objects, rather than incorporate the role exhibitions play in contextualizing objects over time. Since visual art experiences typically occur in the context of exhibitions featuring multiple artworks, whether in a museum, commercial gallery, or artist's studio, there are numerous problems associated with considering visual art experiences individuated experiences with single objects. I aim to show how this approach not only produces problems for the philosophy of art, but also perpetuates misunderstandings regarding the visual artist's practice, as well as its reception. My focus on reception poses problems for curators who relish curatorial authority. I prefer practices to products, since it establishes a relationship between each contributor's actions and his/her outcomes, which gain meaning over time, unlike products that arrive ready upon delivery, independent of directed consciousness. Rather than convey an activity particular to sight, the term "visual art experience" distinguishes this type of art experience from types such as theater, film, or musical performances. Such multi-sensorial perceptual experiences, whether indoors or outdoors, accompany one's experiencing artworks, monuments and buildings alike. The philosophical convention of treating artworks as singular objects has led philosophers to exaggerate: 1) the artist's intention (Arthur Danto), 2) artworks' atemporal features (Nelson Goodman), and 3) artworks' expressive/symbolic capacities (Robin Collingwood, Danto, Goodman, and Roger Scruton) inviting aestheticians to treat artworks like texts, penned by a lone author. One consequence of the "lone-author" view is that book reading is the prevailing analogy for visual art experiences, eschewing obviously coauthored analogies such as walking in the park, attending a sporting event, or dining with friends. Books whose advance readers and editor(s) influence their contents before being published are no less coauthored than typical nonart experiences. That exhibitions are coauthored has multiple implications for aesthetics, since it acknowledges the way visual art experiences involve multiple inputs: some combination of curator, spectators, exhibition, milieu, environment, and the facility. The curator typically works with other producer(s), whether artists or exhibition staff, to create some environment, a temporal surrounding comprised of thematically arranged artworks, specifically designed for spectators inhabiting a particular milieu, housed in some facility, which includes the physical surroundings, such as the gallery's conditions, its wall colors, lighting, and scale. This text explores all aspects of curatorial practice from exploration to reception. In differentiating curated exhibitions from non-curated exhibitions, I aim to explain how curators generate frames that visibilize each artwork's nonexhibited features, which seems so obvious in hindsight that particular frames later appear embodied from the onset.
Temple University--Theses
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Wilkinson, Helen. "Negotiating change : curatorial practice in UK museums, 1960-2001". Thesis, University of Leicester, 2014. http://hdl.handle.net/2381/28926.
Testo completoAbstract (sommario):
This study explores changing approaches to curatorial practice and curatorial knowledge in UK museums from 1960 to 2001. It makes an original contribution to the history of museums, exploring an under-researched period and part of the sector, and to the museum studies literature more broadly by providing insight into how change in museums has been generated and negotiated. The study considers how changes in museum provision and practice over the previous forty years gave rise to ongoing concerns about the adequacy of curatorial provision, even while museums expanded and their resourcing improved. It demonstrates that change in museums was driven by a complex combination of factors, with changing political and economic circumstances shaping change alongside an expanding range of professional support mechanisms. It demonstrates how individual curators shaped change through influencing broader developments and through their professional relationships. The study considers the changing relationship between curators and audiences and explores how changing understandings of the nature of expertise and of the communication process began to be manifest in museums’ exhibitions and displays. The study examines staffing levels in a group of major regional museums, demonstrating the increasingly complex nature of museums as institutions, with growing numbers of other staff coming to work alongside curators, who lost their overall numerical dominance during the period under review. It identifies a very significant expansion in staff numbers between 1960 and the mid-1990s, followed by some loss of provision towards the turn of the millennium. The study concludes that attempts to address this decline must be rooted in a fuller understanding of how change has been generated in museums.
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Seabra, Jessica. "Práticas curatorias na 27ª Bienal de São Paulo : crítica institucional, participação e discursividade". Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/102/102132/tde-26072018-161735/.
Testo completoAbstract (sommario):
A presente dissertação tem como foco a análise, através de um viés crítico, da proposta curatorial da 27ª Bienal de Arte de São Paulo, intitulada Como viver junto. Esta bienal é tomada como estudo de caso dentro do amplo contexto de bienais por ser considerada precursora, estabelecendo e institucionalizando algumas mudanças curatoriais, como o fim das representações nacionais. A 27ª Bienal de Arte de São Paulo liga-se a referências teóricas que se relacionam àquilo que Bruce Ferguson denomina de \"bienais discursivas\", termo que se refere ao fato de que conferências, eventos interdisciplinares, workshops, atividades educacionais e discussões públicas tem se tornado elementos cada vez mais importantes nesses projetos. Dentro do contexto desta discursividade expandida, a participação, a crítica institucional e um viés educacional têm sido estratégias recorrentes nas curadorias das bienais. Estes três elementos já estavam presentes em abordagens artísticas no mundo da arte e compõem juntos um campo discursivo composto de práticas dialógicas e relacionais que se replicam, ainda que com formatos variados, em bienais ao redor do mundo. A proposta curatorial da mostra foi estudada de forma a compreender os discursos envolvidos a partir do pensamento dos curadores e submetidos a um dado momento histórico, o que os condicionou a revelar uma conjuntura cultural.This dissertation focuses on the analysis, through a critical bias, of the 27th São Paulo Art Biennial curatorial proposal, entitled \"Como viver junto\" [How to live together]. This biennial is taken as a case study within the broad context of biennials because it is considered a precursor one, establishing and institutionalizing some curatorial changes, such as the end of national representations. The 27th São Paulo Art Biennial is linked to theoretical references that are related to what Bruce Ferguson calls \"discursive biennials\", a term that refers to the fact that conferences, interdisciplinary events, workshops, educational activities, and public discussions have become increasingly important elements in these projects. Within the context of this expanded discursiveness, \"participation\", \"institutional critique\" and an educational bias have been recurrent strategies in biennial curatorships. These three elements were already present in artistic approaches in the art world and together form a discursive field composed of dialogic and relational practices that replicate, albeit with varied formats, in biennials around the world. The curatorial proposal of the exhibition was studied to understand the discourses involved in the thinking of the curators and submitted to a certain historical moment, which conditioned them to reveal a cultural context.
27
Alessandrini, Michela. "Les archives curatoriales : formes et usages contemporains entre le personnel et l'institutionnel". Thesis, Bordeaux 3, 2020. http://www.theses.fr/2020BOR30009.
Testo completoAbstract (sommario):
Cette thèse esquisse l’état actuel de considération des archives curatoriales en présentant l’archive du curateur comme outil qui participerait à révéler sa vision, quand il s’agit d’une archive personnelle ; et comme lieu où des récits sociétaux, politiques et culturels se construisent et peuvent s’exposer, dans le cas d’archives institutionnelles. En effet, les archives curatoriales, qui sont à la fois les lieux où les traces de la pratique professionnelle du curateur sont conservées et où sa vision, ou sa stratégie, se manifeste, deviennent des points de départ très précieux pour questionner l’histoire de l’art et des expositions, ainsi que pour comprendre les logiques du système de l’artThis work outlines the current state of consideration of curatorial archives by presenting them as a tool that would help reveal a curator’s vision, in the case of personal curatorial archives; and as a place where societal, political and cultural narratives are constructed and can be exposed, in the case of institutional curatorial archives. Indeed curatorial archives, which are both the places where the leftovers of curators’ professional practice are preserved, and where their vision – or strategy – manifests, become very precious starting points for questioning the History of art and exhibitions, as well as to understand the logic of the art system
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Powell, Anna Catherine. "Chance encounters : the relationship between artwork, curatorial practice and audience". Thesis, University of Leeds, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.579535.
Testo completoAbstract (sommario):
This thesis investigates the relationship between exhibited artworks and their audiences and the ways in which curatorial decisions affect this relationship. It takes two exhibited artworks for which concealment is a major conceptual aim and which appear to subvert the methods of display that are common to most forms of exhibited art. It offers a detailed analysis of the artworks and an insight into the numerous contradictions they seem to employ. Through in-depth discussions with the artists, and by reading the artworks through a series of theoretical frameworks, I aim to highlight some of the problematic issues that face contemporary artists endeavouring to align artistic concepts with the practicalities of showing art. The artworks I use are Richard Higlett's Prop (2004AD) (2004) and Elaine Tribley's Hidden Memories (2005). Both are concealed as a result of the manner in which they are displayed, becoming hidden at the very moment they are exhibited. The thesis addresses the contradictions that are evident in the artworks' simultaneous concealment and display, and asks how they are able to function within an exhibition if they remain concealed; how they 'work' if they cannot be viewed by visitors to the exhibition. It considers their paradoxical alignment with an institution whose 'fundamental role' is 'to exhibit art and allow for its consideration'. Taking Michael Baxandall's essay 'Exhibiting Intention: Some Preconditions of the Visual Display of Culturally Purposeful Objects' (1991) as a starting point it asks whether all three of the elements which Baxendall maintains are crucial in an exhibition - the artist, the artwork and the audience - need to be present. It then uses Alfred Gell's Art and Agency: An Anthropological Theory (1998) to question the possibility that the artworks can function in the absence of an audience, by having their own 'agency'. The thesis addresses the problematic nature of the artworks' presentation, circulation and reception in 'the Western art-culture system', and examines the artworks' ability to function as 'components in [the] networks of social relations' that are integral to that system. Exploring and challenging the artists' assertions that their work is concealed, it proposes that the audience encounter is central to, and crucial to the way that the artworks function. Employing a Marxist theoretical approach and looking in particular at Marx's Capital: A Critique of the Political Economy (first published 1887), it considers the fetishistic appeal of concealed objects and the effect on the viewer of having to work - or play - to uncover an artwork. The thesis considers the impact of the site, the document and the media upon their ability to function both conceptually and practically, and Bruno Latour's Reassembling the Social, An Introduction to Actor-Network Theory (2005) is used to discuss the ways in which social networks are set up for the artworks. It proposes that the artworks' placement within their exhibitions acknowledges their artistic merit and allows for their dissemination while also maintaining their concealed nature. It questions the role that they play within their exhibitions and the role of the exhibition itself as a vehicle for communicating and interpreting artworks.
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Foley, Laura-Jane Maria. "Lucian Freud portraits : curatorial ekphrasis in contemporary British poetic practice". Thesis, Kingston University, 2013. http://eprints.kingston.ac.uk/28205/.
Testo completoAbstract (sommario):
This PhD presents a new term for contemporary ekphrastic poetry: curatorial ekphrasis. The thesis is composed of two elements, a critical essay followed by a collection of poetry that informs and is informed by the former, Entitled 'Curatorial Ekphrasis in Contemporary British Poetic Practice', the critical essay challenges established critical approaches to ekphrastic poetics by revealing a curatorial practice currently being undertaken by a number of contemporary poets writing about artworks. Chapter One identifies and evaluates key critical texts about ekphrasis and its role in the relationship between word and image and highlights how theorists have failed to account for the work of ekphrastic poets with a heightened interest or background in art- Chapter Two presents and defines the term curatorial ekphrasis. The chapter discusses the emergence of the contemporary curator in the art world and discusses how the term 'curator' can be appropriated for use in a literary context The following chapters analyse the work of contemporary poets who I argue are writing curatorial ekphrasis, Chapter Three analyses Roger Hilton's Sugar (2005), a poetic sequence by Kelvin Corcoran (b.1956). Chapter Four analyses Paul Klee's Diary (1995), a long poem by Peter Hughes (b.1956). Chapter Five analyses De Chirico's Threads (2011), a verse-drama with soundscape by Carol Rumens (b.1944). The conclusion summarizes my research and also anticipates the creative work, which follows, by highlighting elements in the analysed texts that resonate with my own poetry. The conclusion also suggests areas for future research by both critical and creative practitioners. The critical essay is followed by the creative component of the PhD, a collection of curatorial ekphrasis entitled 'Lucian Freud Portraits'. The poetry collection is sectioned into five rooms, reflecting the layout of an exhibition at an art gallery, The collection includes twenty-nine poems and a poem-libretto. The collection is precede-d by a Preface, which introduces the work, and is followed by a section of notes, The appendix of the thesis includes reproductions of the artworks referred to in the poetry collection, a chronology of Lucian Freud's life, a catalogue raisonne of his entire works and an extensive bibliography of material written about the artist and his works. This information is provided in a similar manner to the wall notes, exhibition guides and catalogues which are offered to visitors of a traditional art gallery. They are not prescribed reading material, but they may prove of interest to the reader seeking further information.
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Assis, Marcelo Felipe Moreira de. "Por uma prática curatorial mediadora e colaborativa em artes cênicas". Escola de Teatro, 2015. http://repositorio.ufba.br/ri/handle/ri/27153.
Testo completoAbstract (sommario):
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Esta é uma pesquisa qualitativa, cujo problema é a formulação de uma prática curatorial em artes cênicas. A hipótese é que as noções de mediação e colaboração, oriundas respectivamente da curadoria em artes visuais e das práticas artísticas em artes cênicas, podem contribuir à formulação de uma prática curatorial em artes cênicas. A abordagem de caráter construtivista adotou procedimentos de teoria fundamentada. Foram identificadas transformações e tendências da prática curatorial na história da curadoria em artes visuais no Brasil e no exterior, analogias entre a curadoria em artes visuais e artes cênicas e, a partir de uma reflexão sobre a emergência da prática curatorial nestes campos, explorou-se o conceito de curador mediador. Seguindo a evidência de que a prática artística provoca transformações na prática curatorial, discutiram-se as produções de artes cênicas na contemporaneidade a partir das noções de Teatro Performativo, enfatizando aspectos da cena contemporânea tributários das performances e happenings. A questão da alteridade inscrita na participação e colaboração foi abordada na perspectiva da "arte participativa", destacando seus pressupostos políticos. Concluiu-se que a construção de uma prática curatorial atenta ao pressuposto da emancipação é um exercício de alteridades, deslocamentos constantes entre as posições usualmente estabelecidas pelos envolvidos, para a produção de um contexto tão performativo quanto o teatro com o qual dialoga. A hipótese inicial foi confirmada com a formulação de uma proposta de curador mediador colaborador em artes cênicas que promova ambientes de diálogo, potencializando múltiplas cadeias de tradução.
Cela est une recherche qualitative, dont le problème est la formulation d'une pratique de commissariat dans les arts de la scène. L'hypothèse est que les notions de médiation et de collaboration, provenant respectivement du commissaire en arts visuels et des pratiques artistiques dans les arts de la scène, peuvent contribuer à la formulation d'une pratique du commissariat dans les arts de la scène. L'approche constructiviste adoptée des procédures de la théorie fondée. Les changements et les tendances en matière du curating ont été identifiés dans l'histoire des arts visuels au Brésil et à l’étranger, des analogies entre le commissariat en arts visuels et arts du spectacle, et a partir d'une réflexion sur l'émergence de la pratique du curating dans ces domaines, on a exploré le concept de commissaire médiateur. Après la preuve que la pratique artistique provoque des changements dans la pratique du commissaire, on a discutées les productions en arts de la scène contemporaines les notions du théâtre performatif, en soulignant les aspects de la scène contemporaines influencé par la performance et le happening. La question de l'altérité ancré sur la participation et la collaboration a été approché du point de vue de «l'art participative", en soulignant leurs fondements politiques. Il a été conclu que la construction d'une pratique curatoriale attentif à l'émancipation est un exercice de l'altérité, les changements constants entre les positions généralement établies par les personnes concernées, pour la production d'un contexte aussi performative que le théâtre avec lesquels dialogues. L'hypothèse de départ a été confirmée par la formulation d'une proposition d'un commissaire médiateur collaborateur dans les arts de la scène que puisse promouvoir des environnements de dialogue pour potentialiser multiples chaînes de traduction.
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Balit, Danièle. "Musiques discrètes : espace sonore, "White Cube", pratiques contextuelles et curatoriales". Paris 1, 2012. http://www.theses.fr/2012PA010538.
Testo completoAbstract (sommario):
La question du son dans les arts s'attache inévitablement à une réflexion sur les contextes de l'expérience artistique. Si les modèles traditionnels comme le white cube ou l'auditorium ne se montrent pas toujours adaptés pour accueillir les nouvelles typologies explorées dans le cadre du sonore, une véritable volonté de redessiner les équilibres des arts, d'en repenser les contextes et les modes de présentation est à reconnaître à l'origine de l'esthétique sonore. L'injonction à « libérer le son de la musique» (John Cage) n'est pas uniquement une invitation à s'opposer à l'auto-référencialité des codes musicaux; elle est à comprendre plus largement comme une volonté programmatique de repositionner l'art au- delà des barrières l'isolant des éléments contingents de la vie. Dans le contexte interdisciplinaire des née-avant-gardes, la dimension sonore offre des outils essentiels pour revendiquer une alternative à la règle moderniste. Entre visuel et auditif, entre structures spatiales et temporelles, une pluralité de stratégies d'hybridation remettent en cause les dispositifs conventionnels centrés sur l'objet artistique et sur son contenant, le cube blanc. Pourtant, les recherches sonores semblent dans le même temps faire réapparaitre l'essentialisme typique de la tradition musicale, au point de faire parler de néo-modernisme de l'art sonore. Ces aspects contradictoires sont symptomatiques de la complexité du « tournant sonore », phénomène que cette étude cherche à décrypter en retraçant quelques facteurs historiques, en analysant les discours théoriques, mais en posant aussi la question en termes curatoriaux. La documentation et l'analyse de quelques expériences que nous avons menées dans ce domaine offre l'occasion de mesurer les paradigmes qui émergent de l'analyse historique, ceux des pratiques extramurales par exemple, de l'art en situation, ou bien l'hypothèse de réciprocité entre son et site.
32
Sacramento, Nuno. "Shadow curating : a critical portfolio". Thesis, University of Dundee, 2006. https://discovery.dundee.ac.uk/en/studentTheses/932929b8-ec03-4d73-8851-855281f17aff.
Testo completoAbstract (sommario):
"Muitos, como dizia Artaud, referindo-se aos críticos, "gostariam que a nossa aprendizagem fosse feita entre quarto paredes, fechada no laboratórios", mas nos fazemos cena aberta, cara a cara com o publico. "Many", as Artsud used to say, referring to the critics, "would like our learning to take place within four walls, enclosed in laboratories", but we rather do it openly, face to face with the public" (Itaqui, 2005). "Fields are greener in their description than in their actual greenness. Flowers, if described with phrases that define them in the air of the imagination, will have colours with a durability not found in cellular life" (Zenith, 2001). This thesis proposes Critical Portfolio as a new format for methodological exchange between curators of contemporary visual arts. The research took place between the years of 2001 and 2006 and was based on the curotion of exhibitions with strong visible idiosyncratic approaches to selection and display (these becoming the research questions). It wasfollowed by the documentation and critical reflection of their associated methodologiesand final outputs, and resulted in a Critical Portfolio with clear links threaded between thevarious sections. The research is an enquiry into the nature of process and impacts upon themethodological visibility of emerging fields of curatorial practice and research.This charting of curatorial activity is divided in two parts:Projects included (with relation to the research questions) and projects excluded (with no clear relation to the research questions). Part 1- The projects included (4th year Expo, B-Sides - The Sculpure Show, Art Cup and A-Tipis) have token place in various European institutions and propose specific approaches to selection and display.Part 2- Projects excluded (Ver?o, Her?is e ViI es, Gran Pacman etc) do not show a clear relation to methods of selection and display. Each individual project in Part 1 is organized according to a common structure consisting of Project Image, Exhibition Pro-Forma, Concept Development, Portfolio Images,Correspondence between Curator and Artists, and Process Documentation. This structure, which takes a different configuration in each of the projects, allows for a clear and objective search for specific elements and contributes to new possibilities for comparison. The relation between the projects and the curatorial methods of selection and displaydenote critical preoccupations which become synthesized in the Curatorial Programms. This thesis identifies a "gap" in the structure of curatorial handbooks and proposes an approach that will not only close it, but bring more depth to an arising discussion around curatorial methodologies. Imagining this Critical Portfolio turns into a chapter of a curatorial handbook (synthesis of a curator's practice), the handbook is thus turned into a library/archive hosting each individual curator's documented methodology (Capital Culturalas repository of multiple curatorial practices is described in the Conclusion).
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Franzoni, Mariella. "The Economy of the Curatorial and the Fields of the Contemporary Art World: Curatorial instances and the market of contemporary art in and from (South) Africa". Doctoral thesis, Universitat Pompeu Fabra, 2019. http://hdl.handle.net/10803/667674.
Testo completoAbstract (sommario):
This dissertation analyzes the relationship between curating and the contemporary art market, inscribing its enquiry in the realm of curatorial theory. Contributing to epistemological discussions on the notion of the curatorial, this study frames itself as an “economy of the curatorial”, an expression with which we define the sphere of economic relations of production and mediation engendered by curatorial practice and discourse in the contemporary art field. This field is considered increasingly dominated by market imperatives, since market players (commercial galleries, art fairs, and auction houses) have acquired an increasing authority in consecrating artists and, hence, in establishing both the economic and the symbolic value of art. Adopting a situated approach, this thesis is based on qualitative field research carried out in South Africa, and on the analysis of several instances that disclose the role of curators in the market of contemporary African art since 1989. The main case study is the analysis of curators’ role at the Goodman Gallery, which illustrates the performing of the curatorial within the marketplace.Esta tesis propone un análisis de la relación entre la curaduría y el mercado del arte contemporáneo, inscribiéndose en el ámbito de la teoría curatorial. A la vez que contribuye a las discusiones epistemológicas sobre la noción de lo curatorial, este estudio propone pensar estas relaciones como parte de una “economía de lo curatorial”, expresión con la que definimos el ámbito de las relaciones económicas de producción y mediación generadas por la práctica y el discurso curatoriales en el campo del arte contemporáneo. Este campo se considera como cada vez más dominado por los imperativos del mercado, siendo que las galerías comerciales, las ferias de arte y las casas de subastas han adquirido autoridad a la hora de consagrar a los artistas y, por ende, de establecer tanto el valor simbólico como económico del arte. Adoptando un enfoque situado, esta tesis se basa principalmente en una investigación de campo llevada a cabo en Sudáfrica, y en el análisis de varios casos y coyunturas que revelan el papel de los curadores en el mercado del arte africano contemporáneo desde 1989. El caso de estudio clave consiste en el análisis del papel de los curadores en la galería Goodman, las cual ilustra como la curaduría opera en un contexto de mercado.
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Desclaux, Vanessa. "Curators : more or less subjects : spectatorship, passivity and fabulation". Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/19160/.
Testo completoAbstract (sommario):
My research intends to critically expose the political, economic, and ethical conditions in which curatorial practice is operating in the current context. I attempt to examine the question of authorship within curatorial practice, in order to challenge the distinction between an administrative, scholarly practice carried out in the name of an institution and an authorial and entrepreneurial practice that is exemplary of late capitalism. I thus intend to challenge the figure of the curator that has been disciplined by and is expected to function within current political and economic conditions. I will endeavour to disrupt the stable roles and functions associated with the figure of the curator and instead uncover multiple subject positions, which collapse professional templates and fail traditional oppositions between activity and passivity. I therefore begin with a reflection on the condition of spectatorship inherent to curatorial practice, and propose that the curator is the quintessential spectator. This is outlined in order to dispute the ideological deadlock regarding spectatorship and to address fundamental notions of vision and attention within curatorial practice. I will then propose to re-evaluate the notion of passivity in order to question assumptions regarding power and activity, putting forward examples that show the paradoxical qualities that passivity encompasses in the context of curatorial practice. Spectatorship and passivity fundamentally contribute to reconfiguring the possibility for a different approach to the production of subjectivity within and through curatorial practice. Through the notion of fabulation I finally intend to redefine the production of subjectivity in the context of curatorial practice. Fabulation stages an inquiry into the differentiation between artistic and curatorial practices: not to erase differences or flatten out competencies but to rather affirm a different distribution of positions, and inhabit a multiplicity of figures.
35
Brasó, Emma. "Parafictional artists : from the critique of authorship to the curatorial turn". Thesis, Royal College of Art, 2018. http://researchonline.rca.ac.uk/3541/.
Testo completoAbstract (sommario):
This thesis examines the intersection of authorship and fiction in artistic practices from the 1980s until the present. Based on a series of examples of imaginary or partially fictional artists who are, nevertheless, able to function as authors in the contemporary art world, the thesis proposes the term “parafictional artists.” The concept of the parafictional, coined by the art historian Carrie Lambert-Beatty, is here revised to emphasize the capacity of these artists to interact with the art world in a plausible manner despite the disclosure of their imaginary nature. Such interactions include exhibiting and selling works, giving interviews, publishing books, or performing under their own name. Rather than focusing on why numerous artists from a broad geographic background have decided to employ fictional authorial strategies, this thesis explores a different set of questions: How does the extended practice of developing and exhibiting parafictional artists reflect as well as modify the ways in which contemporary authorship functions in todays’ highly institutionalized, mostly global, art world? And, what are the consequences of the introduction of these fictional explorations into artistic identity for the interpretation, presentation, and encounter with artworks? In order to answer the above questions, the thesis is divided in two parts. Part I utilises an art historical framework to propose interpretative models to analyse parafictional artists. Starting from the critique of authorship and its articulation by new art history in the 1980s, the thesis applies revised ideas on the importance of biography and intentionality to a number of selected case studies, including Reena Spaulings, Barbara Cleveland, Robbie Williams, The Atlas Group, and the three Janez Janšas, amongst others. Part II brings these debates up to date and questions the working logic of the critique of authorship from the 1990s onwards. This second part draws a parallel between the emergence of parafictional strategies and of curating as a professional activity and discourse, as a consequence of changes in the organization of the art world. The thesis concludes by examining a series of exhibitions and argues for a curatorial understanding of parafictional artists that, beyond critique, contributes to the production of knowledge through fiction.
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Vergara, Vivanco Leire. "Dispositifs of touching : a curatorial study on the 'plazas of sovereignty'". Thesis, Goldsmiths College (University of London), 2018. http://research.gold.ac.uk/24559/.
Testo completoAbstract (sommario):
This dissertation explores the scattered geography of the so-called plazas of sovereignty, a group of rocks, islets and archipelagos spread out along the Northern coast of Morocco. These have been occupied by Spain since the Middle Ages and today remain inaccessible for Spanish, Moroccan or any other citizens. In particular, this research proposes to study the enclaves from a curatorial perspective, including the configuration of a specific project in North Morocco that takes the form of a reading group and offers a public platform for collective debate and awareness in respect to these forbidden territories. The thesis is also accompanied by a series of documentary materials on the plazas produced specifically for the occasion by artists, who have taken several site-visits to some of the nearest locations. Thus, the work explores two different registers: one theoretical, the other practical. Theoretically, it navigates a list of concepts that help to understand the inner logics of the plazas in respect to a double context: one related to the migration crisis of the Gibraltar Strait, the other related to the public ground from which to establish a curatorial practice. Practically, it allows conforming a set of methodologies of research that influence not just the fieldwork but also the text that gives an account of it. Finally, the ensemble of both registers allows curatorial knowledge to develop across an inventory of references coming out from history, philosophy, artistic practices, collective readings and lived experiences.
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McDonnell, Amy. "Artists' collectives and collectivities : a curatorial investigation into assembling the social". Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12061/.
Testo completoAbstract (sommario):
This thesis begins with an examination of collective art practices in Cuba in relation to the wider collectivised society. This acts as a counterbalance for engaging with the strategy of artists’ groups in the United Kingdom and the differences between political thinking in Cuba and the West. Practice-based research in the form of curatorial activity has constantly responded to the theoretical underpinnings of this thesis. The multi-platform project 'Assembling' (2013-2015) understands the exhibition to be collaborative from the moment of inception. Through the circulation of material in a process of gathering, electing and making visible objects and ideas, 'Assembling' has brought together artists previously unknown to each other from Cuba and the United Kingdom to find and cluster around a shared sense of social imaginary, a shared issue of concern. A 'Typology of Association' runs throughout the thesis to trace thought on grouping found in political theory, art history, exhibitionary practice and sociology to produce a nuanced interpretation of how it is that we envisage ourselves in relation to group identifiers. Concomitantly, the main text of the thesis asks, ‘Does the “social” exist in and of itself at all?’. Although this is a wide-reaching question, it is key for understanding artists’ groups as the social becomes a composed (Latour, 2005) space in which elements can be actively distributed (Rancière, 2000) to form temporal assemblages (Deleuze and Guattari, 1980) making the social 'a practice'. Rather than enquire for example, what is ‘community art’, this research removes an assumptive meaning and asks what is ‘community’ and how does art practice activate its composition? Shifting social space is understood in terms of consistency: solid, fluid (Berman, 1982; Bauman, 2010) and foam (Sloterdijk, 2007, 2011).
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Gill, Rajdeep Singh. "Transforming curatorial practice : envisioning and nurturing ethical-creative-archival ecologies of connectedness". Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/45410.
Testo completo
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Clausen, Barbara. "Staging the documentary: Babette Mangolte and the curatorial ‘dispositif’ of performance’s histories". map - media archive performance ; 2014/5 (E-Journal, URL: http://www.perfomap.de, ISSN 2191-0901), 2014. https://slub.qucosa.de/id/qucosa%3A7328.
Testo completoAbstract (sommario):
Barbara Clausen thinks about the relationship between experience and knowledge in curating performance art. She will in particular explain her curatorial work on Babette Mangolte''s first international solo exhibition which took place at the VOX center for contemporary art in Montreal in 2013. This exhibition and film retrospective showcased Mangolte''s various practices and modes of production, as one of the key chroniclers of 1970s performance in dance, visual arts and theater, ranging from early archival works to new site specific multi-media installations. Clausen will consider the complexity of Mangolte''s practices in light of the current processes of change that are taking hold in the visual politics of performance arts’ past and present.
40
Quinn, Lisa A. "Contemporary Curatorial and Exhibition Practices at Twenty-First Century Academic Art Museums". Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1547208446490768.
Testo completo
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Pryde-Jarman, D. "Curating the artist-run space : exploring strategies for a critical curatorial practice". Thesis, Coventry University, 2013. http://curve.coventry.ac.uk/open/items/ec4c19c4-55de-475d-a95f-0a310c037ced/1.
Testo completoAbstract (sommario):
The once distinct roles of artist and curator have blurred dramatically in recent decades owing to a blending process in both directions, which has led to a turn towards the concept of the curator as producer and author, and the development of the hybridised figure of the ‘artist-curator’. Within my practice-based curatorial research at Meter Room and Grey Area, the 'artist-run space', as both form and content of space, is used as a critical framework for artist-curatorship. Artist-run spaces play a significant role in the cultural ecology of the UK, and this project explores the power relations involved in the production, distribution, and consumption of work within the field, in terms of both a cause and effect of a contested relationship with institutions and commercial galleries. Artist-run spaces are initiated for a number of reasons, but this project specifically focuses upon those spaces that identify with terms such as ‘independent’, 'alternative', ‘not-for-profit’, ‘DIY’, ‘self-organised’, and ‘critically engaged’. Using strategies for the development of a critical practice, such as Chantal Mouffe’s theories on ‘counter-hegemony’ and ‘agonistic space’ (2007), and Gerald Raunig's concept of 'instituent practice' (2009), this project explores how curatorial practices within artist-curator-run spaces might offer different ways of working, and be used to contest hegemonic structures within the field. I explore the role of critique within curatorial practice, specifically in relation to the struggle for autonomy, the production of subjectivity, and strategies for negating or resisting cooption by the New Institutions of post-Fordist neoliberalism. Three curatorial strategies were developed from experimental projects at both spaces, and then explored at Meter Room over a 2-year period. These strategies sought to occupy institutional structures in new ways: through the re-functioning of 'void' space, blending studio and gallery functions within a Curatorial Studio, developing a paracuratorial practice referred to as Caretaking, and re-approaching the concept of a collection-based institution through processes of layering works and their vestiges within an Artist-run Collection. The practice-based research culminated in a 5-month durational project in collaboration with five other artist-run spaces based in the West Midlands region, which explored a strategy for the creation of a new speculative artist-run institution as a dialogical process of instituting values through a critical curatorial practice.
42
Deskins, Sally. "Revealing Judy Chicago's The Dinner Party| An Analysis of the Curatorial Context". Thesis, West Virginia University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10110160.
Testo completoAbstract (sommario):
Research on Judy Chicago’s The Dinner Party, (1974-79; completed with the assistance of more than 400 volunteers), is abundant and generally focuses on the monumental table of thirty-nine place settings acknowledging the contribution of women throughout Western history. Scholars have examined, praised and criticized the installation from various feminist and formal aesthetic perspectives. By contrast, this thesis considers what has essentially been overlooked until now, Judy Chicago’s curatorial framework for the entire The Dinner Party exhibition experience. Using my own interviews with the artist, team members, and contemporary curators, as well as consulting the artist’s installation manuals from Harvard University Archives, and examining the reception of the curation, I highlight the essential curatorial features that made The Dinner Party such an international phenomenon. The artist’s curatorial elements were research-oriented, inclusive and activist-leaning with interactive, multi-media structures to achieve her feminist message. Considering The Dinner Party’s current installation at the Elizabeth A. Sackler Center for Feminist Art, my thesis argues that Chicago’s successful yet overlooked methods offer the most proactive, critical and approachable curatorial presentation. The current installation that has been stripped of these curatorial elements, while perhaps institutionally practical, compromises much of the message and feminist intent. This study contributes to the field by focusing on this notable exhibition, providing discourse into Chicago’s curating and offering considerations for contemporary curating practice, with the goal of contributing to the growing area of curatorial research focused on feminist artists and curatorial projects.
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Hofmann, Andreas C. "Staat und Stadt in der Spätantike". Thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-132059.
Testo completoAbstract (sommario):
Das Essay untersucht anhand der einschlägigen Forschungsdiskussion die Frage, inwiefern die beiden städtischen bzw. kaiserlichen Institutionen der curatores civitatis und defensores civitatis als Zeichen für einen spätantiken Zwangsstaat gewertet werden können oder vielmehr Elemente städtischer Autonomie undmit solchen kaiserlicher Fürsorge vereinten.
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Marsden, Rachel E. M. "The transcultural curator : translating networked curatorial practices in the Chinese context since 1980". Thesis, Birmingham City University, 2017. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.743084.
Testo completoAbstract (sommario):
Initiated from discussions of key curators and exhibitions at the end of the Cultural Revolution, this thesis explores cultural translation through networked curatorial practices in the Chinese context since 1980. In response to increasing local (Chinese) to global (international) exchange, termed as ‘glocal’, I examine different curatorial practices and strategies used to translate exhibitions of avant-garde and contemporary Chinese art towards the development and definition of the role of the transcultural curator. A framework for translation is developed from Homi K. Bhabha’s three-tiered, postcolonial methodology of ‘Third Space’ in parallel with Ray Oldenburg’s theory of third place, whilst rooted in the development of social and cultural networks within Fei Xiaotong’s concept of Chineseness. From these perspectives, it is argued that guanxi self-reflexively provides a basis through which networked curatorial practices can be understood. As a non-Chinese curator and researcher, this thesis is crucially informed by a practice-led component to the research methodology. Responding to China’s unique moment of “museumification”, I establish The Temporary to actively and explicitly reflect on my curatorial practice in relation to research findings. This platform functions as a site of “research curating” (based on the construction of networks of practice) and “curating research” (mapping the action archive), to test and evaluate curatorial strategies, whilst revealing a new internal logic of cultural translation in the Chinese context. This nexus of research explored through theory, concept and practice aims to create a unique set of definitions and arguments to define the role of the transcultural curator. In turn, it presents a series of considerations to be implemented when curating exhibitions of contemporary Chinese art in an international context whilst contributing to the ongoing debate in the field.
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Prando, Felipe Cardoso de Mello. "Campo neutral: limites e tensões entre práticas artísticas, curatoriais e instituições de arte". Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-13092016-104137/.
Testo completoAbstract (sommario):
Esta pesquisa, desenvolvida na linha de pesquisa de Poéticas Visuais, é constituída pela exposição Campo Neutral, realizada em 2013 no Museu da Gravura Cidade de Curitiba (MGCC) e a refexão crítica Campo Neutral: limites e tensões entre práticas artísticas, curatoriais e instituições de arte, aqui apresentada como um desdobramento da exposição. Para construção de um relato crítico que analisa a exposição, os trabalhos nela expostos e os respectivos contextos de produção e recepção, a tese concebe um campo teórico delineado pela relação entre crítica institucional e contextos institucionais precários. Compreendida como uma prática que estabelece uma relação crítica entre discursos e práticas artísticas, curatoriais e instituições de arte, a crítica institucional que, desde os anos 1960, é praticada e debatida por artistas, curadores, críticos e historiadores europeus e norte-americanos, é contraposta a práticas artísticas e curatoriais latino-americanas realizadas em contextos nos quais a existência das instituições é incerta, ou nula, tal qual a do MGCC.This research, developed in feld of Visual Poetics, consists of the exhibition \"Campo Neutral\", held in 2013 at the \"Museu da Gravura da Cidade de Curitiba\" (MGCC), Brazil, and a critical refection \"Campo Neutral: limits and tension between artistic and curatorial practices, and art institutions\", represented here as a deployment of the exhibition. For the construction of a critical report that analyzes the exhibition, the works there exposed and their contexts of production and reception, the thesis delineates a theoretical feld outlined by the relationship between institutional critique and precarious institutional contexts. Understood as a practice that establishes a critical relationship between speech and artistic and curatorial, and art institutions, institutional critique that, since the 1960s, is practiced and discussed by artists, curators, critics, and European and American historians, is a counterpoint to artistic and curatorial Latin American practices carried out in context of which the existence of institutions is uncertain, or absent, like the MGCC.
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Buonano, Débora Gigli. "O olhar curatorial de Pietro Maria Bardi nas exposições de design no MASP". Universidade Presbiteriana Mackenzie, 2016. http://tede.mackenzie.br/jspui/handle/tede/2927.
Testo completoAbstract (sommario):
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This doctoral research project is a study of the critical texts of Pietro Maria Bardi on design exhibitions that took place at MASP, Museu de Arte de São Paulo Assis Chateaubriand, the period in which he was director. The study was conducted from exhibition files and they have served as a source : newspapers, magazines, books and catalogs. The research has sought to understand the importance of Bardi and his avant-garde conception of design in Brazil. The work also intends to review, through the speeches of Bardi, questions about art, craft and design and how these connections have been articulated by him in museum shows and their rehearsals.
Este trabalho de pesquisa de doutorado trata de um estudo dos textos críticos de Pietro Maria Bardi sobre as exposições de design que ocorreram no MASP, Museu de Arte de São Paulo Assis Chateaubriand, no período em que foi diretor. O trabalho foi realizado a partir dos arquivos das exposições e serviram como fonte jornais, revistas, livros e catálogos. A pesquisa tem buscado entender a importância de Bardi e sua concepção vanguardista acerca do design no Brasil. O trabalho pretende também rever, através dos discursos de Bardi, as questões sobre arte, artesanato e design e como estas conexões foram por ele articuladas nas mostras do museu e em seus ensaios.
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Barreto, Karoline Marianne. "O 31º panorama da arte brasileira : cena expositiva, matéria expográfica e gesto curatorial". Universidade do Estado de Santa Catarina, 2014. http://tede.udesc.br/handle/handle/705.
Testo completoAbstract (sommario):
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Previous issue date: 2014-07-30Conselho Nacional de Desenvolvimento Científico e Tecnológico
The text investigates how the 31st PANORAMA DA ARTE BRASILEIRA held in 2009, a periodical exposition host by São Paulo Museum of Modern Art was an singular edition for giving an overview of the so-called Brazilian art, when a minimum number of the artists were actually born in Brazil. Therefore, to find the uniqueness of the 31st edition and its curator Adriano Pedrosa, three fundamental reasons involving the exhibition were observed. Such reasons points to the title of this research: Expositive Scene, Expographic Matter and Curatorial Gesture. Through these general issues, the main idea is to answer questions about the authorship on exposition, on the organization of the art pieces at the exhibition physical space and find hints and the metamorphoses surroundings the exhibit. The academic motivation came from the lack of Portuguese publications about curatorial and exhibitions. The final dissertation in the long run can contribute to a research on curatorship field with a meticulous analysis of a curatorial process and a well recognized curator with major exhibitions on his résumé.
O texto investiga como o 31º Panorama da Arte Brasileira 2009, exposição periódica do Museu de Arte Moderna de São Paulo, foi uma edição singular por traçar um panorama de arte dita brasileira com minoria de artistas nascidos no Brasil. Para encontrar o ineditismo da 31ª edição e do seu curador, Adriano Pedrosa, foram mapeados três motivos fundamentais que envolvem a exibição. Estes motivos dão título a pesquisa: a cena expositiva, a matéria expográfica e o gesto curatorial. Busca-se nestes temas mais gerais responder a questões sobre a autoria em exposição, sobre a organização das obras no espaço expositivo e encontrar rastros e devires que cercam a exibição. O incentivo acadêmico surgiu da raridade de publicações em língua portuguesa sobre curadoria e exposições. A dissertação, ao final, pode contribuir no campo investigativo da curadoria como uma análise detalhada de um processo curatorial e um curador reconhecido com importantes exposições.
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Oprea, Corina. "The end of the curator : on curatorial acts as collective production of knowledge". Thesis, Loughborough University, 2017. https://dspace.lboro.ac.uk/2134/25605.
Testo completoAbstract (sommario):
'The End of The Curator: On Curatorial Acts as Collective Production of Knowledge' explores the convoluted liaison between knowledge production, collectivity and curating, through practices that have been neglected by mainstream curatorial platforms and art history. Bearing in mind the extensive usage of the notion knowledge production, my practice based research is guided by the question what forms of collective knowledge can curatorial practice produce?
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Ziganshina, Madina. "Art-Map: concept of moving curatorial project and its practical realization in Aveiro". Master's thesis, Universidade de Aveiro, 2015. http://hdl.handle.net/10773/15905.
Testo completoAbstract (sommario):
Mestrado em Criação Artística ContemporâneaIn this dissertation, I present the results of a project which aim was to find out and try an effective model of independent curatorial project executable in small and medium cities in Portugal. The concept of Moving Curatorial Project ARTMAP is a result of theoretical research and reflection about municipal exhibition spaces and possibility of presentation of the contemporary art in these spaces. To test if this curatorial project is realizable and if there are conditions to continue it, a first trial was implemented in Aveiro. A curated international exhibition, entitled “A Poética do Visual" occupied two municipal and two private gallery spaces and brought together 111 artists from 25 different countries. The art event was carried out in collaboration with the Municipality of Aveiro and the University of Aveiro, and involved several private cultural spaces in the city. This first experience showed that there are all conditions for the presentation of contemporary art in small and medium size locations in Portugal, and for this project to be replicated in other regions of the country.
Nesta dissertação, apresento os resultados de um projecto cujo objectivo era desenvolver e experimentar um modelo eficaz e executável de projecto de curadoria em cidades de pequena e média dimensão em Portugal. O conceito de ART-MAP (Moving Curatorial Project) é resultado de pesquisa teórica e reflexão sobre os espaços municipais de exposição e sobre a possibilidade da apresentação de arte contemporânea nesses lugares. Para testar se esse projecto de curadoria é realizável e se existem condições para continuá-lo, a primeira experiência foi desenvolvida em Aveiro. A exposição internacional, intitulada "A Poética do Visual” ocupou dois espaços municipais e dois espaços culturais privados na cidade, e reuniu 111 artistas de 25 países diferentes. O evento de arte foi realizado em colaboração com a Câmara Municipal de Aveiro e a Universidade de Aveiro. Esta primeira experiência mostrou que existem todas as condições para a apresentação de arte contemporânea nas cidades de Portugal, e que este projecto pode ser replicado em outras regiões do país.
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Fisher, Sibyl Annice. "Curare : to care, to curate : a relational ethic of care in curatorial practice". Thesis, University of Leeds, 2013. http://etheses.whiterose.ac.uk/6867/.
Testo completoAbstract (sommario):
The central question that this thesis addresses is curatorial practice as an ethical practice, a practice of care. In the field of contemporary art and curatorial studies, the connection between curating and care is predominantly considered significant only in terms of the history of the curatorial care of collections, inscribed etymologically in the word ‘curator’ which derives from the Latin ‘cura’, which means ‘care’. Historical and discursive shifts in the later twentieth century have resulted in a situation where other affinities between care and curating are now almost entirely in eclipse. The thesis aims to re-establish the embeddedness of care in curatorial practice by posing the question of a specifically curatorial sense of care and responsibility for the ‘other’ in a relational, ethical sense. This is elaborated through two case studies, which have been selected for their relational conceptualisations, and engagement with a feminist and Indigenous/postcolonial politics of avoiding marginalisation and repression. My reading begins from the understanding that the ethical interweaves in several ways with the political and the aesthetic, as set out in Chapter One and Chapter Two. Part One presents the first case study, the curatorial practice of Catherine de Zegher and the exhibition Inside the Visible (1996). Chapter Three explores the development of de Zegher’s practice over the span of her career, and Inside the Visible through the archive, which is read for patterns of responsibility and acts of care. Chapter Four considers the exhibition as a widely-recognised feminist intervention, which may function as an instance of curatorial ethicality if it is not further subjected to contemporary repression in the literature. Part Two presents the second case study, the curatorial practice of Brenda L Croft and the co-curators of fluent in the Australian Pavilion at the 47th Venice Biennale (1997). Chapter Five maps the development of Croft’s practice, and through a reading of the archive presents fluent as a demonstrably effective intervention into the globalised art world. In this chapter, responsibility and care are also framed broadly in relation to a specifically Indigenous conception of shared values, which is largely characterised in terms of relationality. Chapter Six considers the significance of Indigenous women’s participation in Venice, and the precarity of fluent’s position in the recent discourse on contemporaneity. Its almost total neglect in the literature threatens the exhibition’s efficacy, which against the wider repression of the relationality of Indigenous cultural practices has arguably destructive effects. Finally, the Conclusion reflects on the research process and the way of reading developed in the thesis. Across the case studies, a distinctive ethos of care is detectable in relational practices of responsibility strategised and enacted by curators, and in their sensitivity to relationality on multiple levels. These modes of practice are argued to re-inscribe an ethical concept of care in the fabric of curatorial practice. It is hoped that the thesis presents a framework through which to read and learn from these curatorial instances of care, signalling one potential way to break the cycle of repression and marginalisation.