In 2015, the São Paulo Museum of Art (MASP) opened the exhibition Picture Gallery in Transformation using the exhibit display format designed by the museum’s architect, the Italo-Brazilian Lina Bo Bardi. The crystal easels, as they became known, were conceived to converse with the building’s architecture, yet had disappeared from the museum’s second floor for almost two decades, replaced by traditional hanging methods. The purpose of this article is to examine the various reasons behind the removal of Bo Bardi’s expography and the controversies that have contributed to a new valuation of the crystal easels. Through an analysis of the reconstruction of MASP’s permanent collection, the technical and conceptual changes that guided it, and the curatorial discourses that reconstituted its permanent displays, I argue that the characteristics of Bo Bardi’s easels contribute to the decolonial programme of the new MASP management.
{"title":"The Reconstruction of the Crystal Easels at the São Paulo Museum of Art and the Canonization of a Decolonial Expography","authors":"Amélia Siegel Corrêa","doi":"10.1386/jcs_00068_1","DOIUrl":"https://doi.org/10.1386/jcs_00068_1","url":null,"abstract":"In 2015, the São Paulo Museum of Art (MASP) opened the exhibition Picture Gallery in Transformation using the exhibit display format designed by the museum’s architect, the Italo-Brazilian Lina Bo Bardi. The crystal easels, as they became known, were conceived to converse with the building’s architecture, yet had disappeared from the museum’s second floor for almost two decades, replaced by traditional hanging methods. The purpose of this article is to examine the various reasons behind the removal of Bo Bardi’s expography and the controversies that have contributed to a new valuation of the crystal easels. Through an analysis of the reconstruction of MASP’s permanent collection, the technical and conceptual changes that guided it, and the curatorial discourses that reconstituted its permanent displays, I argue that the characteristics of Bo Bardi’s easels contribute to the decolonial programme of the new MASP management.","PeriodicalId":41456,"journal":{"name":"Journal of Curatorial Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49549552","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The legacy of Iris Clert (1918–86), whose eponymous gallery was central to the emergence of the avant-garde in Paris in the 1950s and 1960s, has often been framed as a story of vanity, spectacle and self-promotion. Considering Clert’s unconventional approach to running her gallery in the context of postwar expectations of women’s behaviour, the article recasts Clert as a model of modern matronage and situates Clert within a history of women who have used arts leadership to assert individuality and influence culture. In Clert’s case, this meant applying traditionally ‘feminine’ domestic skills to her public work, in order to upend gallery conventions and reshape the culture of the avant-garde.
{"title":"Iris Clert’s Modern Matronage","authors":"J. Wester","doi":"10.1386/jcs_00067_1","DOIUrl":"https://doi.org/10.1386/jcs_00067_1","url":null,"abstract":"The legacy of Iris Clert (1918–86), whose eponymous gallery was central to the emergence of the avant-garde in Paris in the 1950s and 1960s, has often been framed as a story of vanity, spectacle and self-promotion. Considering Clert’s unconventional approach to running her gallery in the context of postwar expectations of women’s behaviour, the article recasts Clert as a model of modern matronage and situates Clert within a history of women who have used arts leadership to assert individuality and influence culture. In Clert’s case, this meant applying traditionally ‘feminine’ domestic skills to her public work, in order to upend gallery conventions and reshape the culture of the avant-garde.","PeriodicalId":41456,"journal":{"name":"Journal of Curatorial Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48296175","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article elaborates a theory of slo curating as a durational practice and methodology. It interrogates concepts such as provenance, chain of relation, collections and conservation that it establishes are part of a colonial episteme undergirding the museum and its exhibitionary practices. Starting from recent digitization projects of museum collections, I analyse artist-led curatorial projects, legal cases and requests for restitution by colonized and Indigenous peoples across the world that challenge long-standing imperial concepts that inform museum studies. Projects by the Rapa Nui, Iqbal Geoffrey, Julie Tolentino, Constantina Zavitsanos and سراب/Saraab (Shahana Rajani and Omer Wasim) are discussed alongside El Paquete Semanal (2008–ongoing) and Exhibition Without Objects (2012–ongoing), foregrounding their alternative theoretical approaches to archives, access, labour, temporality and borders. Slo curating offers a set of curatorial practices and methods that are at the service of people instead of institutions.
{"title":"Slo Curating: Restitution, Archives, Access and Care","authors":"Saʿdī Shīrāzī","doi":"10.1386/jcs_00070_1","DOIUrl":"https://doi.org/10.1386/jcs_00070_1","url":null,"abstract":"This article elaborates a theory of slo curating as a durational practice and methodology. It interrogates concepts such as provenance, chain of relation, collections and conservation that it establishes are part of a colonial episteme undergirding the museum and its exhibitionary practices. Starting from recent digitization projects of museum collections, I analyse artist-led curatorial projects, legal cases and requests for restitution by colonized and Indigenous peoples across the world that challenge long-standing imperial concepts that inform museum studies. Projects by the Rapa Nui, Iqbal Geoffrey, Julie Tolentino, Constantina Zavitsanos and سراب/Saraab (Shahana Rajani and Omer Wasim) are discussed alongside El Paquete Semanal (2008–ongoing) and Exhibition Without Objects (2012–ongoing), foregrounding their alternative theoretical approaches to archives, access, labour, temporality and borders. Slo curating offers a set of curatorial practices and methods that are at the service of people instead of institutions.","PeriodicalId":41456,"journal":{"name":"Journal of Curatorial Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45727849","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Staging Art and Chineseness: The Politics of Trans/Nationalism and Global Expositions, Jane Chin Davidson Manchester: University of Manchester Press (2020), 224 pp, h/bk, ISBN: 978-1-5261-3978-8, $120 US
{"title":"Staging Art and Chineseness: The Politics of Trans/Nationalism and Global Expositions, Jane Chin Davidson","authors":"A. Patel","doi":"10.1386/jcs_00077_5","DOIUrl":"https://doi.org/10.1386/jcs_00077_5","url":null,"abstract":"Review of: Staging Art and Chineseness: The Politics of Trans/Nationalism and Global Expositions, Jane Chin Davidson\u0000 Manchester: University of Manchester Press (2020), 224 pp, h/bk,\u0000 ISBN: 978-1-5261-3978-8, $120 US","PeriodicalId":41456,"journal":{"name":"Journal of Curatorial Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48619104","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Decolonizing German and European History at the Museum, Katrin Sieg Ann Arbor: University of Michigan Press (2021), 316 pp., p/bk, ISBN: 978-0-47205-510-4, US $34.95
{"title":"Decolonizing German and European History at the Museum, Katrin Sieg","authors":"Brendan O’Donnell","doi":"10.1386/jcs_00075_5","DOIUrl":"https://doi.org/10.1386/jcs_00075_5","url":null,"abstract":"Review of: Decolonizing German and European History at the Museum, Katrin Sieg\u0000 Ann Arbor: University of Michigan Press (2021), 316 pp., p/bk,\u0000 ISBN: 978-0-47205-510-4, US $34.95","PeriodicalId":41456,"journal":{"name":"Journal of Curatorial Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48526602","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Models: An Assembly of Schematics","authors":"Ryan Whyte","doi":"10.1386/jcs_00071_7","DOIUrl":"https://doi.org/10.1386/jcs_00071_7","url":null,"abstract":"","PeriodicalId":41456,"journal":{"name":"Journal of Curatorial Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43638611","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Contemporary Art and Feminism, Jacqueline Millner and Catriona Moore London and New York: Routledge (2021), 270 pp., p/bk, ISBN: 978-1-00040-429-6, US $44.95
{"title":"Contemporary Art and Feminism, Jacqueline Millner and Catriona Moore","authors":"C. O’Keeffe","doi":"10.1386/jcs_00074_5","DOIUrl":"https://doi.org/10.1386/jcs_00074_5","url":null,"abstract":"Review of: Contemporary Art and Feminism, Jacqueline Millner and Catriona Moore\u0000 London and New York: Routledge (2021), 270 pp., p/bk,\u0000 ISBN: 978-1-00040-429-6, US $44.95","PeriodicalId":41456,"journal":{"name":"Journal of Curatorial Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45961066","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Shortly after the first lockdown in response to the COVID-19 pandemic in 2020, the Amsterdam Museum launched the online exhibition Corona in the City. The multimedia platform, which invites inhabitants of the city of Amsterdam to contribute their own stories, aims to collect the pandemic as it is experienced. The authors look back on the trajectory of the platform during its first year and observe how, through a combination of curating and ‘uncurating’ the content, the museum demonstrates a broader change in its policy towards collecting and storytelling. We reflect on ways in which the platform has and will change according to how the pandemic unfolds, and propose that it can serve as a pilot for more democratic, co-created institutions in the future.
{"title":"(Un)Curating COVID: Lessons from Corona in the City","authors":"M. Schavemaker, Esmee Schoutens, Rowan Stol","doi":"10.1386/jcs_00056_1","DOIUrl":"https://doi.org/10.1386/jcs_00056_1","url":null,"abstract":"Shortly after the first lockdown in response to the COVID-19 pandemic in 2020, the Amsterdam Museum launched the online exhibition Corona in the City. The multimedia platform, which invites inhabitants of the city of Amsterdam to contribute their own stories, aims to collect the pandemic as it is experienced. The authors look back on the trajectory of the platform during its first year and observe how, through a combination of curating and ‘uncurating’ the content, the museum demonstrates a broader change in its policy towards collecting and storytelling. We reflect on ways in which the platform has and will change according to how the pandemic unfolds, and propose that it can serve as a pilot for more democratic, co-created institutions in the future.","PeriodicalId":41456,"journal":{"name":"Journal of Curatorial Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45949425","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Charbel-Joseph H. Boutros and Stéphanie Saadé, In Touch 2","authors":"Chiara Ianeselli","doi":"10.1386/jcs_00060_5","DOIUrl":"https://doi.org/10.1386/jcs_00060_5","url":null,"abstract":"","PeriodicalId":41456,"journal":{"name":"Journal of Curatorial Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42802419","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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