In the mid-2010s, a number of renowned museums and galleries across the world held retrospective exhibitions positioning digital arts within western art history. While inscribing some techno-aesthetic forms and behaviours into the contemporary arts institution, these exhibitions nevertheless cemented the exclusion of others. By examining the role and shortcomings of curatorial practices in this process, this article seeks to frame curating as an art of inclusion able to carve institutional and epistemic space for otherness. In doing so, I argue for the relevance of devices for noticing, defined as a range of tactics that enable the apprehension of digital vernaculars ‐ everyday, ‘lower’ expressions of digital media culture ‐ within institutional sites and discourses. Through these tactics, curators may provoke under-represented cultural actors, forms and behaviours into recognition, reverse the violence of institutional occlusion, and fertilize art histories.
{"title":"A Call to Otherness: Inscribing Digital Vernaculars into the Art Institution","authors":"Gabriel Menotti","doi":"10.1386/jcs_00033_7","DOIUrl":"https://doi.org/10.1386/jcs_00033_7","url":null,"abstract":"In the mid-2010s, a number of renowned museums and galleries across the world held retrospective exhibitions positioning digital arts within western art history. While inscribing some techno-aesthetic forms and behaviours into the contemporary arts institution, these exhibitions nevertheless cemented the exclusion of others. By examining the role and shortcomings of curatorial practices in this process, this article seeks to frame curating as an art of inclusion able to carve institutional and epistemic space for otherness. In doing so, I argue for the relevance of devices for noticing, defined as a range of tactics that enable the apprehension of digital vernaculars ‐ everyday, ‘lower’ expressions of digital media culture ‐ within institutional sites and discourses. Through these tactics, curators may provoke under-represented cultural actors, forms and behaviours into recognition, reverse the violence of institutional occlusion, and fertilize art histories.","PeriodicalId":41456,"journal":{"name":"Journal of Curatorial Studies","volume":"10 1","pages":"94-115"},"PeriodicalIF":0.3,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49123132","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}
Using the fifth edition of the Ural Industrial Biennial of Contemporary Art: Immortality (Yekaterinburg, 2019) as a case study, this article examines the inconsistencies across a curatorial theme, its development in discourse, and its materialization in the exhibition. The article posits that these inconsistencies stem from fraught relationships between the global and the local developed by the curatorial framing of the exhibition’s principal theme ‐ immortality and its relations with Russian cosmism. Through exploring the politics of biennial themes, the article puts pressure on the idea of the curator as the indisputable author and highlights the complex politics involved in curatorial practice, such as the contradictions that can occur between the conceptualizing of a theme and its materialization in an exhibition.
{"title":"The Politics of Curatorial Themes: Immortality from Conception to Display in the 5th Ural Industrial Biennial of Contemporary Art","authors":"Anastasia Philimonos, Panos Kompatsiaris","doi":"10.1386/jcs_00032_1","DOIUrl":"https://doi.org/10.1386/jcs_00032_1","url":null,"abstract":"Using the fifth edition of the Ural Industrial Biennial of Contemporary Art: Immortality (Yekaterinburg, 2019) as a case study, this article examines the inconsistencies across a curatorial theme, its development in discourse, and its materialization in the exhibition. The article\u0000 posits that these inconsistencies stem from fraught relationships between the global and the local developed by the curatorial framing of the exhibition’s principal theme ‐ immortality and its relations with Russian cosmism. Through exploring the politics of biennial themes, the\u0000 article puts pressure on the idea of the curator as the indisputable author and highlights the complex politics involved in curatorial practice, such as the contradictions that can occur between the conceptualizing of a theme and its materialization in an exhibition.","PeriodicalId":41456,"journal":{"name":"Journal of Curatorial Studies","volume":"10 1","pages":"72-92"},"PeriodicalIF":0.3,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47333006","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}
Fantastic Art, Dada, Surrealism (1936), curated by Alfred H. Barr at the Museum of Modern Art (MoMA), New York, was the first major exhibition of outsider art at the epicentre of the art world. The entrance of outsider art in the art museum coincided with the changing role of the curator: from a custodian of fine arts to an exhibition author with creative agency. The disconnection of outsider art from canonized art history and the peculiar appearance of the works and their makers inspired new curatorial narrations and settings. Barr’s inclusive vision of modern art and curation was, however, strongly criticized, and a few years later that vision was replaced by a hierarchical one demanding the exclusion of outsider art from the art museum. The developments at MoMA between 1936 and 1943 exemplify how outsider art served as a catalyst for the curatorial turn in which the division between the roles of curator and artist began to shift.
{"title":"Alfred H. Barr, MoMA, and the Entrance and Exit of Outsider Art (1936‐1943)","authors":"Dieter De Vlieghere","doi":"10.1386/jcs_00029_1","DOIUrl":"https://doi.org/10.1386/jcs_00029_1","url":null,"abstract":"Fantastic Art, Dada, Surrealism (1936), curated by Alfred H. Barr at the Museum of Modern Art (MoMA), New York, was the first major exhibition of outsider art at the epicentre of the art world. The entrance of outsider art in the art museum coincided with the changing role of\u0000 the curator: from a custodian of fine arts to an exhibition author with creative agency. The disconnection of outsider art from canonized art history and the peculiar appearance of the works and their makers inspired new curatorial narrations and settings. Barr’s inclusive vision of\u0000 modern art and curation was, however, strongly criticized, and a few years later that vision was replaced by a hierarchical one demanding the exclusion of outsider art from the art museum. The developments at MoMA between 1936 and 1943 exemplify how outsider art served as a catalyst for the\u0000 curatorial turn in which the division between the roles of curator and artist began to shift.","PeriodicalId":41456,"journal":{"name":"Journal of Curatorial Studies","volume":"10 1","pages":"2-25"},"PeriodicalIF":0.3,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48063399","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":"Will Kwan, Terra Economicus","authors":"Maya Burns","doi":"10.1386/jcs_00037_7","DOIUrl":"https://doi.org/10.1386/jcs_00037_7","url":null,"abstract":"Review of: Will Kwan, Terra EconomicusCurated by Leila Timmins, Robert McLaughlin Gallery, Oshawa, 2 October 2020‐21 August 2021","PeriodicalId":41456,"journal":{"name":"Journal of Curatorial Studies","volume":"10 1","pages":"131-134"},"PeriodicalIF":0.3,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47705101","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 recent proliferation of exhibitions about oceans calls for an analysis of their curatorial premises. This article identifies curatorial methodologies consisting of procedures and exhibitions that not only speak about, but also through their oceanic subject matter in a performative way. The term ‘tidalectics’, coined by the historian and poet Kamau Brathwaite to articulate a worldview that eschews static land and evolves alongside water and flux, serves as an anchor to analyse curatorial work guided by oceanic thinking. The author argues that through a tidalectic methodology ‐ which takes cues from natural processes such as the ebb and flow of the tide ‐ current ecological, societal and onto-epistemological shifts can be addressed productively.
{"title":"Tidalectic Curating","authors":"Stefanie Hessler","doi":"10.1386/jcs_00023_1","DOIUrl":"https://doi.org/10.1386/jcs_00023_1","url":null,"abstract":"The recent proliferation of exhibitions about oceans calls for an analysis of their curatorial premises. This article identifies curatorial methodologies consisting of procedures and exhibitions that not only speak about, but also through their oceanic subject matter in\u0000 a performative way. The term ‘tidalectics’, coined by the historian and poet Kamau Brathwaite to articulate a worldview that eschews static land and evolves alongside water and flux, serves as an anchor to analyse curatorial work guided by oceanic thinking. The author argues that\u0000 through a tidalectic methodology ‐ which takes cues from natural processes such as the ebb and flow of the tide ‐ current ecological, societal and onto-epistemological shifts can be addressed productively.","PeriodicalId":41456,"journal":{"name":"Journal of Curatorial Studies","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45792335","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}
In recent years, the sporadic presence of various Caribbean national pavilions at the Venice Biennale – Jamaica (2001), Haiti (2011), Bahamas (2013), Grenada (2015, 2017, 2019), Antigua and Barbuda (2017, 2019), Dominican Republic (2019) – has on each occasion been almost unanimously applauded as marking some sort of moment of ‘arrival’ or ‘becoming’ for artists of the Caribbean, and for the local institutional structures and professionals that surround them. This article critically explores what the gains are of such a presence beyond the fleeting ‘Venice effect’ – mega-hyped exposure to international audiences, curators, gallerists and other market actors. The alleged benefits-for-all of contemporary cultural exchange, in an expanding globalizing field such as Venice, are by no means shared equally, and such discourses gloss over layers of uneven privilege embedded within the institution.
{"title":"A Moment to Celebrate? Art of the Caribbean at the Venice Biennale","authors":"W. Asquith, L. Wainwright","doi":"10.1386/jcs_00010_1","DOIUrl":"https://doi.org/10.1386/jcs_00010_1","url":null,"abstract":"In recent years, the sporadic presence of various Caribbean national pavilions at the Venice Biennale – Jamaica (2001), Haiti (2011), Bahamas (2013), Grenada (2015, 2017, 2019), Antigua and Barbuda (2017, 2019), Dominican Republic (2019) – has on each occasion been almost unanimously applauded as marking some sort of moment of ‘arrival’ or ‘becoming’ for artists of the Caribbean, and for the local institutional structures and professionals that surround them. This article critically explores what the gains are of such a presence beyond the fleeting ‘Venice effect’ – mega-hyped exposure to international audiences, curators, gallerists and other market actors. The alleged benefits-for-all of contemporary cultural exchange, in an expanding globalizing field such as Venice, are by no means shared equally, and such discourses gloss over layers of uneven privilege embedded within the institution.","PeriodicalId":41456,"journal":{"name":"Journal of Curatorial Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49543167","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}
iCon: India Contemporary (2005) was not only the first collateral event of India at the Venice Biennale, but it also began as a bid to become a national pavilion – an ambition that was ultimately unsuccessful. Drawing on original research and interview data surrounding the exhibition, this article examines the collaborations and conflicts between private art institutions, artists and the state in the context of India’s participation in the Venice Biennale since the 2000s. The article foregrounds a transversal approach – that is, an analytical framework that unsettles the conventional dichotomy between national pavilions and collateral events – and demonstrates how commercial galleries and private art institutions have acquired an important role in the production and exhibition of Indian contemporary art in global biennial circuits.
iCon: India Contemporary(2005)不仅是印度在威尼斯双年展上的第一个附带活动，而且还开始试图成为一个国家馆——这一雄心最终以失败告终。本文利用原始研究和围绕展览的访谈数据，探讨了自2000年以来印度参与威尼斯双年展的背景下，私人艺术机构、艺术家和国家之间的合作与冲突。这篇文章提出了一种横向的方法——也就是说，一种分析框架，打破了国家展馆和附属活动之间的传统二分法——并展示了商业画廊和私人艺术机构如何在全球双年展的印度当代艺术生产和展览中发挥重要作用。
{"title":"India at the Venice Biennale: Collateral Events From and Beyond the Nation","authors":"N. Querol","doi":"10.1386/jcs_00011_1","DOIUrl":"https://doi.org/10.1386/jcs_00011_1","url":null,"abstract":"\u0000iCon: India Contemporary (2005) was not only the first collateral event of India at the Venice Biennale, but it also began as a bid to become a national pavilion – an ambition that was ultimately unsuccessful. Drawing on original research and interview data surrounding the exhibition, this article examines the collaborations and conflicts between private art institutions, artists and the state in the context of India’s participation in the Venice Biennale since the 2000s. The article foregrounds a transversal approach – that is, an analytical framework that unsettles the conventional dichotomy between national pavilions and collateral events – and demonstrates how commercial galleries and private art institutions have acquired an important role in the production and exhibition of Indian contemporary art in global biennial circuits.","PeriodicalId":41456,"journal":{"name":"Journal of Curatorial Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48214440","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}
Abstract This article considers exhibitions as archival documents, and conceives of the restaging of exhibitions as an act of appropriating the archive. It examines The Pictures Generation 1974‐1984 (2009), curated by Douglas Eklund as a restaged 'riff' on Pictures (1977), curated by Douglas Crimp. Pictures was a focused meditation on the historical significance of a particular aesthetic strategy. The Pictures Generation historicized Pictures as the foundational moment of appropriation. Eklund's form of restaging, however, reinforced the racially segregated realities that have marginalized the history of appropriative practices by artists of colour. Drawing on a post+colonial framework, I consider how exhibition restagings may be leveraged as a curatorial strategy of historical rupture.
{"title":"Riffing the Canon: The Pictures Generation and Racial Bias","authors":"Riva Symko","doi":"10.1386/jcs_00004_1","DOIUrl":"https://doi.org/10.1386/jcs_00004_1","url":null,"abstract":"Abstract This article considers exhibitions as archival documents, and conceives of the restaging of exhibitions as an act of appropriating the archive. It examines The Pictures Generation 1974‐1984 (2009), curated by Douglas Eklund as a restaged 'riff' on Pictures\u0000 (1977), curated by Douglas Crimp. Pictures was a focused meditation on the historical significance of a particular aesthetic strategy. The Pictures Generation historicized Pictures as the foundational moment of appropriation. Eklund's form of restaging, however, reinforced\u0000 the racially segregated realities that have marginalized the history of appropriative practices by artists of colour. Drawing on a post+colonial framework, I consider how exhibition restagings may be leveraged as a curatorial strategy of historical rupture.","PeriodicalId":41456,"journal":{"name":"Journal of Curatorial Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46718499","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":"Restaging Exhibitions","authors":"J. Davidson, N. Foster","doi":"10.1386/jcs_00001_2","DOIUrl":"https://doi.org/10.1386/jcs_00001_2","url":null,"abstract":"","PeriodicalId":41456,"journal":{"name":"Journal of Curatorial Studies","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/jcs_00001_2","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46345963","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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