#curatorial studies

[dhampiro]

kind of crazy that i got to joke about “canonising abel nightroad as a catholic saint because he got his head cut off For The People” with my professor and have it be fully reciprocated. “CHURCH FANFICTION” is written in all caps and underlined on my exhibition planning sheet thanks to her

[artwithjej]

Hi👁️👅👁️

It’s me, J !!

<3

[taihsuanan]

Primeiro folder da exposição em Goiânia. "Diáspora, Convergências e Conexões em 40 anos na arte de Tai Hsuan-an"

[astermacguffin]

While not all ekphrastic work can be considered transformative (most are really just complementary/explanatory), I think it can be argued that all transformative work has some degree of ekphrasis in them. This idea came to me yesterday while listening to my classmate's proposal defense in our art curatorship class. (Her exhibit proposal aims to tease out the ekphrastic nature of different online artists and their works during pandemic times. My proposal is about fanworks and transformative work in general, and our proposals have a strong symbiosis between them.) Hopefully we can collaborate soon and write about each other's curatorial work once we actualize our proposals.

[eashtuquajturavepraarti]

Proposal for a Curatorial Project Entitled “O/new/fri”

The curator or curatorial collective applies to the Call for Proposals from the Ministry of Culture. The proposed project will call upon artists to investigate the purpose and utility of the Onufri exhibition. Artists may engage with past Onufri exhibitions, creating archival projects documenting the changes in the exhibition over the years. They may trace the patterns of funding and involvement in the organization to uncover the key stakeholders and actors in the exhibition in the past and today. They may artistically propose alternative formats for the exhibition, or realize works that explicitly WILL NOT be included in the exhibition space. They may choose to realize an exhibition in an alternative venue in place of Onufri. They may choose to attempt to produce a work so paradigmatic of contemporary trends in art (Albanian or international) that it will ‘win’. Artists may announce their own ‘winners’ of the exhibition, whether or not they participate. Artists may choose not to participate at all, but their names may be listed on the walls of the exhibiton. Artists may participate under other names to increase their chances of winning. Artists may produce works critiquing the lack of structure, direction, and vision of the exhibition. Artists may produce works that do not relate to this curatorial theme in any way, that instead address pressing issues in society.

[drawdownbooks]

The Exhibitionist (Issue 7)

Designed by Jon Sueda. The Exhibitionist was founded in 2010 as a journal by curators, for curators, in which the most pertinent questions on exhibition making would be considered and assessed. Includes: Miguel Amado analyzing the birth of Tate Modern in 2000 by comparing its innovative (and often controversial) collection display models with its first temporary exhibition, Century City: Art and Culture in the Modern Metropolis (“Tate Modern and Century City: Two Sides of the Same Coin”)

[drawdownbooks]

Last Copies! The Exhibitionist (Issue 8)

Designed by Jon Sueda. The Exhibitionist is a magazine made by curators on the practice of exhibition making. The issue is comprised of three section sections—Reflection, Response, and Critique.

[drawdownbooks]

The Exhibitionist (Issue 10)

The Exhibitionist is a magazine made by curators, for curators, focusing solely on the practice of exhibition making. Designed by Jon Sueda. Inside this issue: Prem Krishnamurthy recovers the practice of the East German designer Klaus Wittkugel, who put advanced exhibition design to work for a Stalinist ideology in the 1950s but is today largely forgotten, (“Selling Socialism: Klaus Wittkugel’s Exhibition Design in the 1950s”) and much more!