#on curating

[montecristoproject]

We are super happy to present this interview with Domenico Ermanno Roberti published on the latest issue of On Curating Journal (#41): “Centres ⁄ Peripheries – Complex Constellations”, edited by Ronald Kolb, Ella Krivanek, Camille Regli, Dorothee Richter. Printed version and pdf are available on the website  🍉 http://www.on-curating.org/issue-41-reader/interview-with-montecristo-project.html#.XRNEYorOOhA

[the-beattokeep]

Ephemera are objects with a specific temporality. They announce events and exhibitions. In this role, they accompany, frame, and comment on the production of art at a certain time and in a certain place. Ephemera make it possible to understand art in its historical ties. Invitations / Postcards / Business Cards / Works of Art from On Curating, Issue 27

[nocurators]

http://oncurating-journal.de/index.php/issue-26-reader/the-curator-and-her-double-the-cruelty-of-the-avatar.html#.VnkoIt8vfdQ

[siobhanfeddendegree-blog-blog]

On: Authorship (ext)ended: artist, artwork, public and the curator: An interview with Ute Meta Bauer and Yvonne P. Doderer

Annemarie Brand, Monika Molnár - On Curating.org

Article Analysis - Siobhan Fedden

The interview with Ute Meta Bauer and Yvonne P. Doderer explores the role of the audience attending an exhibition, focusing on levels of engagement and the relationship between, artists, curators, the public and the artwork. This relationship is forever shifting as the art world develops. It develops through the establishment of dialogue and exchange between artists, curators, the public and the artwork. This dialogue is crucial in terms of the way in which exhibitions and artwork are produced but also in terms of the role of artists as curators.

The development of education in terms of curatorial practice is a key focus in the writing. The position of curators has changed through its introduction into education, it is no longer an amateur activity or something solely done by artists when setting up their own exhibitions. This means that there is a clearer divide between artists and curators so the role of artist as curator has to constantly be re-evaluated, as curatorial practice changes due its academization. This structural shift directly effects the art market, as universities operate in a way that determines the focus of knowledge gain and development of practice for their students. This means that their is a certain level of homogenisation in curatorial practice, which creates a requirement for institutional critique and critical reflection.

Exploring the position of female artist-curators in a male dominated art world, the article looks at their invisibility and the way in which women are often viewed as a ‘specific species’ of artists through the curation of exhibitions that focus on “women's arts”. Although those types of exhibitions raise the profile and awareness of female artists, it backfires as it turns women into a particular category of artist. This leads to the suggestion that the position of gender in the art world should be studied as part of art education, to reduce discrimination and develop discourse about the power structures in place that keep women earning lower wage, on average throughout all employment.

Weblink:

http://www.oncurating-journal.org/index.php/issue-19-reader/authorship-extended-artist-artwork-public-and-the-curator-an-interview-with-ute-meta-bauer-and-yvonne-p-doderer.html#.UlsGgxY71O3