Barnaby,
When I saw Curating Degree Zero in Bremen there was a tote bag of sorts for
each curator. In the bag one found the curator's writing, catalogues, etc.
Since then the presentation has often changed, but it is not clear to me how
parallels in different people's curtorial strategies are brought to light by
the exhibition. In Bremen, a visitor would have to sort the through all the
material him or herself in order to figure out what each curator was doing -
much like researching at a library.
In response to your writing, "...the tendency is for people to observe the
critical and experimental strategies that new-media curators share with
other kinds of curators, rather than seeing the question of media as one of
separation..." I ask: Really? How are they able to pick those nuggets out
of the expanse of material presented in Curating Degree Zero?
There is a lot of valuable material in the exhibition, and as the amount of
information continues to grow, how does Curating Degree Zero organize that
information so that a viewer does not have to spend days culling it in order
to get anywhere? Or should the viewer come with pre-formulated questions
(like one would when one goes to the research desk at the library) and start
from there?
Kindly,
Rosanne Altstatt
> Dear List
>
> in relation to the theme of the month about curating education and the
> role of documentation I wanted to tell you a little about the curating
> degree zero archive a project which I have been developing with
> Dorothee Richter since the beginning of 2003. It is a live, growing
> archive of material aboput critical and experimental approaches to
> curating, that could be seen as a direct answer to Beryl's question
> about how curators are documenting their process and sharing their
> knowledge with future generations.
>
> The concept we have chosen for the archive, rather bizarrely some
> think, is the touring exhibition. The collection of over 900
> publications, websites, audio cds, cd roms, dvds and videos has been on
> the road since its conception and we install it into gallery and
> project spaces as it travels, normally with the help of an artist,
> group of artists or designer who 'reinterpret' the display at each
> site. We have been touring to venues in Switzerland, Austria and
> Germany and we are now on our way through England, with the support of
> the arts council. It is normally at each venue for around a month and
> we always try to accompany the exhibition with discussion events on the
> issues addressed by participants in the archive.
>
> In fact, in Sunderland, with the archive on display at the Northern
> Gallery of Contemporary Art, we will be holding a discussion entitled
> 'curating can be learnt, but can it be taught?' on the 19th April.
> Amongst the international speakers we have invited Liliane Schneiter,
> who co-directs the CCC (curatorial, critical, cybermedia) study
> program in Geneva, she has been developing a site with her students
> http://www.cyberaxe.org/ , and she will be talking about this as an
> alternative space for the students to curate, produce work and engage
> in critical discussion.
>
> What is perhaps interesting for the list is that the archive bundles
> together documentation about the practices of new-media curators,
> freelance curators, artist curators and collaborative groups who
> curate. In doing so the tendency is for people to observe the critical
> and experimental strategies that new-media curators share with other
> kinds of curators, rather than seeing the question of media as one of
> separation.
>
> Dorothee and I would be interested to hear from list members what they
> think of this approach, if any of you would like to attend the
> discussion, and of course any comments or recommendations about the
> archive project as a whole, from the viewpoint of a new-media curator.
>
> The archive is online at www.curatingdegreezero.org
>
> warmest regards
>
> Barnaby Drabble
>
>
>
>
>
> Barnaby Drabble
> Culmannstr. 22
> Ch-8006
> Zürich
> Switzerland
>
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>
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