BLISSFUL DIALOGUES: Common Ground for Curators
“...my brand of a curator is one who tries to curate discursive
events”. (Maria Lind, “Stopping my Process: A Statement”, in: Mika
Hannula, ed. Stopping the Process? Contemporary views on art and
exhibitions, NIFCA, Helsinki: 1998. p.240)
New media art often crosses boundaries between art forms and
disciplines, but sometimes does not cross the boundaries into
contemporary art in general. With the current art interest in
relational art and social networks, these social events aim to share
curatorial knowledge across the boundaries. A series of dialogues
between curators of new media art, and curators of contemporary art in
general. aim to tease out areas of common ground and compare useful
experience and methods.
The context for the public dialogues will be an informal social setting
involving a very nice cup of tea, and the chance for further discussion
by the audience discussion.
The themes for dialogues will include the common interest in:
collaborative curation; contemporary art and new media; Location,
internationalism and festivals.
Collaborative Curating.
28th July 4-6pm. National Museum of Singapore
Contemporary artists often work in collaborative groups, and blur the
boundaries between artist and curator. Curators have followed this lead
by curating in small teams or larger groups. Beyond this model, there
is the further possibility that the ‘audience’ can begin to take on
curatorial roles in selecting and arranging artworks, such as
Furtherfield’s Do It With Others,and TAGGallery. How are curators using
artist’s models most usefully? Who is really collaborating with who?
Are curators making a “platform” for others to make art or curate? Is
there such a thing as truly collaborative curating?
Dialogue between:
Woon Tien Wei p-10.
p-10 is an independent curatorial team with a project space. Woon Tien
Wei is one of the curatorial team and an artist who works and lives in
Singapore. He studied at Goldsmith's College, London. He was the
President of The Artists Village (2001), co-director of The Danger
Museum (since 1998) and a founding member of a net art collective
tsunamii.net (2001). http://www.p-10.org
Nina Czegledy.
Nina Czegledy is an independent media artist, curator and writer. She
has programmed and curated over twenty international media art/video
programs and touring exhibitions that were presented in 28 countries.
Together with Iliyana Nedkova she has organized the Crossing Over, a
workshop/media residency project which has been realized in Sofia (1996
and 1997), Novi Sad (1998), Ljubljana (1999), Colombus, Ohio (2000) and
Liverpool (2001). Czegledy is also a board member of ISEA, Images
Festival, and Interaccess Electronic Media arts Centre.
Invited respondent(s): Joasia Krysa and Geoff Cox
Joasia Krysa (PL/UK) is a curator, founder of KURATOR, as well as
lecturer/researcher at the AZTEC (Art Science Technology Consortium at
the University of Plymouth (UK). She edited Curating Immateriality
(Autonomedia, New York 2006). Recent curatorial projects include
openKURATOR; exhibition After The Net curated for Observatori 2008 (9th
Festival Internacional de Investigación Artística de Valencia).
Geoff Cox (UK) is Associate Curator of Online Projects at Arnolfini,
Bristol (UK). He is Lecturer in Art and Technology at the University of
Plymouth (UK). His research interest concerns software culture and is
expressed in various projects such as the co-curated touring exhibition
Generator (2002/03). http://www.kurator.org/wiki/main/read/About
Is new media art just one of the contemporary arts?
29th July 4-6pm. National Museum of Singapore
Steve Dietz has said that collecting new media art is just like
collecting anything else, only different. Is curating new media art
then simply one of the contemporary arts? Is the difference not in the
artwork but in, as Christiane Paul has said, the curatorial modes of
working?
Dialogue between:
Contemporary Art Curator to be confirmed
Kathy Rae HuffmanDirector of Visual Arts at Cornerhouse -- Manchester's
centre for contemporary art, media and cinema. Previously, she was as
the director of Hull Time Based Arts, and Associate Professor of
Electronic Art, and director of EMAC at Rensselaer Polytechnic
Institute. She was a member of HILUS Intermediale Projekt Forschung,
Vienna (1995-1998), and was curator/producer of the Contemporary Arts
Television Fund, a project that joined WGBH TV (Boston's public
television station) & The Institute of Contemporary Art Boston
(1984-1991). She was Curator at the Long Beach Museum of Art, and
director of its regional media art centre, with a collection that
focused on the history of Southern California media art, from
1979-1983.
Invited respondent: Deborah Lawler-Dormer
Director of Auckland's newly relaunched MIC Toi Rerehiko Media and
Interdisciplinary Arts Centre, formerly known as the Moving Image
Centre.
Location and the Festival
30th July 4-6pm. FOOD03 (p-10’s café)
International festivals have a keen sense of both the economics of
where they are, and the need for international publicity and scope
(it’s often a tension between these). Festivals have been argued to be
particularly suitable for fast-moving new or specialist artforms, and
for exploring process and discourse, and therefore particulary suitable
for new media art – is this the case? Concerning location (one of the
themes of ISEA) and internationalism, do the connective characteristics
of new media make this any different? If festivals curate discourse (or
dialogues!) then what kind of discourse works well?
Dialogue between:
Festival Curator to be confirmed.
Amanda McDonald Crowley, Executive Director at Eyebeam New York,
andexecutive producer for ISEA2004 held in the Nordic/ Baltic region.
She was artsworker in residency at Sarai New Media Initiative in Delhi,
a consultant to the New Media Arts Board of the Australia Council, and
Associate Director, Adelaide Festival 2002. From 1995 to 2000 she was
Director of the Australian Network for Art and Technology (ANAT)
http://www.eyebeam.org
Invited respondent: Kerstin Meyis a Professor at the Faculty of Arts,
University of Ulster, host of ISEA 2009 in Northern Ireland. She has
PhD in Art Theory/Aesthetics from Humboldt University of Berlin and a
PG Dip in European Cultural Policy and Administration from the
University of Warwick. Her curatorial activities include Bodies of
Substance: Margaret Hunter, Azade Koker, Ping Qiu, Talbot Rice Gallery,
University of Edinburgh, February/March 2002 and Gakerie M, Berlin,
April 2003.
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Beryl Graham, Professor of New Media Art
School of Arts, Design, Media and Culture, University of Sunderland
Ashburne House,
Ryhope Road
Sunderland
SR2 7EE
Tel: +44 191 515 2896 [log in to unmask]
CRUMB web resource for new media art curators
http://www.crumbweb.org
24th- 31st July 2008 I'll be working at ISEA in Singapore, and so may
take longer to reply to emails. In August, I'll be on holiday.
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Beryl Graham, Professor of New Media Art
School of Arts, Design, Media and Culture, University of Sunderland
Ashburne House,
Ryhope Road
Sunderland
SR2 7EE
Tel: +44 191 515 2896 [log in to unmask]
CRUMB web resource for new media art curators
http://www.crumbweb.org
24th- 31st July 2008 I'll be working at ISEA in Singapore, and so may
take longer to reply to emails. In August, I'll be on holiday.
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