Пятая Московская кураторская летняя школа. Подача заявок до 24 июня
Фонд V-A-C представляет пятую Московскую кураторскую летнюю школу и
объявляет прием заявок.
Школа будет проходить в период с 18 июля—5 августа 2016 года в
Государственном музее Востока.
Тема школы: «Практика вещей».
Обучение в Московской кураторской летней школе бесплатное. Участникам из
других городов будут возмещены расходы на проезд и проживание.
Участникам из других стран необходим действующий паспорт и готовность
заняться получением визы в Россию.
К участию в конкурсе приглашаются люди, заинтересованные в изучении
истории и практики кураторства и современного искусства.
Требования к кандидатам:
- законченное высшее образование или профессиональные достижения в
современном искусстве (в кураторстве или художественных практиках), а
также интерес к кураторству;
- знание английского языка, позволяющее принимать участие в семинарской
работе и слушать лекции. Занятия будут проходить на английском языке.
Форма заявки:
- резюме (с указанием возраста, образования, академических или
профессиональных достижений);
- мотивационное письмо (не более 1500 знаков);
- описание невыставочного кураторского проекта на тему «Практика вещей»
(не более 2000 знаков).
Все документы должны быть представлены на английском языке в формате
PDF.
Прием заявок до 24 июня.
Контакты: [email protected]
Подробности: http://5th.curatorialschool.v-a-c.ru/
- - -
About
Moscow Curatorial Summer School was conceived by the V-A-C Foundation in
2012 as an annual programme running for three weeks every July. While
the intensive development of the contemporary art system in Russia has
turned the curator into one of the most important and at the same time
problematicfigures within the Russian cultural context, the School aims
to foster discussion around questions such as: What are the professional
boundaries and competences of a curator? What are the author's rights
and professional duties? What levels of knowledge and skill define this
new sphere of professional activity? How should this specialized
experience be applied professionally? Students selected to take part in
the summer school are chosen on the basis of their applications.
Students are involved in the preparation of curatorial projects and
seminars, while the lectures are open to the public.
Theme
Curatorial Things
The fifth edition of the Moscow Curatorial Summer School is devoted to
the changing meaning and status of things. This development has been
especially evident since the beginning of the 21st century, but can be
traced back to the growing scepticism towards culture being presentable
through things since the second half of the 20th century. As a paradigm
shift the questioning of thingness becomes particularly evident in the
mode of presentation, which in turn has decisively informed and shaped
the societal relevance of the field of the curatorial. Imminently
related to presentation as a mode of being (public) in the world, - in
terms of practices, methods as well as discourse, - the curatorial has
the potential to address, visualize and question the central effects of
the changing status and function of things. Even further than that the
presentational mode must be considered to have had a generative role in
this development, since it participates vitally in the mobilization of
things with all its aesthetic, semantic, social and not least economic
dimensions.
In the practice of today's globalized exhibition system things are of
high mobility just like people, discourses and information. Being thus
involved in changing signifying contexts traditional concepts of how
things obtain meaning as exhibits begin to dissolve and get
re-formulated. This development entails far-reaching consequences for
the techniques, strategies and conditions of dealing with them. Among
them must be noted a significant shift in the attitude towards exhibits
from containers of meaning to "semantic monsters". Initially in Western
culture exhibits were understood as repositories of meaning and thereby
obtained the central constituting role in the conception of the museum.
Just as little as this notion can be generalized in regards to
non-Western exhibition practice and institutions, it cannot be applied
to the curatorial practice of other disciplines – such as theatre, dance
or film. Considering things as "semantic monsters" requires an
experimental reflection on notions and methods of presentation,
contextualization, actualizing, and documentation taking the
ephemerality, immateriality and shifting encounters into consideration.
Finally, things can acquire the status of agents, thus acting as
participants in presentational situations. Challenging the line of
demarcation between things and human beings necessarily asks for a
revision of the concept of presentation. It is particularly evident in
museums that present art, craftsmanship, archaeology, ethnography, and
anthropology together or separately — like in the Oriental Art Museum
where the 5th Moscow Curatorial School will take place. Its collection
is based on several private collections dating back to the late 19th
century, as well as gifts to the museum and objects discovered during
archaeological excavations. Having several official names — Museum of
the Nations of the East, Museum of the East and Oriental Art Museum —
this exceptional institution draws the distinction between the East and
the West as introduced in the discourse of Orientalism and bases the
presentation of things on fascination with, and appreciation of, Eastern
traditions, philosophy, religion, and culture. The collection of the
Oriental Art Museum is divided into regional departments and showcases
an outstanding constellation of artifacts, carefully labeled and placed
on the historical timeline. This combination of things from the East and
the Western tradition of repositories establishes a certain system of
relations between things as well as defines the value of each of them
and the significance of the collection as a whole, while the museum's
research and educational mission let this system remain scientific and
objective. But what happens to the status and the role of these things,
this relationship and these systems as history goes on? And how do they
keep their validity with regard to the notions of the contemporary and
the curatorial?
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