[-empyre-] Welcome to empyre Week 4:Rethinking Curatorial Options: Globally

Timothy Conway Murray tcm1 at cornell.edu
Mon Apr 30 13:33:44 EST 2012

Hi, Arshiya,

It's so wonderful to hear your voice on the -empyre- soft-skinned space.  I'm wondering if I could invite you to say a little more about your curatorial projects and philosophy in relation to your stimulating posts.

I haven't yet gotten down to see the Being Singular Plural show but was fascinated by a talk by its curator, Sandhini Poddar, that brought the work of the show directly into dialogue with the Western philosophical tradition (philosophers such as Jean-Luc Nancy and Gilles Deleuze) in a tremendously exciting way that marshalled the art works to inform and dialogue with the philosophical references, in contrast to the predictable other way around.  Here the works and their specificities as being singular plural opened up new representational frameworks for thinking art.  So glad that you mentioned this show and hope that our subscribers are able to check out the website.

In the short time left to us for this month, could you send us links to some of your exhibitions in Mumbai and say a little bit more about your curatorial frameworks?



Director, Society for the Humanities
Curator, Rose Goldsen Archive of New Media Art
Professor of Comparative Literature and English
A. D. White House
Cornell University
Ithaca, New York. 14853
From: empyre-bounces at lists.cofa.unsw.edu.au [empyre-bounces at lists.cofa.unsw.edu.au] on behalf of Lakeeren Gallery [lakeeren at lakeerengallery.com]
Sent: Sunday, April 29, 2012 2:35 PM
To: soft_skinned_space
Subject: Re: [-empyre-] Welcome to empyre Week 4:Rethinking Curatorial Options: Globally

Dear All,

Want to respond to many strands that are taking place here.
First, Rene congrats on your upcoming show at the Freud’s museums …it
is such an factinating museum and I can imagine your interest to show
there. All the best !

Second, not a fan of curatorial programs…I went to Goldsmiths College
2000, I can’t believe you can learn curating from a course( sorry its
my own take on it). Also  it is very encouraging to believe that
“curatorial programs will play a major role in encouraging future
boundary crossings.” A decade ago it was difficult to speak about
Indian art in class without people loosing interest. I think a lot
acceptibility of art today is linked to the market. It seems that
Chinese and Indian art have gained a new respectibility since their
economies are growing. Would love to know your thoughts on this…

Third, I think Christiane point about seeing art with “a distinctly
different aesthetic language ” is significant.  I agree this is
necessary on all counts including the need for more “international
curatorial voices.” But when will we stop this tokenism of the “usual
suspect” list of artist and curators. Can we truly curate another
culture without a deep-ened research or not employing Spivak’s term “
native –informant.” I have been thinking about this a lot..especially
in the Indian case we have  international curators who curate the same
artists repeately…outline the same issues globalization…etc producing
similar looking show.

I am currently working towards a large exhibtiion on New media from
India … I wondered if anyone saw the exhibit at Guggenheim, NYC Being
Singular Plural that features 7 Indian artist. Would love to know your


More to follow..

On Sun, Apr 29, 2012 at 7:52 PM, jonCates <joncates at gmail.com> wrote:
> its good to read these accounts of these hystories && i hopes yawl + others
> will propose && present these @ RE:NEW, the upcoming Media Art Histories
> conference hosted by RIXC to be held in Riga, Latvia:
> http://www.mediaarthistory.org/renew
> im wondering outloud also about, as Christiane writes, the global / regional
> / local in relation to imperialisms, colonial projects, the flows of global
> capital in globalized hypercapitalism, etc... && questions of scale. in
> other words, on what scales can these issues bue mobilized by artists,
> curators + artists/curators?
> my own response has been to move towards && maintain small scales (1), to
> operate in as ARAM writes, super-niches (2) + out of the way places (3), not
> unlike Nate's Apache Projects project. but then to be able to translate
> between these small scale operations && other worlds, such as the academic
> worlds i work in (4)
> + following Elvira Dyangani Ose's questions... ARAM's SPEED SHOW platform /
> project activates the art of the Internet-cafe as a specific && specifically
> globalized place && activates Internet-cafes w/ art of the Internet, also a
> specific && specifically globalized space
> another project which bears these issues out, but differently, + has been
> invoked in this conversation is Rafael Rosenthal's initiation of the BYOB
> platform / project: http://www.byobworldwide.com
> which i have been involved in versions of + have mobilized critiques of
> through my participation:
> http://systemsapproach.tumblr.com/post/11911744459/byob-chicago-joncates-digital-arts-collector
> i would be vry curious / interested in others' perspectives on how these
> projects / platforms, either those proposed +/or those realized, make real
> various aspects of New Media Art in which we are "Rethinking Curatorial
> Options: Globally" online && AFK...
> // jonCates
> http://systemsapproach.net
> jon.satrom and jonCates (2006)
> http://www.scribd.com/doc/4057921/PROPOSAL-FOR-A-MESHWORK-OF-R4WB1T5-MICROFESTS
> 2. SPEED SHOW vol.4: ’Super Niche’ - ARAM Bartholl (2010)
> http://speedshow.net/speed-show-vol-4-super-niche/
> 3. Entropic elasticity: Critical Glitch Artware & the demoscene - Rosa
> Menkman (2010)
> http://www.furtherfield.org/reviews/entropic-elasticity-critical-glitch-artware-demoscene
> 4. Teaching without Philosophy - jonCates (2009 revision)
> http://systemsapproach.net/TEACHPHIL.html
> _______________________________________________
> empyre forum
> empyre at lists.cofa.unsw.edu.au
> http://www.subtle.net/empyre

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