[-empyre-] Curatorial Studies

[pedro]

thank you brian for the texts - very useful.

""We can observe two tendencies in the management of local culture :
that which takes as it's reference open code and proposes structures
of cooperation, coproduction, prototypes .. and those that are
generated from closed code, based on the distribution of spectacles in
any of their formats (exhibitions, museums, concerts ..)" Ramon Alba"

It is interesting to reflect on the role of the "curator" in the open
code modality (the closed code one we already know pretty well, agent
of the 0,1 %) - what is her function ? how can she generate the
necessary spaces and articulate the discourses ? when to intervene,
when not ?

for those who read spanish, Ramon Alba, is an interesting thinker on
culture - http://espaciorizoma.wordpress.com/ - this is a manifesto he
wrote that I am very fond of :
http://espaciorizoma.wordpress.com/2011/03/09/670-2/

more soon

p/


On Fri, Apr 6, 2012 at 8:25 PM, Brian Holmes
<bhcontinentaldrift at gmail.com> wrote:
> On 04/06/2012 06:45 AM, pedro wrote:
>
>> not sure what you mean by a romance, susan, do you mean a fantasy ?
>
>
> I was really kinda curious about that too... For sure, with the formerly
> democratic societies in a state of total corruption, basically on the edge
> of a new kind of fascism, and falling over that edge all the time,
> politicized art practices that unfold in institutionally sanctioned spaces
> often DO look like a fantasy. And when they don't, as in the example of
> LABoral that Pedro gave, well, such experiments are often closed down.
>
> But what exactly do you think, Susan?
>
>
>> in this sense i think its very important on any debate about curating
>> to talk about open practises such as budgets being well documented and
>> communicated with the artists and public, the willingless to let
>> processes unfold outside of the narrative framework determined, what
>> licenses are used, the role (or absence) of collective processes, the
>> documentation ...
>
>
> I'd like to hear more about the above, because those are serious questions
> about the practice of curation, which otherwise are usually tied so closely
> to the power structures of the capitalist/oligarchical state which Ana talks
> about, that I tend to lose all interest. If you want to check out what I
> mean by total corruption, read Andrea Fraser's recent article "L'1% c'est
> moi," whose title indicates a very productive anxiety about who we might be
> becoming in the world of art. And check out the prototype of her and
> Jennifer Gradecki's "Artigarchy" project which I hope will go viral and
> relieve Fraser of the evidently useless and fruitless search for some
> institution that would "take it on" (I think no such institution exists at
> present):
>
> http://toddusandronicus.files.wordpress.com/2012/01/andrea-fraser-1.pdf
>
> http://jennifergradecki.com/artigarchy.html
>
> There is also quite an interesting video (I actually love this thing) that
> was made a few years ago by Marysia Lewandowska and Neil Cummings, about the
> possible transformation of art institutions. It's called "Museum Futures:
> Distributed." It was commissioned by the Moderna Museet for their 50th
> anniversary, and the strategy of the video is to take the the commission
> quite seriously and project 50 years into the future to see what an
> institution might become if Pedro's basic ideas - what you might call
> democratic common sense - were actually implemented. If you listen closely
> to what is being said, you realize that the new institution only emerged
> after a great economic crisis and a period of major social unrest:
>
> http://www.youtube.com/watch?v=rW6RbAXSo6I
>
> There are three parts to the YouTube upload. The script by Neil Cummings can
> be found here: http://tinyurl.com/museum-futures
>
> subvert and enjoy, Brian
>
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