[-empyre-] WELCOME WEEK THREE TO CHRISTIANE PAUL AND NATE HITCHCOCK

Tue Apr 17 04:05:51 EST 2012

Yes it was lovely to see Sam Weber here at Cornell over the very busy
weekend, thanks Tim for mentioning that.

 Many thanks to Naeem Mohaiemen (BD) and Aram Bartholl (GE) for shepherding
our discussion during Week #2 on -empyre-. The discussions regarding the
collaborative thrusts of a certain curatorial model expanded our
discussion. I am hoping that you both will continue to join in our
discussion during the next two weeks as well.

 Many of you have recently subscribed to -empyre_ and have been attracted
by this recent discussion. Just a reminder that you can access the full
archive of -empyre discussions at
http://lists.cofa.unsw.edu.au/pipermail/empyre/  Welcome to all our our new
subscribers.

Welcome Week 3: Rethinking Curatorial Options, Globally to Christiane Paul
and Nate Hitchcock. It is always nice to feature Christiane as a featured
guest on -empyre- and to also welcome newcomer Nate Hitchcock.  We are
really looking forward to hearing  what new projects you are working on
Christiane and to hear from Nate about his work with Apache Projects.
 Welcome to both of you.  The biographies of both of our guests are printed
below.

Christiane Paul (US)

Christiane Paul is the Director of Media Studies Graduate Programs and
Associate Prof. of Media Studies at The New School, NY, and Adjunct Curator
of New Media Arts at the Whitney Museum of American Art. She has written
extensively on new media arts and lectured internationally on art and
technology. Her recent books are Context Providers – Conditions of Meaning
in Media Arts (Intellect, 2011), co-edited with Margot Lovejoy and Victoria
Vesna; New Media in the White Cube and Beyond (UC Press, 2008); and Digital
Art (Thames and Hudson 2003; expanded new edition 2008). At the Whitney
Museum, she curated the shows “Cory Arcangel: Pro Tools” (May 2011),
"Profiling" (2007), and “Data Dynamics” (2001); the net art selection for
the 2002 Whitney Biennial; the online exhibition "CODeDOC" (2002) for
artport, the Whitney Museum’s online portal to Internet art for which she
is responsible; as well as "Follow Through" by Scott Paterson and Jennifer
Crowe (2005). Other recent curatorial work includes "Eduardo Kac: Biotopes,
Lagoglyphs and Transgenic Works" (Rio de Janeiro, Brazil, 2010); Biennale
Quadrilaterale (Rijeka, Croatia, 2009-10); "Feedforward - The Angel of
History" (co-curated with Steve Dietz; Laboral Center for Art and
Industrial Creation, Gijon, Asturias, Spain, 2009-2010) and INDAF Digital
Art Festival (Incheon, Korea, Aug. 2009).

Nate Hitchcock (US_

b. 1985, graduated from the School of the Art

Institute of Chicago in 2008. He is the founder and director of Apache

Projects open source project site in Mother Neff State Park, Moody,

Texas. He specializes in New Media, Internet and screen based art. His

practice merges new display and installation methods with off-site
locations.

His research is interested in the function and non-function of technology,
nature and territories in  globalized communities."

On Sat, Apr 14, 2012 at 1:54 AM, Timothy Conway Murray <tcm1 at cornell.edu>wrote:

> Simon,
> How uncanny that you mention Sam Weber since I introduced him for a talk a
> few hours ago and cited his Introduction to first volume of Glyph where he
> emphasizes the collaborative powwr of writing.  It is, as you put it, the
> collaborative theatricality of curation that has fueled my fruitful
> encounters with the artists whose work I dialogue.  But, of course, this
> can't happen unless the curator opens him/herself up to the 'touch' or the
> 'sounding'  of the work.  Might we say that the processual constitutes the
> very curatorial ground of interaction?  Best, Tim
>
> 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 simon [
> swht at clear.net.nz]
> Sent: Saturday, April 14, 2012 1:24 AM
> To: soft_skinned_space
> Subject: Re: [-empyre-] re- Death of the Curator?
>
> Dear <<empyreans>>, Johannes,
>
> thank you for enlarging the frame of reference. I suggest you might be
> being somewhat literal about institutional roles - a direction Brad
> Brace is gently nudging us in  - since there is also a theatre of
> theatre, addressed in Samuel Weber's concept of theatricality and it was
> to this I was alluding, the processual rather than the professionally
> determinate role of director. I would also like to think that not only
> was and is directorlessness more complicated in collaborative creation,
> experimentation, its necessity for theatre as an artform, but also that
> it was and is never really as simple as director-auteurs (or authors and
> curators, for that matter) holding or occupying autocratic positions.
> Rumours of the death of kings and of queens may tend to be wishful
> thinking but they are also usually exaggerations. And I agree the
> ascendancy of these figures often coincides with what Brad Brace would
> call the bad faith of a neurotic desire to see them cast asunder out of
> self-interest. As representatives of states and institutions in a
> theatrical spectacular.
>
> Wouldn't you say that these roles - museum director, impressario,
> curator, artist, patron, director, intendant, even dramaturg, theorist,
> PR-guy and critic - have a large degree of fluidity? that their share in
> historic narratives and stake in "influence" fluctuates as creativity,
> imagination, necessity, opportunity, altruism and self-interest demand?
>
> It was David Byrne who described Robert Wilson's working method as
> circus-like and you are right of course the final productions of his
> opera as he calls them have a precision and discipline that is quite
> un-circus-like. Or is it? Interesting that the process may appear
> chaotic, crazy free-for-all of collaborative energy, but the work itself
> is austere, scarily controlled and formal: comparing Wilson's furniture
> and his drawings gives a similar impression. The trash-culture aesthetic
> which still has some currency onstage and ingallery seems to operate in
> the opposite direction: highly conceptually formalised to grab-bag of
> throw-away, kitsch, low-camp, pop-culture referencing and pomo
> self-riffing.
>
> The curatorial impulse doesn't it also outside of institutions have to
> do with choosing collaborators? that is, not just the making, showing,
> recording of work, but the selecting, aligning and rallying of people
> powers and their deployment in space, in (a) specific places(s)? the
> emplacement as well as the connective tissue of communication? (I would
> like to say tactic and strategy.)(Here again, the example of Robert
> Wilson (and Diaghilev, yes), for his foregrounding of this selection,
> emplacement process, not because we "used to talk about curating.")
>
> Best,
>
> Simon Taylor
>
> www.squarewhiteworld.com
> _______________________________________________
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>

-- 

Renate Ferro
Visiting Assistant Professor of Art
Cornell University
Department of Art, Tjaden Hall Office #420
Ithaca, NY  14853
Email:   <rtf9 at cornell.edu>
URL:  http://www.renateferro.net
      http://www.privatesecretspubliclies.net
Lab:  http://www.tinkerfactory.net

Managing Co-moderator of -empyre- soft skinned space
http://empyre.library.cornell.edu/
http://en.wikipedia.org/wiki/Empyre
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