Curating Art after New Media – Professional Development Course
24 Feb to 2 Mar 2019, Central London
This intensive week-long course is aimed at curators, exhibition organisers, educators and others working with art now. It critically examines how curating can best match contemporary art practices. Further details contact email@example.com.
What a brilliant week of visits, speakers and discussions! too many thoughts to include them all here, so hop over to the UOS website here for my write-up.
Stephanie Fletcher, University of Salford Art Collection
Hi all, just thought I’d share a few more images beyond what I’ve been posting to the Critical Distance FB and IG feeds — these are from my extracurricular activities during the week (just 1 or 2 shots ea to keep things reasonable), plus any pics I had with people from the group during our scheduled visits, just for fun. Everyone is in at least one photo (although the pictures with Ben and Bruce are only in the social media sets so you’ll have to go there to see those haha).
For close-ups and captions, click on the first image and then you can advance thru using arrows — scroll down in image view for captions in the comments section and click “view full size” to see better detail. I only have time for basic captions so if anyone wants any more info on what’s pictured, DM me at firstname.lastname@example.org and I’m happy to send it along.
Thanks again to Beryl for organizing a great week with so much variety and opportunities for discussion — I feel updated! Thanks also to everyone in the class of 2019 (did we ever agree on a name?) for the great questions and conversations. Everyone’s up to such exciting stuff — I do hope we’ll stay in touch and perhaps even work (or just hang out again) together someday. Consider this your open invitation to Toronto, and don’t be surprised if show up at your space this summer when I’m back for my family vacation. 🙂
Furtherfield Marc Garrett, Co-Director, on collaborative curatorial practice (DIWO, NODE.London festival), and technology that creates aspects of emancipation rather than genius. The Science Gallery John O’Shea, Head of Programming; Melanie Davies, Events and Research Coordinator; Judit Agui, Production Assistant; Alastair Frazer, Gallery and Technical Manager; discussing curatorial ethics and science ethics, and backgrounds from neuroscience to fine art.
The exhibition Genetic Automata with new commissioned work by Larry Achiampong and David Blandy is part of Arts Catalyst’s long-term curatorial research project Radical Ancestry. Two video installations address the phenomenon of DNA ancestry testing. Drawing on a range of visual references such as video games, they show some of the persistent misconceptions about race inherent in the practice. These were also the subject of a panel discussion with the two artists and the geneticist and author Adam Rutherford earlier in the week. In the corner room of Arts Catalyst, with large windows opening up to the surrounding neighbourhood, a multi-channel video installation stands next to a mural by Wumi ‘Wumzum’ Olaosebikan. In this drawing, the outline of a head is crammed full with some of the conflicting tropes about identity and belonging that permeate Western (and specifically British) society and popular culture today.
Autograph with Ali Eisa, Public Programme Manager (Education) seeing the fantastic exhibition by Phoebe Boswell, and discussing the changes from 1980s photographic representational issues, to artists now who use any media necessary, and all staff having training in digital archive skills. ODI (Open Data Insitute) with Julie Freeman, Art Associate; Hannah Redler, ODI Commissioning, on Open Data, curating data for an office space, defining types of data art, and, of course, ceiling cat memes!
Tate Britain Rebecca Sinker,
Convener Digital Learning on making the process public, and helping understanding from drop-ins to more engagement; Adrian Shaw, Curator Late at Tate Britain on being space-makers for 150 Tate Collectives Producers and
30 Late at Tate Research Group, and the museum as research machine; Patricia Falcao, Conservator Time-based Media on defining significant properties, what is ‘loss’, and
Young Hae Chang Heavy Industries wating their kids to see their works on their phones, rather than the properties of Flash. Imperial War Museum (IWM) Rebecca Newell, Head of Art on Making A New World season including media installations by John Akomfrah and 59 Productions, the grey area between curating art and learning design, media-agnostic exhibitions which actually include new media art, and future media-agnostic collecting models.
Marie Foulston, Curator of Video Games, and curator of the Video Games exhibition.