GEOPOLÍTICA DEL ARTE: NOCIONES EN DESUSO

GEOPOLÍTICA DEL ARTE: NOCIONES EN DESUSO – Néstor García Canclini

1. ¿Cómo definir en las artes las relaciones entre norte y sur o entre oriente y occidente? Distintas épocas generaron narrativas que hoy son difíciles de aplicar como: colonialismo, imperialismo, poscolonialismo. Subsisten procesos de dominación que merecen los primeros dos nombres, pero la mayor parte de los vínculos asimétricos, desiguales, entre países o culturas requieren otros conceptos, que aún no tenemos.

Las teorías poscoloniales, nacidas en India y otros países asiáticos independizados hace cinco o seis décadas, son menos productivas en América latina, donde muchos países celebran este año el bicentenario de su independencia. Algunos latinoamericanistas de la academia estadounidense intentan destacar los “legados coloniales”, especialmente en zonas con alta población indígena. Pero si uno quiere tomar en cuenta lo que sucede en las ciudades (donde habita más del 70%), aun en el centro histórico de la ciudad de México, el que conserva más edificios de la colonia, los problemas demográficos y económicos, de tráfico y contaminación, de desarrollo cultural y social, necesitan ser leídos como efectos de las contradicciones modernas.

Continua em http://salonkritik.net

CuratorLab – Curatorial Program for Professionals in Arts, Crafts and Design

CuratorLab (Estocolmo)
Applications are accepted once a year, to enter in September 2010.
The application deadline for 2010/2011 is April 5, 2010.

CuratorLab is an international self-directed curatorial course dedicated to the advancement of curatorial practices based on research in the arts, crafts and design. It is designed to offer time to conduct research and to explore new directions and ideas in order to develop artistic or theoretical work while linking academic study to cultural projects.

The program offers the participants the possibility to develop and realize one individual or collaborative project in the form of a public presentation, i.e. exhibition, lecture series, publication, screenings, seminar, for which CuratorLab provides professional feedback and practical support as well as a moderate research/production budget.
The final form, and where it will be presented, is decided by each participant in dialogue with his or her personal advisor.

CuratorLab will arrange guest lectures by professionals in the field, and provides each participant access to the faculties across Konstfack’s nine departments, visiting curators, critics and practitioners, and be welcomed into graduate seminars and classes.

Dependant on the individual aims and research topics of the participants the faculty will assist in contacting art institutions to arrange lectures, to set up meetings with professionals in the field, as well as schedule studio visits with artists and designers in the Nordic region.
Participants will be introduced to Konstfack’s Nordic and international network in arts, design and craft.

Participants are encouraged to organize public presentations within Konstfack, in the form of discussions, lectures, screenings, or seminars, for which they will receive support by the faculty.

Konstfack provides each participant with a shared office space including telephone, Internet and other amenities, and access to local research libraries.

Applications are accepted once a year, to enter in September 2010. The program is flexible. It can be divided over different intervals over the academic year and it is not required to be based in Stockholm full time. The final schedule will be determined during the first meeting mid September in Stockholm.

Language
The program is international and all seminars are in English.

Costs
Tuition at Konstfack is free of charge. The university college has no scholarships to offer students.
For more information on study in Sweden please visit
www.studyinsweden.se and
www.studyinsweden.se/Scholarships/SI-scholarships/

Requirement for Application
MA degree in fine art, art history, critical studies, architecture, crafts and design and / or equivalent working experience in independent curatorial practices or within institutions.

Application Deadline
April 5, 2010.

Application Form
Download the application form here (pdf).

More information
For further information please contact Renée Padt, Programme Director CuratorLab, [email protected]

http://www.konstfack.se/curatorlab

Workshop de Curadoria e Crítica no MAM Rio

Workshop de curadoria e crítica de arte com Daniela Labra, Guilherme Bueno e Felipe Scovino.

O workshop é composto de 10 aulas (com carga horária de 30 horas) e inclui duas visitas a exposições. Este curso é uma introdução ao pensamento sobre práticas da curadoria de arte contemporânea, e pretende discutir temas abordados pela crítica atual tais como identidade, política e globalidade, entre outros, que atravessam as últimas concepções curatoriais.

Data: de 04 de março a 13 de maio de 2010
Horário: quintas feiras, das 10h às 13h
Local: auditório da cinemateca do MAM
Investimento: duas parcelas de R$300,00

Informações e inscrições
[email protected]

convocatoria ARTE E INVESTIGACIÓN

CENTRO CULTURAL MONTEHERMOSO KULTURUNEA
Fray Zacarías Martínez, 2. 01001 Vitoria-Gasteiz. ARABA
www.montehermoso.net
[email protected]

Montehermoso publica las bases de la convocatoria ARTE E INVESTIGACIÓN, destinada a la producción, exhibición y difusión del arte y el pensamiento contemporáneo. El objetivo de esta iniciativa, promovida por el Ayuntamiento de Vitoria-Gasteiz, es facilitar la producción de trece proyectos (entre las categorías de producción de proyectos, comisariado, investigación y guión cinematográfico), seleccionados por un jurado experto entre todos los trabajos recibidos.

El plazo de recogida de proyectos permanecerá abierto hasta el 31 de marzo.

What is contemporary art?

What is contemporary art?

First, and most obviously: why is this question not asked? That is to say, why do we simply leave it to hover in the shadow of attempts at critical summation in the grand tradition of twentieth-century artistic movements? The contemporary delineates its border invisibly: no one is proud to be “contemporary,” and no one is ashamed. Indeed, the question of where artistic movements have gone seems embedded in this question, if only because “the contemporary” has become a single hegemonic “ism” that absorbs all proposals for others. When there are no longer any artistic movements, it seems that we are all working under the auspices of this singular ism that is deliberately (and literally) not one at all . . .

Widespread usage of the term “contemporary” seems so self-evident that to further demand a definition of “contemporary art” may be taken as an anachronistic exercise in cataloguing or self-definition. At the same time, it is no coincidence that this is usually the tenor of such large, elusive questions: it is precisely through their apparent self-evidence that they cease to be problematic and begin to exert their influence in hidden ways; and their paradox, their unanswerability begins to constitute a condition of its own, a place where people work.

So it is with the contemporary: a term we know well enough through its use as a de facto standard by museums, which denote their currency through an apparently modest temporal signifier: to be contemporary is to be savvy, reactive, dynamic, aware, timely, in constant motion, aware of fashion. The term has clearly replaced the use of “modern” to describe the art of the day. With this shift, out go the grand narratives and ideals of modernism, replaced by a default, soft consensus on the immanence of the present, the empiricism of now, of what we have directly in front of us, and what they have in front of them over there. But in its application as a de facto standard this watery signifier has through accumulation nevertheless assumed such a scale that it certainly must mean something.

If we pursue it further, however, and try to pin it down, it repeatedly escapes our grasp through a set of evasive maneuvers. And perhaps we can say that the ism that is simultaneously not is its evasive maneuver number one: the summation that does not admit to being critical or projective (in the grand tradition of modernist ideological voices), to denoting an inside and an outside, a potential project, but that is simultaneously there, saying nothing. So why the extra qualifier? Why insert an extra word into “museum of art”? Like any evasive maneuver, this one works by producing a split: between the term’s de facto usage, which momentarily holds your attention by suggesting the obvious parallel with the “current,” with its promise of flexibility and dynamism, while simultaneously building a museum collection along very specific parameters—masking ideology. To follow the self-evidence of the question at hand, we could note the morphological Frank Gehry walls of a spectacular contemporary museum to be in fact made of concrete and steel—their suggestion of formless flexibility, their celebration of the informal, is frozen in some of the heaviest, most expensive, and burdensome institutional public sculpture around. The contemporary suggests movement, yet it does not itself budge.

This contemporary museum is acutely aware of other contemporary museums in other places. It is a node in a network of similar structures, and there is a huge amount of movement between them. Evasive maneuver number two could be the one that shifts your focus to a presumably de-centered field of work: a field of contemporary art that stretches across boundaries, a multi-local field drawing from local practices and embedded local knowledge, the vitality and immanence of many histories in constant simultaneous translation. This is perhaps the contemporary’s most redeeming trait, and we certainly do not miss the old power centers and master narratives.

In many ways, this is an evasive maneuver worth making. And we can even avoid the conservative critique that this horizontal movement cheapens what it encounters, reducing it to spectacle. Certainly the quantity of work placed on display can become an issue, but networks now spread much wider than ever before—much has been made available, and it is up to you to sort through it. The contemporary as a cacophonic mess gives us enormous hope.

But let’s not underestimate how the contemporary art system can atomize with some degree of cohesiveness. True, many peripheries have been mobilized not as peripheries, but as centers in their own right. But, seen from the so-called peripheries and centers alike, does this system really learn, or does it merely engage with its many territories by installing the monolithic prospect of hyperspectacle? If we are indeed aware that something is lost and something is gained in any process of translation, are we as certain that the regime of visibility installed by contemporary art functions by placing various local vernaculars into contact with each other on their own terms (as it promises to do), or is it something like the international biennial circuit, asserting its own language distinct from center and periphery alike?

In this way, the contemporary starts to reveal itself to be something like a glass ceiling, an invisible barrier that seals us together precisely by its very invisibility. We acknowledge one another, individual artists, certain cities, social scenes, a few collective tendencies that seem to arrive more as common interests than social projections, but nothing attains critical mass under any umbrella beyond “the contemporary.” It’s not so different from how we understand capitalism to work, through one-to-one relationships that are seemingly too small-scale to be complicit with anything, masking the hidden ultimatum of an innocuous protocol—if we begin to discern its shape, either it shifts, or we become obsolete: uncontemporary. But then perhaps that would not be such a bad thing . . .

—Julieta Aranda, Brian Kuan Wood, Anton Vidokle

e-flux journal – issue #12
“What is Contemporary Art?” Issue Two
January 2010

Available online:
http://e-flux.com/journal


H + F Curatorial Grant

Atenção curadores sub-30!!!

H + F Curatorial Grant
3rd edition 2010/2011

Call For An Assistant Curator / Exhibition Coordinator

Application deadline: February 28, 2010

FRAC Nord – Pas de Calais (F),
de Appel arts centre (NL),
H + F Curatorial Grant

The “H+F Curatorial Grant” is an ambitious and original initiative which allows the FRAC Nord–Pas de Calais (Dunkirk/France) in close partnership with the private collector Han Nefkens (H+F Collection) and the de Appel arts centre (Amsterdam/NL), to give young international curators the opportunity to participate in the development of exhibition projects based on the collection of FRAC Nord-Pas-de- Calais.

This grant, which was launched in 2007, offers emerging art curators a unique infrastructure and environment with free access to a research and documentation centre as well as to one of the best French collections of contemporary art. The FRAC acts as the first intermediary for these future professionals of contemporary art by helping them to develop and implement their projects.

A panel composed of Han Nefkens (H+F Collection), Ann Demeester (Director of de Appel) and Hilde Teerlinck (Director of the FRAC Nord-Pas de Calais) will select the new candidate. The selected person will become part of the FRAC’s team as an assistant curator, coordinating local, national and international exhibition-projects. She / he will receive in exchange a grant for 12 months (May 2010 – May 2011) that will help finance her/his living and travel expenses.

An excellent knowledge of English is required, knowledge of French would be helpful.

The candidate will have to install her/himself in Dunkirk for the mentioned period.

This project has been made possible thanks to the generous support of Han Nefkens (journalist, writer and art collector), which enables the FRAC Nord-Pas de Calais to reinforce the development of a strong and active policy of patronage around its activities. From 2008 onwards the application process is open for former students of de Appel Curatorial Programme and all aspiring young curators who wish to enhance their expertise and further develop their skills and agilities in project management.

Please send your application containing a recent CV (including a photograph) and a motivation letter before February 28th 2010 to:

FRAC Nord-Pas de Calais
930 avenue de Rosendaël
59240 Dunkerque (France)
Tel. 03 28 65 84 20
http://www.fracnpdc.fr
[email protected]

Arthur C. Danto

O filósofo e teórico da arte Arthur C. Danto, autor, entre outros, do livro Depois do Fim da Arte, colabora desde 1984 no periódico norte-americano The Nation, que disponibiliza on-line os ensaios de seus colaboradores, como Danto.

Para acessar os textos do autor, sobre os mais diversos aspectos da arte contemporânea, visite a página:

http://www.thenation.com/directory/bios/arthur_c_danto

(em inglês)

Políticas da Arte – Diálogos da Arte

Políticas da Arte – Diálogos da Arte
MAM-RJ – Dias 3 e 4 de novembro
Local: Cinemateca do MAM
Organização: MAM-RJ/Azougue Editorial
Coordenação: Frederico Coelho e Sergio Cohn

Outubro de 1968: Rogério Duarte e Hélio Oiticica organizam no Museu de Arte Moderna do Rio de Janeiro o encontro batizado de Cultura e Loucura. Na montagem da mesa para o debate sobre os limites entre arte e contra cultura, além dos organizadores, participam Caetano Veloso, Nuno Veloso e Luis Carlos Saldanha. A idéia de Rogério e Hélio era ter também Chacrinha e Glauber Rocha, mas não foi possível. Tempos depois, Antonio Manuel lançaria um curta-metragem com os principais trechos do debate.

Outubro de 2009: o incêndio no acervo do Projeto HO desencadeia no meio das artes visuais uma série de documentos, textos pessoais, emails, cartas abertas, testemunhos e manifestos sobre a questão dos acervos de artistas e instituições. O debate gira maciçamente ao redor das condições de preservação e manutenção, das políticas públicas e privadas de financiamento, da repercussão pública do incêndio em contraponto ao descaso diário em relação a outros acervos importantes que se deterioram em nosso cotidiano. Ao mesmo tempo, passa ao largo das mídias as propostas culturais que se encontravam em gestação em torno do Projeto HO, entre elas redes digitais de artistas e criação de espaços de disponibilização ao público das reservas técnicas dos artistas contemporâneos.

Se um encontro como o aqui proposto já se fazia necessário e urgente, ao constatarmos tal massa de opiniões no espaço virtual ou nas conversas privadas, agora se torna inadiável trazer o debate de volta ao espaço público.

Reivindicando a retomada do MAM-RJ como um espaço não só de exposição de obras, mas principalmente de exposição de ideais, questões, diálogos e conflitos, convocamos a todos os personagens do universo das artes visuais da cidade – artistas, críticos, jornalistas, galeristas, donos de acervos públicos e privados, compradores, produtores, público e pesquisadores – para participarem nos dias 3 e 4 de novembro do debate Políticas da Arte – Diálogos da Arte.

O objetivo do encontro é simples: romper com a idéia estática de um seminário acadêmico e estimular a participação pública na formulação de propostas para os problemas e soluções que todos podem trazer em suas colocações. A participação da platéia será tão ou mais importante do que a participação dos nomes nas mesas montadas para estimular o debate. O resultado do encontro será registrado e documentado num caderno de propostas, a ser publicado de maneira emergencial ainda esse ano pela Azougue Editorial.

Na terça-feira, dia 3, teremos duas mesas – uma na parte da manhã (11:00) e outra na parte da tarde(14:00) – com a participação dos coordenadores do evento (Frederico Coelho e Sergio Cohn) e de representantes de acervos (Cesar Oiticica Filho e João Vergara, com mediação da crítica Daniela Name). A intenção das duas mesas é fornecer mais elementos e informações para o debate com o público presente. Também será lançado nesse dia o projeto Rede Arte Brasil, uma rede digital de artes plásticas organizada pelo Projeto HO, com explicação pública de seus objetivos e metas.

Na quarta-feira, dia 4, a intenção é promover durante a tarde (das 14:00 às 18:00 horas) um balanço das conversas do dia anterior e uma convocatória geral para todos os interessados no debate sobre os temas propostos pelo encontro. Uma assembléia geral em que a participação de todos será fundamental para ampliarmos a capacidade de ressonância do evento. Os artistas e críticos Marcio Botner, Ernesto Neto, Felipe Scovino e o curador do MAM-RJ Luiz Camillo Osório, conduzirão o debate desse dia.

Políticas da Arte – Diálogos da Arte não é somente um encontro, não é somente um seminário e vai além do velho debate entre os mesmos. É uma convocação do MAM para que todos seus parceiros e colaboradores (seja o público e a sociedade, sejam os artistas e os que se relacionam com as artes) tenham novamente voz ativa na proposição e condução das políticas que atravessam o dia a dia das artes visuais contemporâneas.

Se no espaço virtual ficou provado nas últimas semanas que a demanda por conversas, por posições e por reivindicações é intensa, chegou a hora de nos encontrarmos face a face para refundarmos um novo marco crítico e um novo espaço de ação no Rio de Janeiro.

A hora é essa. Antes do próximo incêndio.
Esperamos a presença de todos,

Frederico Coelho e Sergio Cohn

http://on-curating.org/



-> ON-CURATING.ORG

An independent international web-journal which will focus on questions around curatorial practice and theory. Our interest as curators, lecturers, researchers and participants of programs on curating is to create a platform for presentation, dis

-> ON-CURATING.ORG
An independent international web-journal which will focus on questions around curatorial practice and theory. Our interest as curators, lecturers, researchers and participants of programs on curating is to create a platform for presentation, discussion and research
sin and researc