Art South Asia Project’s Post

𝐁𝐢𝐪𝐮𝐢𝐧𝐢 𝐖𝐚𝐱 𝐄𝐏𝐒, 𝐢𝐧𝐭𝐞𝐫𝐯𝐢𝐞𝐰𝐞𝐝 𝐛𝐲 𝐓𝐫𝐨𝐩𝐢𝐜𝐚𝐥 𝐓𝐚𝐩 𝐖𝐚𝐭𝐞𝐫 𝘐𝘯𝘵𝘳𝘰𝘥𝘶𝘤𝘪𝘯𝘨 𝘵𝘩𝘦 𝘤𝘰𝘭𝘭𝘦𝘤𝘵𝘪𝘷𝘦𝘴 𝘵𝘢𝘬𝘪𝘯𝘨 𝘱𝘢𝘳𝘵 𝘪𝘯 𝘵𝘩𝘦 30𝘵𝘩 𝘦𝘥𝘪𝘵𝘪𝘰𝘯 𝘰𝘧 𝘥𝘦 𝘈𝘱𝘱𝘦𝘭’𝘴 𝘊𝘶𝘳𝘢𝘵𝘰𝘳𝘪𝘢𝘭 𝘗𝘳𝘰𝘨𝘳𝘢𝘮𝘮𝘦 For the 30th edition of de Appel’s Curatorial Programme we have welcomed four collectives who are learning and practising lumbung as a model and method for collective organisation. The programme is geared towards taking the lumbung practices of documenta fifteen as a case study. Lumbung during documenta fifteen developed into both a rhizomatic collective of collectives, and the practice of decentralised collective redistribution, transforming the art institution and its exhibitionary logic. This edition of the programme is dedicated to collectives whose art and curatorial practice is distinguished by its role as a conduit for the communities with which it engages. The programme is in collaboration with Sandberg Institute’s Temporary Master Programme and Gudskul’s Collective Study and extends into 2025/2026 as a fellowship. Tropical Tap Water interviewed the participating collectives. Here you can find their conversation with Biquini Wax, a multipolar arts collective and permeable cultural center in Mexico City. Since its inception in 2008 it has been committed to be an interdependent art-space collectively managed by and for the cultural community interested in the intersection of contemporary arts and critical thought. It is both a communal living/working/hang out space as well as a self-organized study center/experimental exhibition-making (para)site. The participating members present in Amsterdam are: Denisse Vega de Santiago, Gerardo Contreras, Mili Herrera. Read the full interview here: https://lnkd.in/eZde4HAc Drawing: Tropical Tap Water

𝐋𝐞𝐯𝐞𝐥 𝐅𝐢𝐯𝐞 – 𝐢𝐧𝐭𝐞𝐫𝐯𝐢𝐞𝐰𝐞𝐝 𝐛𝐲 𝐓𝐫𝐨𝐩𝐢𝐜𝐚𝐥 𝐓𝐚𝐩 𝐖𝐚𝐭𝐞𝐫 For the 30th edition of de Appel’s Curatorial Programme (CP) de Appel has welcomed four collectives who are learning and practising lumbung as a model and method for collective organisation. The CP is geared towards taking the lumbung practices of documenta fifteen as a case study. Lumbung during documenta fifteen developed into both a rhizomatic collective of collectives, and the practice of decentralised collective redistribution, transforming the art institution and its exhibitionary logic. This edition of the CP is dedicated to collectives whose art and curatorial practice are distinguished by their role as a conduit for the communities with which they engage. The programme is in collaboration with Sandberg Institute’s Temporary Master Programme and Gudskul’s Collective Study and extends into 2025/2026 as a fellowship. Tropical Tap Water interviewed the participating collectives. Here you can find their conversation with Level Five, a cooperative studio for and by artists in Brussels. They collectively organise and take care of their spaces and the people making use of them, creating a durable foundation for each of their artistic practices and initiatives. The participating member present in Amsterdam is rori. Read the interview here: https://lnkd.in/ex62EB9A Drawing by Tropical Tap Water Level Five's participation in the Curatorial Programme is supported by De Brakke Grond.

The Milk od Dreams, curated by Cecilia Alemani, Biennale 2022. Rethinking exhibition models of the Venice Biennale: from globalization to the most recent form of decolonization. Course online 18.02- 06.03.25 Deadline for applying: 06.02.2025 www.corsocuratori.com This workshop online provides an immersive and active understanding of curatorial practice and its developments in the last decades. Through the work of some of the most remarkable curators, the students will develop an understanding of how curating works by looking back at its history and by examining certain case studies. The analysis of specific editions of the Venice Art Biennale will give us the possibility to look to the predecessors and the influences of specific curators on their work. But it is also an opportunity to explore the ways in which the curatorial practices are changing and examine increasingly diverse approaches to exhibition-making.  The objectives of the workshop: To gain familiarity with different types of models of curatorial practices and evaluate the essential qualities of a strong curator through understanding the historical and contemporary role of the curator in relation to past and recent exhibition models.  During the course we will start from the globalization trends of the early 1990s and 2000, and move on to the last decade when the theme of decolonization has become increasingly urgent at the Venice Biennale. The relationship between the rest of the world and the West, and thus of social and cultural redemption, is present in a sometimes obsessive but inevitable manner in numerous editions of the Venice Biennale and especially in certain pavilions.  #venicebiennale #curatorialmodels #arthistory #curating

The Milk od Dreams, curated by Cecilia Alemani, Biennale 2022. Rethinking exhibition models of the Venice Biennale: from globalization to the most recent form of decolonization. Course online 18.02- 06.03.25 Deadline for applying: 06.02.2025 www.corsocuratori.com This workshop online provides an immersive and active understanding of curatorial practice and its developments in the last decades. Through the work of some of the most remarkable curators, the students will develop an understanding of how curating works by looking back at its history and by examining certain case studies. The analysis of specific editions of the Venice Art Biennale will give us the possibility to look to the predecessors and the influences of specific curators on their work. But it is also an opportunity to explore the ways in which the curatorial practices are changing and examine increasingly diverse approaches to exhibition-making.  The objectives of the workshop: To gain familiarity with different types of models of curatorial practices and evaluate the essential qualities of a strong curator through understanding the historical and contemporary role of the curator in relation to past and recent exhibition models.  During the course we will start from the globalization trends of the early 1990s and 2000, and move on to the last decade when the theme of decolonization has become increasingly urgent at the Venice Biennale. The relationship between the rest of the world and the West, and thus of social and cultural redemption, is present in a sometimes obsessive but inevitable manner in numerous editions of the Venice Biennale and especially in certain pavilions.  #venicebiennale #curatorialmodels #arthistory #curating

All the World's future, Venice Biennale 2015 - curated by Okwui Enwezor Reading das Kapital by Karl Marx. Rethinking exhibition models of the Venice Biennale: from globalization to the most recent form of decolonization. Course online 18.02- 06.03.25 Deadline for applying: 06.02.2025 www.corsocuratori.com This workshop online provides an immersive and active understanding of curatorial practice and its developments in the last decades. Through the work of some of the most remarkable curators, the students will develop an understanding of how curating works by looking back at its history and by examining certain case studies. The analysis of specific editions of the Venice Art Biennale will give us the possibility to look to the predecessors and the influences of specific curators on their work. But it is also an opportunity to explore the ways in which the curatorial practices are changing and examine increasingly diverse approaches to exhibition-making.  The objectives of the workshop: To gain familiarity with different types of models of curatorial practices and evaluate the essential qualities of a strong curator through understanding the historical and contemporary role of the curator in relation to past and recent exhibition models.  During the course we will start from the globalization trends of the early 1990s and 2000, and move on to the last decade when the theme of decolonization has become increasingly urgent at the Venice Biennale. The relationship between the rest of the world and the West, and thus of social and cultural redemption, is present in a sometimes obsessive but inevitable manner in numerous editions of the Venice Biennale and especially in certain pavilions.  #venicebiennale #curatorialmodels #arthistory #curating

All the World's future, Venice Biennale 2015 - curated by Okwui Enwezor Reading das Kapital by Karl Marx. Rethinking exhibition models of the Venice Biennale: from globalization to the most recent form of decolonization. Course online 18.02- 06.03.25 Deadline for applying: 06.02.2025 www.corsocuratori.com This workshop online provides an immersive and active understanding of curatorial practice and its developments in the last decades. Through the work of some of the most remarkable curators, the students will develop an understanding of how curating works by looking back at its history and by examining certain case studies. The analysis of specific editions of the Venice Art Biennale will give us the possibility to look to the predecessors and the influences of specific curators on their work. But it is also an opportunity to explore the ways in which the curatorial practices are changing and examine increasingly diverse approaches to exhibition-making.  The objectives of the workshop: To gain familiarity with different types of models of curatorial practices and evaluate the essential qualities of a strong curator through understanding the historical and contemporary role of the curator in relation to past and recent exhibition models.  During the course we will start from the globalization trends of the early 1990s and 2000, and move on to the last decade when the theme of decolonization has become increasingly urgent at the Venice Biennale. The relationship between the rest of the world and the West, and thus of social and cultural redemption, is present in a sometimes obsessive but inevitable manner in numerous editions of the Venice Biennale and especially in certain pavilions.  #venicebiennale #curatorialmodels #arthistory #curating

Biennale 1993, curated by Achille Bonito Oliva - German pavilion won the golden lion with the work by Hans Hacke and Nam June Paik. Rethinking exhibition models of the Venice Biennale: from globalization to the most recent form of decolonization. Course online 18.02- 06.03.25 Deadline for applying: 06.02.2025 www.corsocuratori.com This workshop online provides an immersive and active understanding of curatorial practice and its developments in the last decades. Through the work of some of the most remarkable curators, the students will develop an understanding of how curating works by looking back at its history and by examining certain case studies. The analysis of specific editions of the Venice Art Biennale will give us the possibility to look to the predecessors and the influences of specific curators on their work. But it is also an opportunity to explore the ways in which the curatorial practices are changing and examine increasingly diverse approaches to exhibition-making.  The objectives of the workshop: To gain familiarity with different types of models of curatorial practices and evaluate the essential qualities of a strong curator through understanding the historical and contemporary role of the curator in relation to past and recent exhibition models.  During the course we will start from the globalization trends of the early 1990s and 2000, and move on to the last decade when the theme of decolonization has become increasingly urgent at the Venice Biennale. The relationship between the rest of the world and the West, and thus of social and cultural redemption, is present in a sometimes obsessive but inevitable manner in numerous editions of the Venice Biennale and especially in certain pavilions.  #venicebiennale #curatorialmodels #arthistory #curating

Journal 47 ‘Communities and care’ is now up on our website. Over the next few months we will be spotlighting the work of our contributors and revealing the second series of our podcast.  This week we are looking at 'How do we begin to tell the story of a river?'. The article was written by by Ali Reid and Claire Pounder with Dr Paul Stewart, all from MIMA (Middlesbrough Institute of Modern Art)/ Teesside University. This article is a reflection on the creative beginnings of MIMA's exhibition 'People Powered: Stories from the River Tees', which was on display in MIMA’s galleries in central Middlesbrough from July to December 2023. The last 20 years has seen a rise in gallery engagement practice towards new methods in terms of how publics experience exhibitions, artists and museums. From an educational aesthetics point of view, this is defined by Paul Stewart as viewing a particular type of gallery engagement and curatorial activity as a facilitation of, or an engagement with the aesthetic process, with the method of learning at its heart, rather than a substitutive process of translation or engagement to an existing curatorial activity. People Powered: Stories from the River Tees at MIMA is an example of this.  Communities and care is a response to the UK Government’s ‘Levelling up’ agenda connected to a perceived lack of culture or other infrastructure. At its core, is the idea of engaging communities, most often used in the professional arts sector to refer to collective groups working together, defined by a distinguishing factor across a shared experience. Take a journey through visual art practice, engagement and participation in the era of placemaking and levelling up, simultaneously exploring the uses of the word care in relation to this work. Login with your member details to read our journals: https://buff.ly/3Var3KO. #teesunicreativearts #teesside

Biennale 1993, curated by Achille Bonito Oliva - German pavilion won the golden lion with the work by Hans Hacke and Nam June Paik. Rethinking exhibition models of the Venice Biennale: from globalization to the most recent form of decolonization. Course online 18.02- 06.03.25 Deadline for applying: 06.02.2025 www.corsocuratori.com This workshop online provides an immersive and active understanding of curatorial practice and its developments in the last decades. Through the work of some of the most remarkable curators, the students will develop an understanding of how curating works by looking back at its history and by examining certain case studies. The analysis of specific editions of the Venice Art Biennale will give us the possibility to look to the predecessors and the influences of specific curators on their work. But it is also an opportunity to explore the ways in which the curatorial practices are changing and examine increasingly diverse approaches to exhibition-making.  The objectives of the workshop: To gain familiarity with different types of models of curatorial practices and evaluate the essential qualities of a strong curator through understanding the historical and contemporary role of the curator in relation to past and recent exhibition models.  During the course we will start from the globalization trends of the early 1990s and 2000, and move on to the last decade when the theme of decolonization has become increasingly urgent at the Venice Biennale. The relationship between the rest of the world and the West, and thus of social and cultural redemption, is present in a sometimes obsessive but inevitable manner in numerous editions of the Venice Biennale and especially in certain pavilions.  #venicebiennale #curatorialmodels #arthistory #curating

Rethinking exhibition models of the Venice Biennale: from globalization to the most recent form of decolonization. Course online 18.02- 06.03.25 Deadline for applying: 06.02.2025 www.corsocuratori.com This workshop online provides an immersive and active understanding of curatorial practice and its developments in the last decades. Through the work of some of the most remarkable curators, the students will develop an understanding of how curating works by looking back at its history and by examining certain case studies. The analysis of specific editions of the Venice Art Biennale will give us the possibility to look to the predecessors and the influences of specific curators on their work. But it is also an opportunity to explore the ways in which the curatorial practices are changing and examine increasingly diverse approaches to exhibition-making.  The objectives of the workshop: To gain familiarity with different types of models of curatorial practices and evaluate the essential qualities of a strong curator through understanding the historical and contemporary role of the curator in relation to past and recent exhibition models.  During the course we will start from the globalization trends of the early 1990s and 2000, and move on to the last decade when the theme of decolonization has become increasingly urgent at the Venice Biennale. The relationship between the rest of the world and the West, and thus of social and cultural redemption, is present in a sometimes obsessive but inevitable manner in numerous editions of the Venice Biennale and especially in certain pavilions.  The milk of dreams, Biennale 2022 curated by Cecilia Alemani #venicebiennale #curatorialmodels #arthistory #curating