eCommemoration’s Post

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

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

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

Big thanks to Rhiannon McKinnon who put me on to this episode of FuturePod where Kristin Alford (Director of MOD, a future-focused museum in Adelaide) Maggie Greyson MDes, APF (Chief Futurist and CEO of Futures Present, Toronto) and Elizabeth Merritt (Founding Director Center for the Future of Museums, Washington) talk about how foresight practices can be applied through museums to share these skills and ways of thinking with communities. Particularly valuable for me was the part where the three discussed the tension between the high level of trust the public tends to place in museums for presenting "facts" and the "truth", and the presentation of speculative futures. As Kristin Alford puts it: "if museums are well trusted places, and yet we're holding up speculations, that does create a space of risk, I think, for museums. As an example, the exhibition we had last year, which was looking at extending the boundaries of the mind and the body, we had an exhibition which was part speculative fiction about new, creation of new organs for the body that might serve different purposes, and an artwork that was really looking at a modular body that you could click and play body parts in thinking about life extension, paired with research from the university around organs on a chip and skin grafts and a whole lot of really innovative things. And for our audience, it was sometimes difficult to parse the speculative from the real. And that's what, that's what we were trying to do. We were getting them to think about these things, but it occurred to me that wasn't as straightforward as we had assumed. And there was a level of trust placed in us that the things that we were presenting were real, that when we were talking about advances in medicine and click and play modular bodies that people believed that was happening. And so I think it's a really difficult and interesting place for museums to play, in that place of speculation, when trust is so high and people believe us".

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

🖼️ The Transformation of the Museum der Moderne Salzburg Between 2018 and 2022, the Museum der Moderne Salzburg embarked on a journey of transformation, reshaping not only its physical space but also its cultural footprint under the visionary leadership of Thorsten Sadowsky. 🌟 Visionary Leadership As Director from September 2018 to September 2022, Thorsten Sadowsky was instrumental in developing a new vision and mission for the Museum. His leadership saw the adoption of a set of values that galvanized the entire Museum team, driving extensive renovations and repositioning the Museum as a vibrant hub of art, photography, and visual arts. 🛠️ Extensive Renovations and International Standards The renovation measures undertaken were comprehensive, upgrading various Museum buildings to align with international standards for barrier-free access. This commitment to inclusivity has not only enhanced the aesthetic appeal of the Museum but also made it more accessible to a broader audience. 🗣️ A Forum for Critical Discussion Under Sadowsky's guidance, the Museum repositioned itself as an international center of competence for image cultures. It embraced its role as a forum for discussion, taking a critical stance towards both historical and contemporary issues. This approach has invigorated the Museum's agenda, making it a beacon for contemporary art and socially relevant debates. 🌍 Addressing Postcolonialism and Global Perspectives The Museum's agenda included a critical reappraisal of postcolonialism and a remapping of the world through the lens of art. This bold move has positioned the Museum as a pioneer in addressing complex global issues, making it a leader in the art world. 🔍 Insights and Delights This transformation journey offers profound insights into how cultural institutions can evolve to stay relevant in today's dynamic world. The delight lies in witnessing how art can be a powerful tool for social commentary and change, bridging gaps between the past and present. #MuseumDerModerneSalzburg #CulturalTransformation #ArtLeadership #InclusiveArt #GlobalArtDiscussion #PostcolonialismInArt #MuseumRenovation

Today we acknowledge Te Pūtake o te Riri, He Rā Maumahara - our national day of remembrance of the New Zealand Wars. As part of our commitment to deeper conversations around these pivotal moments in our history, we have recently opened our newly refreshed gallery, Atarau: Stories of the New Zealand Wars.  The Museum will also be illuminated in pounamu green tonight.    The word atarau means many things. In te reo Maori 'ata' means shadow, early dawn, shape or reflection. While 'rau' can mean many, forever, a beat or rhythm. Those multiple meanings are a metaphor for history. When painful histories are brought out of the shadows and into the light, they can be better understood.  Featuring taonga, contemporary artworks, and diverse perspectives, Atarau offers visitors insight into the circumstances, people, and events of the wars, and reflects on the experiences of those involved. This interim display is the first step in a larger program aimed at enhancing public knowledge and understanding about these pivotal stories.  Visit Atarau: Stories of the New Zealand Wars to connect with stories that continue to shape our society, now open on Level 2. Free with Museum Entry.    

Provocations for Future Scenarios - Welcome to the Museum of the Future   Last week, we attended one of our client’s agency partner days. They asked us to present a perspective on the future and its implications for them.   We decided to approach our futures presentation a little differently. We used the metaphor of a museum to help our clients step out of their comfort zones. To illustrate the future, we placed three objects in the Museum of the Future—familiar items today that are at risk of becoming arcane, obsolete, or mere antique curiosities.   Future-proofing organisations often suffers from an inability to imagine, feel, and touch the future. This leads to a lack of organisational strategy and actionable plans that enable brands to play a relevant role in shaping what’s to come.   In the Museum of the Future, we presented possible scenarios, including risks and opportunities for our clients’ category, and explored what these might mean for their consumers, brands, and products. Thank you Katherine Thew, Dr. Bridget Dalton, Juliet Wood, Osman Jalloh, and Dr Matilda Andersson  for a great presentation!    To hear about what objects we put in the Museum of the Future for your category, contact Dr. Bridget Dalton Head of Truth Futures.   And yes we’re quite into museums at Truth at the moment 😄. Read the full article here 👉 https://lnkd.in/e5652Jsv