Engage, the National Association for Gallery Education’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

Given that we have entered the last week of the application deadline for the 29th Slavonian Biennial, "Institute of the Invisible, Spaces of Perception", and to remind you of the deadline (August 31 at midnight), here are some FAQs (frequently asked questions): 1. Who can apply for the call? All artists can apply regardless of their place of birth, place of residence or place of work. Each artist can submit one work (which can consist of several parts) to the call. It is not necessary that you are from Slavonia, although that is not an obstacle either 😉. The call is international and everyone is welcome to apply. 2. Does my work have to fit into the title? The exhibition of the 29th Slavonian Biennial is a thematic exhibition called "Institute of the Invisible". This is the curatorial frame of the exhibition - thereby inviting artists to offer their opinion. That aside - it is not intended to be taken literally (unless you have such an idea) as homework. 3. Does the work have to be of a certain size or material? No, artists submit their work at their own discretion, along with all required documents for submission, as you can find at www.mlu.hr 4. How to register? Digitally, via e-mail biennale@mlu.hr 5. When will I know the results of the call? The results of the competition will be announced in late September, after the first session of the judging panel/jury. 6. What is the registration fee for participating in the competition? 0 Euros. The Slavonian Biennial has never had, nor will it have in the foreseeable future, a registration fee for artists. For any additional questions, please contact the curator, i.e. me 😃 - I'm accommodating and willing to answer all doubts - that is, if I've had my morning coffee 😉. The visual is signed by Igor Kuduz

ASAP was delighted to co-host , in November, five emerging South Asian curators for the “Art Exchange: Moving Image", this programme provides a unique cross-cultural and curatorial development experience. The cohort of curators - Anuj Malhotra (India), Bunu Dhungana (Nepal), Kehkasha Sabah (Bangladesh), Sandev Handy (Sri Lanka), and Sarah Rajper (Pakistan) - are participating in both online peer workshops and an intensive in-person residency in London. Over the week, they explored prominent UK institutions and artist-led spaces, connecting with curators, artists, and moving image specialists, and seeking curatorial inspiration for their upcoming exhibitions in South Asia featuring moving image works from the British Council Collection.   The week included enriching visits to the British Council Collection, the Barbican Centre, Tate Modern, and the British Film Institute (BFI), alongside experiences at innovative, grassroots spaces like Grand Union and EAST SIDE PROJECTS, LLC in Birmingham. This programme, supported by the British Council and organised by LUX - Artists' Moving Image and ASAP, continues through 2025, when each curator will present exhibitions inspired by British Council works in their home countries.

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.    

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

🌟 Reflections on "How to Exhibit (Hi)Stories?" at the Stiftung Humboldt Forum im Berliner Schloss 🌟   This past Sunday, we hosted, in cooperation with the Stiftung Humboldt Forum, a talk titled "How to Exhibit (Hi)Stories?" featuring Dr. Ruth Rosenberger, a contemporary historian and digital expert at Haus der Geschichte in Bonn; Joachim Baur, a cultural scientist at the Technical University Dortmund; and Anke Schnabel, curator of the exhibition "Blown Away: The Palace of the Republic" at the Stiftung Humboldt Forum. The discussion, moderated by Nhi Le, content producer and journalist, delved into the intricate world of curating historical narratives.   Museums are often seen as the cultural memory of our society, charged with the task of preserving our cultural heritage and making history accessible. However, as the speakers pointed out, this task is far from straightforward.   Joachim Baur highlighted the complexities of curating historical narratives: "Objects as material culture or physical things play a role. But an exhibition is not just about placing objects you happen to have. It’s about creating a new constellation of things, objects, and visitors in a space, where something new and exciting happens. This includes not just three-dimensional objects but also videos, documents, and more. They need to be integrated to create an impactful experience."   Ruth Rosenberger emphasised the importance of historical knowledge: "History is interesting because it explains why our present is the way it is. It creates awareness of our achievements, as well as our shortcomings and challenges."   Anke Schnabel pointed out a key challenge when combining art, history, and storytelling: "Artworks stand on their own, but with history, it can be difficult for people because we have to be careful not to over-explain."   The event underscored the transformative power of museums in fostering dialogue and understanding through thoughtfully curated exhibits. It was a reminder of the responsibilities that come with narrating history and the impact these narratives can have on our collective memory.   For those who could not attend, the key takeaway was clear: Exhibiting histories is not just about presenting facts; it’s about crafting stories that resonate, challenge, and inspire. #DigitalHistory #HumboldtForum #eCommemoration #MuseumExhibition #CuratingCulture #MemoryCulture

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

#ArtnetNews 5 rising curators to keep your eye on in 2025. Curation plays a vital role in contemporary art, requiring curators to consider not only the aesthetic value of works but also their cultural, political, and historical significance. In today’s rapidly changing world, curators engage with global issues such as identity and the re-examination of history, provoking a dialogue that resonates with diverse audiences. They aim to create experiences that extend beyond gallery walls, encouraging reflection on both the artwork and the world around us. In 2025, the following curators are presenting new artistic practices with a commitment to addressing contemporary concerns, in turn redefining the art landscape. By reinterpreting history, fostering community engagement, and challenging societal norms, their work not only reshapes art’s role in the present but also invites reflection on the forces shaping our future. Read more https://bit.ly/40cC9m1 _____ Pictured: Lewis Dalton Gilbert and Charlene Prempeh. Photo: Shaun James Cox.

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".