School For Curatorial Studies Venice’s Post

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

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

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

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

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

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

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.

Inside Out: Representing the Romantic Museum is a collaboration between Sophie Thomas, Rhys Juergenson, and Erin McCurdy of the Toronto Metropolitan University and York University Communication & Culture- Joint Graduate Program at Toronto Metropolitan University & York University The exhibition examines how #museum spaces were conceptualized and visually represented in two-dimensional media forms, drawing examples principally from metropolitan #London. Many of the museums of the late eighteenth and early nineteenth century no longer exist. However, prints and paintings, often reproduced in #gallery guides, #periodicals, and ephemera, are valuable sources of information about the objects that they contained: from oddities and marvels to natural history specimens and revered #artworks. Such images also document the arrangement of objects and the display strategies employed by collectors and museums, as well as the visual idioms—and aesthetic categories—they used to capture and ‘frame’ their interiors. The contents of collections, and the manner in which they were presented to the world, closely reflect predominant paradigms for the organization of knowledge, which were undergoing significant change in the #Romantic period. The exhibition explores how public institutions and independent #collectors, in both public and private exhibition spaces, represented natural history, human biology, emerging technologies, and #archaeological discoveries, and how these displays were, in turn, represented by #artists. https://lnkd.in/gDGumeFa