Hildegund Amanshauser

Sommersemester 2012

On curating
Date: 23, 24 March 2012
MA in Cultural Production, Paris Lodron Universität in cooperation with Universität Mozarteum Salzburg

Curating is a term that was originally used for making exhibitions; during the last 10, 20 years it was more and more extended to the entire cultural field and is now applied to making exhibitions, symposia, dance festivals, literature, music or performance events etc. The curatorial is a method of generating, mediating and reflecting experience and knowledge and tightly interweaving theory and practice. During the last years the history and the theory of the curatorial has been more and more developed in the academic field.

I will give a short introduction on the curatorial focussing on visual art.
Close reading and text work: There is a reading list attached, which gives a broad introduction into this field. Each of the student should read all texts and select one for the presentation. Please make sure that each text is only taken once and present the text in the seminar. Please prepare a hand out (2 pages), which has to consist (as the presentation) of
1. Summery of the text (including information on the author and the context, where was it published, when etc.)
2. Analyses of the text (structure, main issues and arguments, references, etc)
3. Your personal opinion, could the text be a reference for you, do you agree/disagree.
4. What are the key issues worth for further discussion

Introduction to the curatorial as a method, with a specific focus on the relation of theory and practice particularly with regard to the master theses projects of the students.

The mark will refer equally to the presentation of the text, the handout and the active participation in the seminar.

1. Daniel Baumann:

Changes in the Economy of the kunstbetrieb, Part 3: The Freedom of the Curator, in Spike, Vienna Berlin, Winter 2011 Nr. 30, p. 29 – 35.
2. Beatrice von Bismarck: Curatorial Criticality – on the Role of Freelance Curators in the Field of Contemporary Art, in: on-curating.org, Issue 09/11, p. 19 – 23, http://www.on-curating.org/documents/oncurating_issue_0911.pdf
3. Maria Lind: Selected Nodes in a Network of Thoughts on Curating
Maria Lind: The Curatorial, both in: Brian Kuan Wood (ed): Maria Lind Writing, Berlin New York 2010, p. 29 – 31 and p. 63 – 66.
4. Gerardo Mosquera: Beyond Anthropophagy: Art, Internationalization and Cultural Dynamics, talk at the symposium Global Art, Salzburg International Summer Academy, summer 2011, published: http://www.summeracademy.at/media/pdf/pdf776.pdf 2011
5. Hans Ulrich Obrist with Ingo Niermann: The Elephant Trunk in Dubai, in Hans Ulrich Obrist: Everything you Always Wanted to Know About Curating… , Berlin, New York 2011 p.31– 56.
6. Irit Rogoff: WE. Collectivities, Mutualities, Participations. In: Dorothea von Hantelmann and Marjorie Jongbloed 
(ed): I promise it’s political. Performativity in art, Cologne 2002 p. 126–133
7. Anton Vidoke: Art without Artists?, in: e-flux journal #16, 05 / 2010 http://www.e-flux.com/journal/art-without-artists/
8. Political Involvement as a Basis for Collaboration: Interview with What, How and for Whom, Curatorial Collective and Directors of Gallery Nova, published in on-curating.org Issue ‚ 05/10: The Making of... p. 12 – 14. http://www.on-curating.org/documents/oncurating_issue_0510.pdf

For further information see: