November, 8-9, 2013, Migros Museum fuer Gegenwartskunst, Zurich.
The symposium will present and discuss current practices of reading, researching, publishing, and curating that have been enabled by the internet and its social technologies; while exploring new formats and advocating the open circulation of knowledge. An emphasis will be placed on contemporary artistic and curatorial practices as being temporary effects of processes of negotiation between subjects, contexts and their relations. How do the proposed new public and social spaces appropriate the territories designated online (and paper) formats of magazines for creative formats of display, criticism, participation, narration and positioning?
The encompassing title “Third, fourth and fifth spaces” marks the trajectory back and fourth from the academic-driven notion of curatorship towards curating and curatorial practices and, consequently, a democratic approach to knowledge and culture despite the commodification of education and the festivalisation of art events. We wish to look at the practices that reassess this notion today and are situated by its urgent (geo)political, humanistic, instigating and controversial potentialities. As well as practices that are informed by subjective drives, subversions, opacities, risks, desires, beliefs and solidarities. We would like to discuss how subjects are positioned in these forms of editorial processes, as producers and as publics who are becoming interchangeable, how affects and participation are positioned and which new forms developed recently.
Concept: Nataša Petrešin-Bachelez (Manifesta foundation, Manifesta Journal) & Dorothee Richter (ZHDK, Postgraduate Programme in Curating, ICS & University of Reading, OnCurating.org)
Keynotes: Marie Luise Angerer and Oliver Marchart
Panellists: Sepake Angiama, Michael Birchall, Virginie Bobin, Florian Dombois, Marc Herbst, Roberto Jacoby, Jepchumba, Dominique Lämmli, Nataša Petrešin-Bachelez, Kristina Lee Podesva, Dorothee Richter, Alun Rowlands, Sigrid Schade, Christoph Schenker, Michael Schwab, Silvia Simoncelli, Ashok Sukumaran, Caleb Waldorf, Aaajiao (XU Wenkai).
Web-Publications and Platforms:
ADA (African Digital Art) http://africandigitalart.com/
CIA (Centro de Investigaciones Artísticas) www.revista.ciacentro.org/
Journal of Aesthetic Protest www.joaap.org
Journal of Artistic Research (JAR) http://www.jar-online.net/
Manifesta Journal www.manifestajournal.org
On Curating www.oncurating.org
Public Access Digital Media Archive, www.pad.ma
Triple Canopy http://canopycanopycanopy.com
We need money not art we-need-money-not-art.com
Witte de With Review www.wdw.nl/?wdw_project_type=magazine-launch
Zeit fuer Vermittlung www.kultur-vermittlung.ch
See detailed information below. Tickets can be purchased directly from the Migros Museum on the day of the symposium.
Organisation: ZHdK Postgraduate Programme in Curating, ICS Institute Cultural Studies for the Arts, DKV, ZHdK (Mirjam Bayersdorf, Michael Birchall, Dorothee Richter, Silvia Simoncelli); IFCAR Institute for Contemporary Art Research, DKM, ZHdK (Annemarie Bucher, Dominique Lämmli, Christoph Schenker.)
Support: We greatly acknowledge the support of: University of Reading Department of Art, Migros Museum für Gegenwartskunst, and the Institut Francais
Between online and offline spaces: curatorial dialogue.Moderation: Michael Birchall
Novel (Alun Rowlands)
Triple Canopy (Caleb Waldorf)
Witthe de With (Virgini Bobin)
Journal of artistic research (Florian Dombois & Michael Schwab)
Digital space and web-platforms as political spacesModeration: Silvia Simoncelli
Aesthetics and Protest (Marc Herbst)
Fillip (Kristina Lee Podesva)
Zeit der Vermittlung (Anna Chrusciel,)
Mouvement (Charlotte Imbault)
Art, Internet, CommunitiesWelcome: Christoph Schenker
Moderation: Sepake Angiama & Dominique Lämmli
Roberto Jacoby, Buenos Aires, Argentinia
Aaajiao (XU Wenkai) Shanghai, China
|Introduction to the conference: Dorothee Richter is the head of the Postgraduate Programme in Curating www.curating.org, publisher ofwww.oncurating.org and PhD advisor at the University of Reading. Filmmakerwww.fluxuxnow.net and curator.|
|Nataša Petrešin-Bachelez is publisher of the Manifesta Journalwww.manifestajournal.org and curator.|
|Digital Bonding. Utopian aspects and new dependencies
From the outset, a promise has been attached to digital images, crediting them with a special immediacy, tactility, and thus also affectivity. Many recent theoretical approaches in media and cultural studies underpin a development that distances itself from critiques of representation and orients itself toward an affective reading or an affective interpretation of the visual. According to current theories accompanying this shift, digital media are contributing to these changes in a range of ways. Digital media, the theories claim, are freshly questioning the status of the image, having fundamentally altered its production, reception, and propagation, as well as the relationship between viewer and image, thus calling for a different theory, a ›new philosophy of media‹. Questions to deal with concern the emergence of the social media (new masses, new audiences) and thus new modes of subjectivation – both aspects which might get more attention in the field of artistic practice.
Marie-Luise Angerer is a professor of media and cultural studies at the Academy of Media Arts in Cologne, Germany. Her research focus on affectivity, media technology, and new theories of materiality and social fantasies.
The Curatorial Function in Times of Crisis
In this talk I will ask, by moving beyond the digital/analogue divide, what a politically engaged curatorship means in times of crisis. Taking e-flux and the recent Istanbul Biennale as case studies, I will try to shed light on the problems and possibilities of curating, if by the latter we understand a practice of organizing consensus as well as dissensus within and beyond cultural institutions.
Oliver Marchart is professor of sociology at the Dusseldorf Art Academy.
|Moderator: Sigrid Schade is the head of the Institute for Cultural Studies in the Arts, DKV, ZhdK.|
1. Between online and offline spaces: curatorial dialogue
Organised by. Postgraduate Programme in Curating, Miichael Birchall
The presence of online publications and curatorial platforms has presented a
new set of conditions for curators, publishers and the various publics who interact with this content. As themes may traverse both offline and online spaces, how does the public interact with this? Can publication platforms relate to new publics without preexisting institutional frameworks? Can publication platforms operate exclusively as web only interfaces? What are the emerging models of practice in this area? This session will feature four contributions from publication platforms, each sharing their own perspective on these issues; as well as broadening the topic further.
|JAR is a peer-reviewed, biannual journal, whose goal is to publish original research from artists of all disciplines and promote the renegotiation of art’s relationship to academia by coupling an innovative approach to publishing with peer-reviewing and scholarly rigour. A free, online resource, the journal attracts an international readership. With the aim of displaying and documenting practice in a manner that respects artistic modes of presentation, JAR uses the Research Catalogue, which provides a free-to-use online writing space where text can be woven together with image, audio and video material. The result is a journal that promotes experimental approaches to ‘writing’ and provides a unique ‘reading’ experience, while carefully fulfilling the expectations of a peer-reviewed academic journal. Links: http://www.jar-online.net, http://www.researchcatalogue.net
Florian Dombois (*1966 in Berlin) is an artist with a special attention for sound and a Professor at ZHdK in Zurich. In his work he has focuse on models, landforms, labilities, scientific and technical fictions. He lives in Cologne and Berne.
Michael Schwab is a London-based artist and artistic researcher who investigates postconceptual uses of technology in a variety of media including photography, drawing, print-making, and installation art. He is tutor at the Royal College of Art, London, and the Zurich University of the Arts as well as research fellow at the Orpheus Institute, Ghent. He is co-initiator and inaugural Editor-in-Chief of JAR, Journal for Artistic Research. Link: http://www.seriate.net
|Novel is a journal of artists writing which manifests itself through exhibitions, readings and events (http://temporarysite.org/)
Alun Rowlands is a curator and writer living in London. Curatorial projects and publications include ‘Vendor: Broadsheet #1’ (ICA, London), ‘3 Communiqués’ (Bookworks), ‘Barefoot in the Head’ (Article Press, Performa), ‘The Dark Monarch’ (Tate St Ives). He is is co-editor of ‘Novel’ a journal of artists writing which manifests itself through exhibitions, readings and events a.o ‘Novel at dépendance’, Brussels, ‘Time Again’, Sculpture Centre, New York and ‘Millennium Magazine’, MoMA, New York. He is Professor of Art at the University of Reading and contributes to the Research Platform in Curating, University of the Arts Zurich and Reading.
|Triple Canopy is a magazine based in New York. Since 2007, Triple Canopy has advanced a model for publication that encompasses digital works of art and literature, public conversations, exhibitions, and books. This model hinges on the development of publishing systems that incorporate networked forms of production and circulation. Working closely with artists, writers, technologists, and designers, Triple Canopy produces projects that demand considered reading and viewing. Triple Canopy resists the atomization of culture and, through sustained inquiry and creative research, strives to enrich the public sphere.
Caleb Waldorf is an artist currently living in Berlin. His practice operates at the intersection of publication, pedagogy and technology with a focus on developing on/offline collaborative platforms. In 2007, he co-founded and is currently the creative director of the magazine, Triple Canopy. Since 2008, he has served on the committee for The Public School, an open framework for self-organized learning initiated in Los Angeles by Telic Arts Exchange. His latest long-term collaboration was with The Museum of Modern Art’s C-MAP initiative on a platform called post, launched in early 2013.
WdW Review is a new online platform aimed at informing our ever-expanding spheres of action in an age of constant reformations be they aesthetic, geographic, economic, communal, ecological, and even spiritual. This project seeks to foster a new collegium of knowledge partners in a purpose-built infrastructure so as to address how the world is shaped today as a consequence, or in spite of national, international, and other group ideologies.
Virginie Bobin is Assistant Curator at Witte de With since April 2013. As an (independent) curator and critic, she has developed specific interests for performance, experimental forms of artistic research, the role of art, artists and art institutions in the public sphere, and formats that go beyond exhibition-making, and she has been Associate Editor of Manifesta Journal since 2011.
|Michael Birchall, Moderation, “Between online and offline spaces: curatorial dialogue”.
Michael G. Birchall is a curator and writer with an interest in collaborative and participatory art practices. In Germany he has curated exhibitions and projects including ‘Wie geht’s dir Stuttgart/How are you doing Stuttgart?’ and ‘Hier und Jetzt’ – at Künstlerhaus Stuttgart. He is currently a PhD candidate in Art, Critique and Social Practice at the University of Wolverhampton (UK). Michael is co-publisher of OnCurating and a lecturer in the postgraduate program in Curating at the ZHDK.
2. Digital space and web-platforms as political spaces
Organised by. Postgraduate Programme in Curating, Silvia Simoncelli
Throughout years of long lasting crises, revolutions, occupations, the Internet has often played the role of an international stage for the broadcasting of dissent. Artistic and curatorial practices have responded to the economical and political turmoil with projects characterized by a growing attention to the current social situation – often controversially received. How have web platforms and online journals developed their current political position in between real life constrains and digital freedom? Has new media created a virtual space for debate which can interact effectively with the everyday? Can dissent be mediated, reviewed and discussed, in the same way in which artistic practice is? This panel will address these and further questions, with the participation of four online journals and magazines operating from different positions.
|Fillip is Vancouver-based organization that presents art, culture, and ideas primarily in the form of Fillipmagazine. In addition to the magazine, Fillip publishes books, special projects, as well as public talks and symposia including Judgement and Contemporary Art Criticism (2009), Intangible Economies (2012), and Institutions by Artists (2012).
Kristina Lee Podesva is an artist, writer, educator, and Editor at Fillip based in San Francisco. Her writing has been published in Fillip and Bidoun, as well as in books and catalogues such as Turn Off the Sun (2013, Fundación/Colección Jumex/ASU), Waking Up from the Nightmare of
Participation (2011, Expodium), Vector: Critical Research in Context (2011, Vector Association), Recipes for an Encounter (2010, Western Front & REV-), Judgment and Contemporary Art Criticism (2010, Fillip Folio), and Komma: (after Dalton Trumbo’s Johnny Got His Gun) (2010, Fillip). She has co-edited the books Institutions by Artists: Volume 1 (2012, Fillip Folio), Tradition Versus Modernity (Forthcoming, Archivo: Diseño y Arquitectura), and 100% Vancouver (2011, Fillip).
|The Journal of Aesthetics & Protest is a project founded in Los Angeles California in 2000 with the intention of being a clearing-house for the aesthetic inventions of the alter-globalization movement. The project’s mission has evolved since then in dialog with the research, thought-needs, creative potential and existential realities of our collective members, broader community and readers. Current projects include the translation of book on Spain-based activist practices, a catalog on the NYC-based MoRUS squatting museum, and the upcoming 9th issue.
Marc Herbst is a independent researcher, writer and artist with an interest in activism and expanded notions of social change. He is co-editor of the Journal of Aesthetics & Protest.
|Zeit für Vermittlung – Le temps de la médiation – Tempo di mediazione– an online publication on gallery education
The publication “Zeit für Vermittlung“ was edited by the Institute for Art Education on behalf of Pro Helvetia and is available online in German, French and Italian athttp://www.kultur-vermittlung.ch/zeit-fuer-vermittlung/. The handbook is the result of an accompanying research on Pro Helvetia´s Art and Audience programme and presents introductory essays and in-depth texts on nine key issues in learning in the arts, a glossary, examples of educational practice and around 40 perspectives of practitioners and stakeholders from the Swiss cultural field. An English version of the publication is intended.
Anna Chrusciel has been working for the Institute for Art Education (IAE) since May 2009. Together with Carmen Mörsch she was responsible for the accompanying research of Pro Helvetia’s Art and Audience programme from 2009-2012. She is the initiator of the contemporary drawing festival “The Big Draw Berlin”. After gaining a diploma in Business Communication she worked for the Jewish Museum Berlin. She is currently writing her doctoral thesis on the discourses of impact in art education.
|Moderation: Silvia Simoncelli
Silvia Simoncelli is art historian and independent curator. She is professor at Brera Art Academy, Milan, and course leader of the Advanced Course in Contemporary Art Markets, at NABA in Milan. She holds a position of assistant researcher for the Postgraduate Program in Curating at ZHdK, Zurich and she is co-editor of the web journal OnCurating.
3. Art, Internet, Communities
This panel brings together multiple perspectives on how web presence serves art and art communities. Based on specific examples, panel members will discuss several key questions: who is communicating with whom? How does online presence strengthen or alter persisting notions of art? Which platforms are active for several years and which ones tend to be short-lived?
Organized by IFCAR Institute for Contemporary Art Research, ZHdK (Annemarie Bucher, Dominique Lämmli and Christoph Schenker).
|African Digital Art is an online collective and a creative space where digital artists, enthusiasts, and professionals can seek inspiration, showcase their art, and connect with emerging artists. Since its inception, African Digital Art has presented unparalleled ideas, individualistic works, and insightful designer solutions by the African creative community. African Digital Art has become a platform for innovation and inspiration with a sophisticated blend of fresh talent and successful designers and artists. Pushing Digital Boundaries has become the tagline that is now fused with African Digital Art’s identity,www.africandigitalart.com.
Jepchumba has been listed by Forbes as one of the 20 Youngest Power Women in Africa 2012 and by the Guardian as one of Africa’s Top 25 Women Achievers. A cultural ambassador, Jepchumba is the founder and creative director of African Digital Art. Jepchumba is dedicated to promoting the growth of the creative economy in Africa (www.jepchumba.com).
|CAMP is a collaborative studio whose projects are related to media and its history, formats, and distribution. The group’s process often follows the spirit of open-source communities. CAMP is also a co-initiator of Pad.ma, an online digital-media archive. Recent exhibitions in which CAMP has participated include the Kochi-Muziris Biennale, India (2012); Gwangju Biennale, South Korea (2012); Documenta 13, Kassel, Germany, and Kabul, Afghanistan (2012); The Ungovernables, New Museum Triennial, New York, USA (2012); Edgware Road Project, Serpentine Gallery, London, UK (2011– ), http://www.camputer.org/,http://pad.ma.
Ashok Sukumaran co-founded CAMP in 2007 with Sanjay Bhangar and Shaina Anand. Ashok Sukumaran is an artist and critical media practitioner. His early work as a media artist received many awards, including a Golden Nica at the Prix Ars Electronica in 2007. With CAMP, he has developed artistic projects involving urban water, electricity, CCTV systems, sea trade and other mobile, distributed phenomena.
|Ramona.org.ar is an online platform that has been seeking to bring together the contemporary art scene in Argentina since 2001. It produces and provides information about exhibitions, performances, lectures, panels, courses, and calls for artist-in-residence programmes. It also offers a free space for reviews of current shows, unpublished articles, and online links of interest. It is updated on a weekly basis and its homepage is sent as a newsletter to 45,000 subscribers. Ramona online stems from the monthly print magazine of the same name, which appeared in Buenos Aires from 2000 to 2010. The 101 printed issues of Ramona have been digitized, indexed, and made available on Ramona web. This platform is also linked to boladenieve.org.ar (Snowball since 1999), the self-elected artists’ online database whose membership totals more than thousand artists working in Argentina www.ramona.org.ar, boladenieve.org.at.
Roberto Jacoby has been working in media arts since 1966. Much of his work is related to friendship technologies and strategies of joy. Among his projects are Project Venus, an online and offline community with its own currency. In 2011, Museum Reina Sofia presented a large retrospective of his work and he was participated in the 29th Sao Paulo Biennale.
|Established in 2006, we-need-money-not-art.com is a new media art information platform that promotes new media art in China.
Aaajiao (XU Wenkai) is one of China’s foremost media artists, bloggers, and free culture developers. He is interested in re-formulating questions about networked culture, power, command, and control. As such he focuses on the use of data and its various forms of display, and how meaning is understood through moving from reality to data, and back. His most significant aesthetic contribution to new media in China is social: he acts as a vector for the interpretation and communication of international and local trends in the usages of software in artistic practice. In 2003, he established the sound art website cornersound.com, in 2006 the Chinese blog we-make-money-not-art.
|Welcome: Christoph Schenker, Head of the Institute for Contemporary Art
Research (IFCAR), Zurich University of the Arts (ZHdK).
Moderation: Sepake Angiama & Dominique Lämmli