NCCA IN ST.PETERSBURG
1-st CURATORIAL FORUM
2019
The first Curatorial Forum was held in autumn 2019 and included a symposium with presentations by acclaimed international curators from Finland, Sweden, the Netherlands, Israel and other countries.
The professional program of the symposium was formed by the Creative Association of Curators TOK – Anna Bitkina and Maria Veits.An important part of the Forum was a public program for citizens and guests of the city: Art Weekend, which was attended by more than 20 cultural venues of St. Petersburg, for 4 days of the Forum was held more than 40 art-mediation tours, organized visits to the workshops of artists – Open Studios, as well as an extensive program of discussions, lectures and round tables.
We were inspired by the mobile curatorial symposium Nemoskva, and we would like to express our gratitude to Alisa Prudnikova for her ideological support;
We are grateful to our colleagues and co-authors of the first Curatorial Forum:
- Maria Veits and Anna Bitkina (TOK) for their initiative, professionalism and important and interesting topics raised at the symposium.
- Elena Gubanova, thanks to whose idea we decided on the open studios program;
We express our deep gratitude to all participants of numerous events, special programs, discussions for their participation and trust.
The authors of the Curatorial Forum idea are Maria Katz and Natalia Khvoenkova.
Special thanks for work and support - to the forum team, colleagues and friends of the NCCA in St. Petersburg.
We are grateful to our colleagues and co-authors of the first Curatorial Forum:
- Maria Veits and Anna Bitkina (TOK) for their initiative, professionalism and important and interesting topics raised at the symposium.
- Elena Gubanova, thanks to whose idea we decided on the open studios program;
We express our deep gratitude to all participants of numerous events, special programs, discussions for their participation and trust.
The authors of the Curatorial Forum idea are Maria Katz and Natalia Khvoenkova.
Special thanks for work and support - to the forum team, colleagues and friends of the NCCA in St. Petersburg.
Organizers and partners of the 1st Curatorial Forum in 2019
ARCHIVE: SYMPOSIUM
3-4.10.2019
3-4.10.2019
Thursday., 3.10.2019
10:30 - Registration
11:00 - Welcome note
11:10 - «Curating the Desert» Bassam El Baroni
11:50 - «How to Work Together: Institutional Inventory as a Method» Anna Bitkina and Maria Veits / Creative Association of Curators TOK
12:30 - «Curating Differently: Finding a way Back to Art» Ulrika Filnk
13:10 - Break
14:10 - «How Institutions Think and Parahosting as a Form of Reinstituting» Paul O'Neill
14:50 - «Culture Makers» Mariika Semenenko
15:40 - Closing notes for the day, additional questions and a discussion
11:00 - Welcome note
11:10 - «Curating the Desert» Bassam El Baroni
11:50 - «How to Work Together: Institutional Inventory as a Method» Anna Bitkina and Maria Veits / Creative Association of Curators TOK
12:30 - «Curating Differently: Finding a way Back to Art» Ulrika Filnk
13:10 - Break
14:10 - «How Institutions Think and Parahosting as a Form of Reinstituting» Paul O'Neill
14:50 - «Culture Makers» Mariika Semenenko
15:40 - Closing notes for the day, additional questions and a discussion
Friday., 4.10.2019
10:30 - Registration
11:00 - «Liberating Knowledge: the Changing Role of Curatorial and Museum Practice in Russia»
Snejana Krasteva
11:40 - «All Earthlings Become Sisters» Joanna Sokolowska
12:20 - Break
13:30 - «How Do We Create Conditions for Muslim Immigrants to Be Returning to Europe, Instead of Arriving There For the First Time?» Galit Eilat
14:10 - «The Agency for Legal Imagination (ALI): Between Visual and Legal Activism» Avi Feldman
15:00 - 16:30 - Final discussion of the Symposium
11:00 - «Liberating Knowledge: the Changing Role of Curatorial and Museum Practice in Russia»
Snejana Krasteva
11:40 - «All Earthlings Become Sisters» Joanna Sokolowska
12:20 - Break
13:30 - «How Do We Create Conditions for Muslim Immigrants to Be Returning to Europe, Instead of Arriving There For the First Time?» Galit Eilat
14:10 - «The Agency for Legal Imagination (ALI): Between Visual and Legal Activism» Avi Feldman
15:00 - 16:30 - Final discussion of the Symposium
Transcending Realities, Overcoming Borders and Creating Structures
Authors: Creative Association of Curators ТОК (Anna Bitkina and Maria Veitz), Curators of the symposium of the 1st Curatorial Forum
Growing complexity of today and unresolved pasts set up new tasks for social and political structures and concepts to form our reality(ies). There is an urgent demand for “new institutions of learning and knowing” to articulate current conditions and pave new directions for alternative political and environmental scenarios as well as identify instruments for their development. Arguing on the topic of modernity and its main features — globalism and universalism — theorist and philosopher Keti Chukhrov claims that not a single art genre could reach such a transnational unity as contemporary art. Similarly, artist Amanda Beech states, that ‘art casts itself in an equally heroic role in claiming to offer an access to the unknowable treat
of the real that reason and politics cannot’. Does it mean that contemporary art with its universal coding could provide humans and non-humans with a structure that transcends the reality? Could art’s visionary principles guide us toward a sensible political horizon based on advanced
societal possibilities?
The ability of curatorial practice to borrow and combine knowledge from different disciplines, as well as to integrate artistic approaches into spheres not directly related to art, makes it a powerful tool for creating conditions for reflection on the complexity of modernity, unresolved issues of the past and alternative scenarios for the future. At the 1st Curatorial Forum Symposium, the topic of which was "Transcending Realities, Overcoming Borders and Creating Structures", curators and art theorists met to share their visions, experiences and dreams related to contemporary political and environmental issues. The symposium became a platform for interaction between different fields of knowledge and provided an opportunity to discuss the ability of curators to anticipate and describe large-scale social and political changes, as well as the unique feature of curatorial practice – to reach out and penetrate into different social structures. In October 2019, the Symposium brought together in St. Petersburg institutional and independent curators, writers and scholars who in their practice and research defend new territories of the curatorial profession, test new formats of collective work and creativity, conceptualize new theories and critical concepts, and shake up established knowledge about the past in the context of the present.
of the real that reason and politics cannot’. Does it mean that contemporary art with its universal coding could provide humans and non-humans with a structure that transcends the reality? Could art’s visionary principles guide us toward a sensible political horizon based on advanced
societal possibilities?
The ability of curatorial practice to borrow and combine knowledge from different disciplines, as well as to integrate artistic approaches into spheres not directly related to art, makes it a powerful tool for creating conditions for reflection on the complexity of modernity, unresolved issues of the past and alternative scenarios for the future. At the 1st Curatorial Forum Symposium, the topic of which was "Transcending Realities, Overcoming Borders and Creating Structures", curators and art theorists met to share their visions, experiences and dreams related to contemporary political and environmental issues. The symposium became a platform for interaction between different fields of knowledge and provided an opportunity to discuss the ability of curators to anticipate and describe large-scale social and political changes, as well as the unique feature of curatorial practice – to reach out and penetrate into different social structures. In October 2019, the Symposium brought together in St. Petersburg institutional and independent curators, writers and scholars who in their practice and research defend new territories of the curatorial profession, test new formats of collective work and creativity, conceptualize new theories and critical concepts, and shake up established knowledge about the past in the context of the present.
Curator and educator Bassam El Baroni proposes to look at curating as multitude of disciplines that stretches to embrace the unknown. In his research-in-progress he suggests to apply curatorial transdisciplinarity to the desert as a new geographical and conceptual territory to test ideas for a new political potentiality. Anna Bitkina and Maria Veits / TOK reflect upon the legacy and principles of their nomadic institution by unarchiving their 10-year practice and discuss possibilities of curatorial tools to go beyond pre-designed ways of doing and being. Looking at her transitioning from a traditional art institution to a public organization Ulrika Flink explores new avenues of curating that can provide her for working more closely with art and artists in order to rethink society and ourselves. Artistic director of curatorial agency PUBLICS in Helsinki Paul O’Neill proposes ‘parahosting’ as a progressive terrain for organizational praxis within the curatorial paradigm’ and beyond.
Marika Semenenko, a community organizer with a background in political science, instigates ways for a setting up alternative culture of thinking and doing by creating new
DYI alternative structures in tight and uneasy contexts of Moscow and Kyiv. The symposium also aims at presenting and juxtaposing a variety of curatorial projects of different scales, geographies and ambitions to outline conditions for social justice in situation of global interdependency. In her talk, leading curator of Field Research program at Garage Museum of Contemporary Art in Moscow Snejana Krasteva focuses on increasing responsibility of private art institutions to preserve, interpret, produce knowledge and present plurality of art historical narratives in the context of under-financing and malfunctioning of state-run archive and research institutions in Russia. Speaking about her recent curatorial projects, Joanna Sokolowska, curator at Muzeum Sztuki in Łódź, examines possibility of a museum to become a place for ecological imagination, a territory for equal gender rights and a hostess of her stories, which all that could potentially stimulate a life-affirming future. With her multilayered, transdisciplinary research-driven art project ‘Syndrome of the Present’ Galit Eilat brings into spotlight historical narratives where ‘the seeds of present conflicts were sown’. By unfolding the life tracks of two 17th century protagonists, the ‘Messiah’ Sabbatai Zevi and the philosopher Baruch Spinoza she creates a complicated texture where different intellectual traditions, scientific and historical cannons meet to create a global piсture of interconnected socio-political processes. Entering the domain of law and legislation, curator and and lawyer Avi Feldman proposes a new format of an art institution based on principles of legal activism. According to him, ‘art is a source for the reflection and the creation of legal justice, rights, and even institutions through artistic and curatorial theory and practice’.
Marika Semenenko, a community organizer with a background in political science, instigates ways for a setting up alternative culture of thinking and doing by creating new
DYI alternative structures in tight and uneasy contexts of Moscow and Kyiv. The symposium also aims at presenting and juxtaposing a variety of curatorial projects of different scales, geographies and ambitions to outline conditions for social justice in situation of global interdependency. In her talk, leading curator of Field Research program at Garage Museum of Contemporary Art in Moscow Snejana Krasteva focuses on increasing responsibility of private art institutions to preserve, interpret, produce knowledge and present plurality of art historical narratives in the context of under-financing and malfunctioning of state-run archive and research institutions in Russia. Speaking about her recent curatorial projects, Joanna Sokolowska, curator at Muzeum Sztuki in Łódź, examines possibility of a museum to become a place for ecological imagination, a territory for equal gender rights and a hostess of her stories, which all that could potentially stimulate a life-affirming future. With her multilayered, transdisciplinary research-driven art project ‘Syndrome of the Present’ Galit Eilat brings into spotlight historical narratives where ‘the seeds of present conflicts were sown’. By unfolding the life tracks of two 17th century protagonists, the ‘Messiah’ Sabbatai Zevi and the philosopher Baruch Spinoza she creates a complicated texture where different intellectual traditions, scientific and historical cannons meet to create a global piсture of interconnected socio-political processes. Entering the domain of law and legislation, curator and and lawyer Avi Feldman proposes a new format of an art institution based on principles of legal activism. According to him, ‘art is a source for the reflection and the creation of legal justice, rights, and even institutions through artistic and curatorial theory and practice’.
Curating the Desert
Author: Bassam El Baroni.
Куратор. Asistant professor in curating and mediating art at the School of Arts, Design and Architecture, Aalto University, Helsinki, Finland and former lecturer (2013 – 2019) at the Dutch Art Institute MA Program, ArtEZ University of the Arts, Arnhem, the Netherlands. Director of Alexandria Contemporary Arts Forum (ACAF) 2005 - 2012 a now closed non-profit art space in Alexandria, Egypt. Curator of Manifesta 8 (Murcia, 2010); LIAF – Lofoten International Art Festival (Lofoten Islands, Norway, 2013); Eva International - Ireland’s Biennial (Limerick, 2014); HOME WORKS 7 (Beirut, 2015).According to philosopher Anne-Françoise Schmid, to truly grasp an object of research today it is imperative that we construe it as an “Integrative Object”. This corresponds with the growing acknowledgement of the incapacity of any one discipline alone to address and understand the
complex objects and problems we face. As Schmid points out, presently, disciplines are “like the dimensions of a multidimensional object: they are no longer at the centre, but are made use of in the construction of the object.” This articulates the necessity of Transdisciplinarity and sets up
curating to take on a role that is fully engaged with the construction of research objects. In view of this, how are we to understand something like ‘the desert’, for example?
The talk presents El Baroni’s research-in-progress on ‘desert’ as both a site/space and a concept he develops within the context of art and curating. It takes novelist Ibrahim Al-Koni’s quest to develop a philosophy that emerges from the space-time of the desert as a starting point. For
Al-Koni, the novel is an intrinsically urban phenomenon even when set outside urban space. Its time and reliance on cognitive patterns and biases afforded by urban life place it squarely within an urban framework.
As Meinrad Calleja notes, urban space “has a series of inescapable mappings that allow one to manoeuvre. The desert has no such possibility, except for cosmic references.” This cosmic/astronomic entwinement as well as how the desert enforces a paradigm of thinking and encountering the world that challenges empiricism points to the desert as providing the ‘Archē-Site’ from which the speculative philosophical tools of today have emerged. A curatorial project premised on the demands of this site cuts through patterns of knowledge that interface science
with sorcery, truth with fiction, rationality with delirium, and life with death.
complex objects and problems we face. As Schmid points out, presently, disciplines are “like the dimensions of a multidimensional object: they are no longer at the centre, but are made use of in the construction of the object.” This articulates the necessity of Transdisciplinarity and sets up
curating to take on a role that is fully engaged with the construction of research objects. In view of this, how are we to understand something like ‘the desert’, for example?
The talk presents El Baroni’s research-in-progress on ‘desert’ as both a site/space and a concept he develops within the context of art and curating. It takes novelist Ibrahim Al-Koni’s quest to develop a philosophy that emerges from the space-time of the desert as a starting point. For
Al-Koni, the novel is an intrinsically urban phenomenon even when set outside urban space. Its time and reliance on cognitive patterns and biases afforded by urban life place it squarely within an urban framework.
As Meinrad Calleja notes, urban space “has a series of inescapable mappings that allow one to manoeuvre. The desert has no such possibility, except for cosmic references.” This cosmic/astronomic entwinement as well as how the desert enforces a paradigm of thinking and encountering the world that challenges empiricism points to the desert as providing the ‘Archē-Site’ from which the speculative philosophical tools of today have emerged. A curatorial project premised on the demands of this site cuts through patterns of knowledge that interface science
with sorcery, truth with fiction, rationality with delirium, and life with death.
The question might then be — as Calleja notes — “Do we slice out the desert from the world, or the world from the desert?” While the former is the more popular conception, the latter provides us with an orientation that can activate fresh processes of revision and invention or as Al-Koni puts it: the desert is “an instrument of insight, capable of spying out the invisible world”. Al-Koni thus makes a claim on the desert that identifies it as a catalyst for what Nelson Goodman has called worldmaking.
The talk considers how the desert has been utilized as a site for art, art festivals, memorials and "space analogues". In many of these projects, the desert is largely a non-urban 4D canvas for artworks, apparatuses of remembrance, or future scenario experiments that have not fully potentialized it as an instrument of insight. Hence, the currently contested terminology of Desertification is reclaimed as a way of reordering and recomposing the world, desert-first, and as a transdisciplinary curatorial exercise in worldmaking.
For a full performance by Bassam El Baroni at the 1st Curatorial Forum Symposium, see here.
References:
Anne-Françoise Schmid. (2018) "The Philosophical Underpinnings of Design Theory", In Piter Vermaas and Stéphane Vial (eds.), Advancements in the Philosophy of Design, Springer.
Meinrad Calleja. (2013) "The Philosophy of Desert Metaphors in Ibrahim al-Koni - The Bleeding Stone". East Longmeadow, MA, USA: Faraxa Publishing.
Nelson Goodman. (1978) "Ways of Worldmaking". Indianapolis, IN, USA: Hackett Publishing.
Ibrahim Al-Koni. (2008) Interview for www.swissworld.org, "Why Switzerland?" quoted in "The Philosophy of the Metaphorical Desert in Ibrahim Al Quni's Bleeding Stone" by Meinrad Calleja.
The talk considers how the desert has been utilized as a site for art, art festivals, memorials and "space analogues". In many of these projects, the desert is largely a non-urban 4D canvas for artworks, apparatuses of remembrance, or future scenario experiments that have not fully potentialized it as an instrument of insight. Hence, the currently contested terminology of Desertification is reclaimed as a way of reordering and recomposing the world, desert-first, and as a transdisciplinary curatorial exercise in worldmaking.
For a full performance by Bassam El Baroni at the 1st Curatorial Forum Symposium, see here.
References:
Anne-Françoise Schmid. (2018) "The Philosophical Underpinnings of Design Theory", In Piter Vermaas and Stéphane Vial (eds.), Advancements in the Philosophy of Design, Springer.
Meinrad Calleja. (2013) "The Philosophy of Desert Metaphors in Ibrahim al-Koni - The Bleeding Stone". East Longmeadow, MA, USA: Faraxa Publishing.
Nelson Goodman. (1978) "Ways of Worldmaking". Indianapolis, IN, USA: Hackett Publishing.
Ibrahim Al-Koni. (2008) Interview for www.swissworld.org, "Why Switzerland?" quoted in "The Philosophy of the Metaphorical Desert in Ibrahim Al Quni's Bleeding Stone" by Meinrad Calleja.
How to Work Together: Institutional
Inventory as a Method
Inventory as a Method
Authors: The Creative Association of Curators TOK
The Creative Association of Curators TOK is curatorial collective co-found-ed in 2010 by Anna Bitkina and Maria Veits as a platform for interdisciplinary research-based projects in the field of contemporary art. Throughout their practice TOK curators challenge the borders of the territory of art and seek ways of how it can foster social change. Most projects of the collective are multilayered and long-term initiatives aimed at generating new knowledge about the causes and consequences of changing political and social realities and often lie between historical analysis and the political imaginary. TOK’s projects deal with current issues that are widely discussed both in Russia and internationally such as migration, public space and citizens, development of education, deprivation of social resources, forming collective memory, human rights, feminism, the growing role of the media in the global society, changing political climate and many others. Curators of TOK organize educational events, international conferences and summer schools, programs that aim at the international exchange between artists, curators, designers and educators from Russia and other countries. TOK has a strong publication component and publishes books, brochures, exhibitions catalogues that are available in print and online.
The presentation of TOK curators pivoted around their retrospective exhibition ‘How To Work Together’ that serves as a spatial setting for the symposium and marks the 10th anniversary of the collective’s practice. The curators will take the audience on a tour around the important milestones of the collective’s development that are juxtaposed with significant sociopolitical timeline of the events of the past ten years that have influenced modes, ethics and possibilities of curating in Russia and internationally. Being an institution without walls TOK curators will out-
line their strategy of landing on different social structures and complicated political contexts that aims at proposing alternative future scenarios, challenging social behavioral models and uniting like-minded people. They will focus on sustainable ways of TOK’s institutional operation and demonstrate possibilities of a small-scale art organization to foster social impact. The exhibition is also an invitation for curatorial self-reflective exercise and historical inventory. In contrary to the practice of archiving, inventorying is about continuous updates and keeping items available. Presenting the body of TOK’s curatorial works in one place allows to address a variety of curatorial instruments and strategies and hopefully widen their possibilities of curating to go beyond pre-designed ways of doing and being. Having started with an ambition to test formats of curatorial practice, over the past decade the duo turned into a nomadic curatorial institution with horizontal structure guided by the imperatives of curiosity, social responsibility, sustainability and collectivity. Most of TOK’s projects take place outside of a white cube; they are based on principles of performativity and site-specificity, which makes their outcomes unpredictable until the research and production are complete. Therefore, emerging in open city areas, schools, libraries, youth centers as well as art institutions, curatorial projects of TOK rather take place than are being shown.
The presentation of TOK curators pivoted around their retrospective exhibition ‘How To Work Together’ that serves as a spatial setting for the symposium and marks the 10th anniversary of the collective’s practice. The curators will take the audience on a tour around the important milestones of the collective’s development that are juxtaposed with significant sociopolitical timeline of the events of the past ten years that have influenced modes, ethics and possibilities of curating in Russia and internationally. Being an institution without walls TOK curators will out-
line their strategy of landing on different social structures and complicated political contexts that aims at proposing alternative future scenarios, challenging social behavioral models and uniting like-minded people. They will focus on sustainable ways of TOK’s institutional operation and demonstrate possibilities of a small-scale art organization to foster social impact. The exhibition is also an invitation for curatorial self-reflective exercise and historical inventory. In contrary to the practice of archiving, inventorying is about continuous updates and keeping items available. Presenting the body of TOK’s curatorial works in one place allows to address a variety of curatorial instruments and strategies and hopefully widen their possibilities of curating to go beyond pre-designed ways of doing and being. Having started with an ambition to test formats of curatorial practice, over the past decade the duo turned into a nomadic curatorial institution with horizontal structure guided by the imperatives of curiosity, social responsibility, sustainability and collectivity. Most of TOK’s projects take place outside of a white cube; they are based on principles of performativity and site-specificity, which makes their outcomes unpredictable until the research and production are complete. Therefore, emerging in open city areas, schools, libraries, youth centers as well as art institutions, curatorial projects of TOK rather take place than are being shown.
Technological progress and immanent mobility of many contemporary artists and curators make them exist in multiple political realities. The process of going through the time of transition helps some of them find ways around changing sociopolitical paradigms. TOK belongs to the generation that grew up during the liberal gap between communism and capitalism, and that experience alongside Soviet social and political heritage is embedded into their identity. For the past several years, while expanding their practice internationally and working outside of Russia they have developed sensitivity to radical changes happening in the global East and global West, which gets reflected in their latest projects. They are in search of nuanced language, concepts and strategies that allow to describe both the complexity of post-Soviet reality and to loosen dominance of the existing Western canon. The curators will also talk about challenges of keeping institutional history and integrity being intentionally an organization without a physical space. They will touch upon importance of systematic curatorial labor and precarious routine, institutional intellectual footprint, knowledge production anтв network building. Rethinking their practice, TOK curators are concerned about remains after an exhibition and about ‘post-representative possibilities for curatorial work’.
For a full performance by Anna Bitkina and Maria Veits at the 1st Curatorial Forum Symposium see here.
For a full performance by Anna Bitkina and Maria Veits at the 1st Curatorial Forum Symposium see here.
Curating Differently: Finding a Way Back to Art
Author: Ulrika Flink
Ulrika Flink is an independent curator from Stockholm. In different years she held positions in leading Swedish and international art institutions. Her recent positions include curator at Grafikens Hus, director of Konstfrämjandet Stockholm, assistant curator and producer at Tensta Konsthall (2011-2017). Ulrika worked for Bonniers Kunsthall and was a co-founder of the Stockholm-based curatorial collective Parallellogram. In 2017 Flink
was a part of the curatorial team of the 9th edition of Momentum biennial in Norway. She has worked on numerous exhibitions at Tensta Konsthall, Autograph ABP and Tate Modern. Flink has been the co-editor of Hjärnstorm journal and has written for The Right Dissonance (UK), The Lake
Magazine (South Africa) and Konstperspektiv (Sweden).
Ulrika Flink is an independent curator from Stockholm. In different years she held positions in leading Swedish and international art institutions. Her recent positions include curator at Grafikens Hus, director of Konstfrämjandet Stockholm, assistant curator and producer at Tensta Konsthall (2011-2017). Ulrika worked for Bonniers Kunsthall and was a co-founder of the Stockholm-based curatorial collective Parallellogram. In 2017 Flink
was a part of the curatorial team of the 9th edition of Momentum biennial in Norway. She has worked on numerous exhibitions at Tensta Konsthall, Autograph ABP and Tate Modern. Flink has been the co-editor of Hjärnstorm journal and has written for The Right Dissonance (UK), The Lake
Magazine (South Africa) and Konstperspektiv (Sweden).
Konstfrämjandet, “People’s Movements for Art Promotion”, works towards the mission «art for everyone». How can this be achieved? What curatorial strategies must be implemented for seeing art as a way of rethinking society and ourselves?
As artistic co-director at Konstfrämjandet Stockholm, Ulrika’s mission is to work together with artists, participants, and member organizations, to develop different perspectives on the time in which we live. The elasticity of the concept of art has great potential to open up an overlapping ecosystem. The norm-creative organization SETTING aims to develop a method for broader collaboration between activists and artists. In a time where more and more people are organizing themselves in fascist and undemocratic movements, a strong counter-force is needed.
Working as a curator at SETTING entails developing projects that investigate how to effect change in society manifested and sustained through the role of activism and the arts in social movements, democracy development, and social sustainability. Art and activism work in different ways. Activism is an activity for challenging and changing power relations in society. The value of art, on the other hand, often lies in giving us perspectives and new ways of seeing our world. What curatorial strategies are needed to explore activism and art?
For a full performance by Ulrika Flink at the 1st Curatorial Forum Symposium, see here.
Working as a curator at SETTING entails developing projects that investigate how to effect change in society manifested and sustained through the role of activism and the arts in social movements, democracy development, and social sustainability. Art and activism work in different ways. Activism is an activity for challenging and changing power relations in society. The value of art, on the other hand, often lies in giving us perspectives and new ways of seeing our world. What curatorial strategies are needed to explore activism and art?
For a full performance by Ulrika Flink at the 1st Curatorial Forum Symposium, see here.
How Institutions Think and Parahosting as a form of reinstituting
Author: Paul O’Neill
Curator, artist, writer and educator. He is the Artistic Director of PUBLICS (2017). PUBLICS is a curatorial agency and event space in Helsinki. Between 2013-17, he was Director of the Graduate Program at the Center for Curatorial Studies (CCS), Bard College. Paul is widely regarded as one of the foremost research-oriented curators, and leading scholar of curatorial practice, public art and exhibition histories. Paul has held numerous curatorial and research positions over the last
twenty years and he has taught on many curatorial and visual arts programs in Europe and the UK. Paul has co-curated more than sixty curatorial projects across the world. His most recent anthologies, "The Curatorial Conundrum: What to Study? What to Research? What to Practice?" and "How Institutions Think" are co-edited with Lucy Steeds and Mick Wilson, published with The MIT Press, CCS Bard College and Luma Foundation, in 2016 and 2017 respectively.
Curator, artist, writer and educator. He is the Artistic Director of PUBLICS (2017). PUBLICS is a curatorial agency and event space in Helsinki. Between 2013-17, he was Director of the Graduate Program at the Center for Curatorial Studies (CCS), Bard College. Paul is widely regarded as one of the foremost research-oriented curators, and leading scholar of curatorial practice, public art and exhibition histories. Paul has held numerous curatorial and research positions over the last
twenty years and he has taught on many curatorial and visual arts programs in Europe and the UK. Paul has co-curated more than sixty curatorial projects across the world. His most recent anthologies, "The Curatorial Conundrum: What to Study? What to Research? What to Practice?" and "How Institutions Think" are co-edited with Lucy Steeds and Mick Wilson, published with The MIT Press, CCS Bard College and Luma Foundation, in 2016 and 2017 respectively.
How Institutions Think and mobilize ways of thinking and being in the world are issues of fundamental contemporary importance — and one that needs to be addressed from multiple perspectives, and with a new sense of urgency here today and elsewhere. PUBLICS is a curatorial agency with a dedicated library, event space and reading room in Helsinki. During the Autumn of 2018, PUBLICS began to give over its program to the work of others, and to those institutions who are in need of space to practice and to support the realization of their projects publicly.
‘Parahosting’ is an essential means of working together without boundaries, with the para being conceived of as operating away from, alongside or supplementary to, and we wish to propose ‘parahosting’ as a progressive terrain for organizational praxis that both operates within the curatorial paradigm and retains a destabilizing relationship to it via (para-) texts, sites, works and institutes.
To arrive at a para concept – an understanding of something ‘other than’, ‘beside’, ‘outside’, or ‘auxiliary’, operating at a distance from the main act – is a means of re-establishing the binary between primary and secondary curatorial labor. In this sense, ‘parahosting’ is a useful term to describe transitional temporal processes of engagement with people taking precedence over exhibitions or productions as the primary end product.
Taking PUBLICS’s concept of ‘parahosting’ as a background example this talk will explore why institutions of all scales are necessary as part of a codependent culture and the need to support for small to medium scale organisations must be made more apparent. In the face of such a reductive scenario, ‘parahosting’ proposes an evolving field of operations that persists in resisting the established order of things as part of the destabilizing curatorial constellation.
For a full performance by Paul O'Neill at the 1st Curatorial Forum Symposium, see here.
To arrive at a para concept – an understanding of something ‘other than’, ‘beside’, ‘outside’, or ‘auxiliary’, operating at a distance from the main act – is a means of re-establishing the binary between primary and secondary curatorial labor. In this sense, ‘parahosting’ is a useful term to describe transitional temporal processes of engagement with people taking precedence over exhibitions or productions as the primary end product.
Taking PUBLICS’s concept of ‘parahosting’ as a background example this talk will explore why institutions of all scales are necessary as part of a codependent culture and the need to support for small to medium scale organisations must be made more apparent. In the face of such a reductive scenario, ‘parahosting’ proposes an evolving field of operations that persists in resisting the established order of things as part of the destabilizing curatorial constellation.
For a full performance by Paul O'Neill at the 1st Curatorial Forum Symposium, see here.
Culture doers
Author: Mariika Semenenko
Co-founder and curator of House of culture Delai Sam/a, an independent cultural space based in Moscow for activists, artists, researchers, designers, architects, musicians, documentary filmmakers, theatre directors and experts. It is a hub for everyone who, by their actions, is exploring, developing, changing or seeking to improve urban life. She is also a program curator of the international activist documentary film festival Delai Film. Before that, she worked on several art projects in public spaces in Moscow and Kiev aimed at involving local people into urban development processes and community building. She was researching migration in Moscow while studying at Strelka Institute for Media, Architecture and Design in Moscow. Before that she studied political science.
Co-founder and curator of House of culture Delai Sam/a, an independent cultural space based in Moscow for activists, artists, researchers, designers, architects, musicians, documentary filmmakers, theatre directors and experts. It is a hub for everyone who, by their actions, is exploring, developing, changing or seeking to improve urban life. She is also a program curator of the international activist documentary film festival Delai Film. Before that, she worked on several art projects in public spaces in Moscow and Kiev aimed at involving local people into urban development processes and community building. She was researching migration in Moscow while studying at Strelka Institute for Media, Architecture and Design in Moscow. Before that she studied political science.
Is it possible to make a beta-version of a new system capable of transforming the Russian cultural patterns, which won’t be a utopia or an escapist attempt, but will be practically implementable? In the context of today’s Russia, establishing any kind of system that is alternative to the state one is considered to be marginalized and leads to potential conflicts with public authorities and consequent repressions. Being put into a misfit position, the anti-governmental political framework participants are incapable of formulating common values and collaborating around that, thus disuniting even further.
For a full performance Paul O'Neill at the 1st Curatorial Forum Symposium, seeAs an experimental platform, contemporary art allows artists to take a meta-position towards established social norms and behavioral patterns and set a practical example of introducing new values that can underlain a different cultural code.
The today’s context necessitates a search for new approaches and extension of vocabulary, which will be able to describe a new hybrid-type political project. “Do Culture”/ Делай культуру project initiated by Marika is an attempt to establish a horizontally integrated community and a stable economical model that support its members in implementation of their own cultural ambitions. This is a structure, living and working, which complies with specific principles: openness, transparency, flexibility, experimentality, polytonality and non-violent existence. It is a cultural space for implementing projects about the contemporary society and its organization, as well as a venue for other independent cultural initiatives.
Marika Semenenko, who identifies herself as a new culture doer, will tell about “Do Culture” project and other alternative structures, looking into building a horizontally integrated community of fellow-thinkers, which she and her friends have established in Moscow and Kyiv.
For a full performance by Mariika Semenenko at the 1st Curatorial Forum Symposium, see here.
The today’s context necessitates a search for new approaches and extension of vocabulary, which will be able to describe a new hybrid-type political project. “Do Culture”/ Делай культуру project initiated by Marika is an attempt to establish a horizontally integrated community and a stable economical model that support its members in implementation of their own cultural ambitions. This is a structure, living and working, which complies with specific principles: openness, transparency, flexibility, experimentality, polytonality and non-violent existence. It is a cultural space for implementing projects about the contemporary society and its organization, as well as a venue for other independent cultural initiatives.
Marika Semenenko, who identifies herself as a new culture doer, will tell about “Do Culture” project and other alternative structures, looking into building a horizontally integrated community of fellow-thinkers, which she and her friends have established in Moscow and Kyiv.
For a full performance by Mariika Semenenko at the 1st Curatorial Forum Symposium, see here.
Liberating knowledge: the changing role of curatorial and museum practice in Russia
Author: Snejana Krasteva
Curator at Garage Museum of Contemporary Art. From 2007 to 2009, she worked at the Ullens Center for Contemporary Art, Beijing. From 2011 to 2013, she was a curator at Art on the Underground, London, where she realized a series of public art projects. Her exhibition projects
at Garage include The Coming World: Ecology as the New Politics 2030-2100 (2019); Allora & Calzadilla: Graft (2019); The Other Trans-Atlantic. Kinetic and Op Art in Eastern Europe and Latin America 1950s–1970s (2018); the first Garage Triennial of Russian Contemporary Art (2017), NSK: FROM KAPITAL TO CAPITAL (2015).
Curator at Garage Museum of Contemporary Art. From 2007 to 2009, she worked at the Ullens Center for Contemporary Art, Beijing. From 2011 to 2013, she was a curator at Art on the Underground, London, where she realized a series of public art projects. Her exhibition projects
at Garage include The Coming World: Ecology as the New Politics 2030-2100 (2019); Allora & Calzadilla: Graft (2019); The Other Trans-Atlantic. Kinetic and Op Art in Eastern Europe and Latin America 1950s–1970s (2018); the first Garage Triennial of Russian Contemporary Art (2017), NSK: FROM KAPITAL TO CAPITAL (2015).
In the context of largely dysfunctional, impermeable or simply under-financed academic and archival establishments in Russia historically responsible for preserving, interpreting and producing knowledge, private museums and independent institutions are forced to take up their role.
Museums that deal with contemporary art, i.e art that tends to cross disciplines, to test boundaries of expertise, and the singularity of established narratives, more and more find their responsibility as cultural institutions operating in Russia in liberating knowledge from belonging to one institution, to one discipline, to one culture. Such efforts are necessary for conducting a more organic, educated and active international dialogue, for the writing of a diversified and truly global art history.
Snejana Krasteva, one the leading curators of the program Field Research first launched in 2013 at Garage Museum of Contemporary Art, will expand on the accumulated cautionary tales from the museum’s focus on research, grants-giving and more recently, artists studio program in order to map the changing curatorial role of both the curatorial and museum practices in the country.
For a full performance by Snejana Krasteva at the 1st Curatorial Forum Symposium, see here.
Snejana Krasteva, one the leading curators of the program Field Research first launched in 2013 at Garage Museum of Contemporary Art, will expand on the accumulated cautionary tales from the museum’s focus on research, grants-giving and more recently, artists studio program in order to map the changing curatorial role of both the curatorial and museum practices in the country.
For a full performance by Snejana Krasteva at the 1st Curatorial Forum Symposium, see here.
All Earthlings become sisters
Author: Joanna Sokolowska
Curator and works at the Muzeum Sztuki in Łódź, Poland. Her interests include contemporary art that resonates with feminist practices, and the transformation of the ecological and economic imagination. Selected exhibitions: Pangea United, Muzeum Sztuki in Łódź, 2019; For Beyond that Horizon Lies Another Horizon, Edith-Russ-Haus für Medienkunst, Oldenburg, 2017; Exercises in Autonomy: Tamás Kaszás featuring Anikó Loránt (ex-artists’ collective), Muzeum Sztuki in Łódź, 2016; All Men Become Sisters, Muzeum Sztuki, 2015/16. She is an author of essays and articles on politics of contemporary art and recently edited the book All Men Become Sisters co-published with Sternberg Press focusing on feminist perspectives on work, social reproduction in art since the 1970s until today.
Curator and works at the Muzeum Sztuki in Łódź, Poland. Her interests include contemporary art that resonates with feminist practices, and the transformation of the ecological and economic imagination. Selected exhibitions: Pangea United, Muzeum Sztuki in Łódź, 2019; For Beyond that Horizon Lies Another Horizon, Edith-Russ-Haus für Medienkunst, Oldenburg, 2017; Exercises in Autonomy: Tamás Kaszás featuring Anikó Loránt (ex-artists’ collective), Muzeum Sztuki in Łódź, 2016; All Men Become Sisters, Muzeum Sztuki, 2015/16. She is an author of essays and articles on politics of contemporary art and recently edited the book All Men Become Sisters co-published with Sternberg Press focusing on feminist perspectives on work, social reproduction in art since the 1970s until today.
Can a museum become a hostess of herstories and metaphors fostering life-affirming future? How can it render sensible possibilities for future modes of environment-making that hardly makes sense under toxic conditions of production? Can we work with artists and audiences on topical sociopolitical questions such as gender-based exploitation or ecological crisis and at the same time support singularity, complexity or poetic force of specific artworks?
In her presentation Joanna Sokolowska attempted to answer these questions drawing on two exhibition projects - “All Men Become Sisters” and “Pangea United” in Muzeum Sztuki in Łódź. The starting point for both were metaphors of sisterhood and earthly household, respectively. “All Men Become Sisters” proposed a genealogy and manifestation of sisterhood as present in art from the late 1960s until today. It was grounded in art resonating with feminist perspectives on work, production, and social reproduction. However, the exhibition did not aim to rewrite history of feminism in art until now nor to provide a toolbox for feminist activism today. Sisterhood was conceived as an imagination machine; built on the foundations of second-wave criticism of the patriarchal exploitation of women, it proceeded to pose questions about future ecologies of work.
The feminist legacy of ethics and economics of care articulated in the exhibition All Men Become Sisters took Joanna further to Pangea United. It was a proposition for viewers to exercise an ecological imagination, to sense emergent horizons for the Earth household of the future. The works and the performances at the exhibition aimed to searсh for ties and connections between those who have already faced the unknown. Ignoring utopian or sci-fi scenarios, “Pangea United” took a look into present possibilities and tools that humans already have, but that they have abandoned while organizing societies devoid of life-affirming prospects. In fact, the exhibition posed questions about the basic need for care in order to sustain life, as well as about interdependence and fragility of diverse bodies in the web of life.
For a full performance by Joanna Sokolowska at the 1st Curatorial Forum Symposium, see here.
The feminist legacy of ethics and economics of care articulated in the exhibition All Men Become Sisters took Joanna further to Pangea United. It was a proposition for viewers to exercise an ecological imagination, to sense emergent horizons for the Earth household of the future. The works and the performances at the exhibition aimed to searсh for ties and connections between those who have already faced the unknown. Ignoring utopian or sci-fi scenarios, “Pangea United” took a look into present possibilities and tools that humans already have, but that they have abandoned while organizing societies devoid of life-affirming prospects. In fact, the exhibition posed questions about the basic need for care in order to sustain life, as well as about interdependence and fragility of diverse bodies in the web of life.
For a full performance by Joanna Sokolowska at the 1st Curatorial Forum Symposium, see here.
How do we create conditions for Muslim immigrants to be returning to Europe, instead of arriving there for the first time?
Author: Galit Eilat
Galit is an interdependent curator and writer based in Amsterdam. Since 2018 she is the director of Meduza Foundation. Her projects seek to develop conditions that enable collective encounters and experiences, underpinned by a critical view towards the status quo. Deploying eclectic, site-specific projects, often in collaboration with grass root, politically active groups and individuals.
In 2001, she founded the Israeli Center for Digital Art, where she served as director for ten years. In 2004, she co-founded Maarav, an online arts and culture magazine and in 2007 she founded the Mobile Archive. In addition to her curatorial activities, she's also engaged in teaching and writing extensively about art and politics. She is the recipient of the Keith Haring Fellowship in Art and Activism at Bard College, 2017-2018
Galit is an interdependent curator and writer based in Amsterdam. Since 2018 she is the director of Meduza Foundation. Her projects seek to develop conditions that enable collective encounters and experiences, underpinned by a critical view towards the status quo. Deploying eclectic, site-specific projects, often in collaboration with grass root, politically active groups and individuals.
In 2001, she founded the Israeli Center for Digital Art, where she served as director for ten years. In 2004, she co-founded Maarav, an online arts and culture magazine and in 2007 she founded the Mobile Archive. In addition to her curatorial activities, she's also engaged in teaching and writing extensively about art and politics. She is the recipient of the Keith Haring Fellowship in Art and Activism at Bard College, 2017-2018
The weakening of the states’ democratic structure is a global phenomenon, coinciding with the remarkable resurgence of interest in religion, which has become one of the defining issues of our time. We are living in a time where religion and its wider cosmology have an inescapable hold over us, the intersection of political theology and religious politics is gaining global momentum, the nature of human sovereignty and its propensity to generate catastrophic violence is escalating. Nationalism, religion, gender, and race are manipulated by the political elite to divide society and turn people against each other. Nevertheless, conflicts also generate moments of possibilities: the destruction that leads us to face the crises also opens doors to reimagine a future where equality, dignity, wealth, justice, mobility, and education are equally shared among all of us. In order to accomplish this, we have to look back, to see what was imagined for us. It was in the early modernity, that the multitude was identified as the sovereign constituent subject and respectively, democracy was imagined as the politics of popular grounding.
G‘Syndrome of the present’ is a transdisciplinary research-driven art project that originated from the necessity to examine the art’s potentiality to respond, negate or partake in the political, social, and environmental changes of the present. The project offers complex, heterodox narratives and intersectional beliefs and explores the methods and conditions to create a comparative imagination and to disseminate ‘complex thoughts’. The project’s narrative begins in the 17th century central Europe, in which the seeds of present conflicts were sown. This century is famous for the religious reformation that led to the sovereign state, democracy, citizenship and the constitution of (hu)man rights in response to decades of wars. It was also accompanied by outbursts of messianic and scientific developments, economic and cultural progress. The project follows two 17th century protagonists, the ‘Messiah’ Sabbatai Zevi and the philosopher Baruch Spinoza. The second abandoned Judaism, while the first converted to Islam, creating grounds for clandestine religious communities. Both protagonists represent reformation in which various religions, cultures, and heritages overlap and coalesce. They prompt discussion on intersectionality, heterodoxy, multi-religiosity, and fluid identity — all parallel to and often interwoven with the emergence of the trans-Atlantic slave trade and colonial expeditions in the so-named ‘New World’. Through such historical and archival excavations, the project sheds light on the intersection between Black/Afro-diasporic legacies and Jewish legacies.
The project’s research sets up several meta-questions: What should be done when race, gender, religion, and class become a costume for national identity imaginaries? How can we respond when the state of exception becomes the norm? What is the role of an artist under a dictatorship? How does the notion of ‘public’ function under an authoritarian regime? How do we create conditions for social equality and responsibility, solidarity and empathy? How do we create conditions for Muslim immigrants to be returning to Europe, instead of arriving there for the first time?
For a full performance by Galit Eilat at the 1st Curatorial Forum Symposium, see here.
The project’s research sets up several meta-questions: What should be done when race, gender, religion, and class become a costume for national identity imaginaries? How can we respond when the state of exception becomes the norm? What is the role of an artist under a dictatorship? How does the notion of ‘public’ function under an authoritarian regime? How do we create conditions for social equality and responsibility, solidarity and empathy? How do we create conditions for Muslim immigrants to be returning to Europe, instead of arriving there for the first time?
For a full performance by Galit Eilat at the 1st Curatorial Forum Symposium, see here.
The Agency for Legal Imagination (ALI): Between Visual and Legal Activism
Author: Avi Feldman
Curator and writer based in Tel Aviv, Berlin, and Dresden. He was the 2018 curator in residence at
Ludlow 38, the MINI/Goethe-Institut Curatorial Residencies program, NYC. Feldman is the
founder of The Agency for Legal Imagination, which is an independent organization devoted to the investigation of existing and imagined relations between legal and artistic imagination, and visual activism and legal activism.
In 2018, the Agency organized and collaborated with Tali Keren, Hinda Weiss, Jason Loebs, Forensic Architecture, NSU Tribunal, and Devin Kenny, among others. The Agency started operating in NYC following a residency, workshops and exhibition at Artport Tel Aviv (2015-2017), and an exhibition at tranzit/sk, Bratislava (2017). Feldman holds a law degree and has been a member of the Israeli Bar since 2005.
Curator and writer based in Tel Aviv, Berlin, and Dresden. He was the 2018 curator in residence at
Ludlow 38, the MINI/Goethe-Institut Curatorial Residencies program, NYC. Feldman is the
founder of The Agency for Legal Imagination, which is an independent organization devoted to the investigation of existing and imagined relations between legal and artistic imagination, and visual activism and legal activism.
In 2018, the Agency organized and collaborated with Tali Keren, Hinda Weiss, Jason Loebs, Forensic Architecture, NSU Tribunal, and Devin Kenny, among others. The Agency started operating in NYC following a residency, workshops and exhibition at Artport Tel Aviv (2015-2017), and an exhibition at tranzit/sk, Bratislava (2017). Feldman holds a law degree and has been a member of the Israeli Bar since 2005.
The Agency for Legal Imagination (ALI) is an independent organization dedicated to the investigation of the existing and imagined relations between legal and artistic imagination, as well as between visual and legal activism. Existing as an adaptable platform based on exchange and collaboration between institutions, individual practitioners, and scholars from the fields of art, law and politics, the ALI provides theoretical analysis and creative, new perceptions on justice, imagination, as well as visual and judicial activism. Through the untangling of spaces, gaps, and lacunae in which both fields of practice and knowledge intersect, the ALI sets in motion an exploration of influences and interactions between law and art.
The ALI’s preliminary questions concern witnessing, violence, counter-archive, and the creation of evidence. Some of these topics relate to Shoshana Felman’s research on literature, trauma, and witnessing. Felman understands the act of bearing witness as an act of speaking the truth, whether “before a court of law or before the court of history [...] as the narrative account of the witness is at once engaged in an appeal and bound by an oath [1].”According to Felman, the truth of the testimony “embraces the vulnerability, the legal fallibility, and the fragility of the human witness. It is precisely the witness’s fragility that is paradoxically called upon to testify and to bear witness” [2]. In recent years, Felman’s analysis of the act of witnessing has become challenged by Eyal Weizman, who argues that the era of the witness may have reached its end, to be replaced by the forensic era [3]. Weizman together with Thomas Keenan [4]
defined Felman’s era of the witness as beginning with the Eichmann trial in 1961 and ending with the discovery of the skull of Josef Mengele in 1985, which marks the emergence of a forensic sensitivity. In contrast to the fragile, uncertain, difficult-to-believe, and spoken testimony of the witness, testimonies and evidence should be an outcome of a forensic scientific investigation. This process, they suggest, can provide much more reliable, truthful evidence in the courtroom.
The ALI’s preliminary questions concern witnessing, violence, counter-archive, and the creation of evidence. Some of these topics relate to Shoshana Felman’s research on literature, trauma, and witnessing. Felman understands the act of bearing witness as an act of speaking the truth, whether “before a court of law or before the court of history [...] as the narrative account of the witness is at once engaged in an appeal and bound by an oath [1].”According to Felman, the truth of the testimony “embraces the vulnerability, the legal fallibility, and the fragility of the human witness. It is precisely the witness’s fragility that is paradoxically called upon to testify and to bear witness” [2]. In recent years, Felman’s analysis of the act of witnessing has become challenged by Eyal Weizman, who argues that the era of the witness may have reached its end, to be replaced by the forensic era [3]. Weizman together with Thomas Keenan [4]
defined Felman’s era of the witness as beginning with the Eichmann trial in 1961 and ending with the discovery of the skull of Josef Mengele in 1985, which marks the emergence of a forensic sensitivity. In contrast to the fragile, uncertain, difficult-to-believe, and spoken testimony of the witness, testimonies and evidence should be an outcome of a forensic scientific investigation. This process, they suggest, can provide much more reliable, truthful evidence in the courtroom.
Against this backdrop, the Agency for Legal Imagination’s exploration of the legal components in art and curating form an alternative path that lies between the crisis of witnessing, as studied by Feldman, and the movement towards the forensic, as maintained by Weizman and Keenan. The ALI positions itself and its work as a third option: it underscores the possibility of an artwork, or an art project to hold and embody legal grounds and qualities. According to this, art is a source for the reflection and the creation of legal justice, rights, and even institutions through artistic and curatorial theory and practice. The ALI goes further to suggest that we are facing a visual turn in law. Attracting and confronting the visual and the legal, allows for mutual, reciprocal attributes as well as common imagination to arise, become manifest, and intertwined in the realm of contemporary visual art.
Avi Feldman, who is the initiator of ALI, will be sharing during the curatorial symposium some of the agency’s past projects, while also outlining future ideas for a Museum of Law.
More information about the ALI’s projects can be found here: http://ludlow38.org/contributors/avi–feldman/
For a full presentation by Avi Feldman at the 1st Curatorial Forum Symposium see here.
References:
1. Shoshana Felman, “In an Era of Testimony: Claude Lanzmann’s Shoah,” Yale French Studies 1991, n79: 39.
2. Shoshana Felman, The Juridical Unconscious: Trials and Traumas in the Twentieth Century (Cambridge: Harvard University Press, 2002) 134.
3. Eyal Weizman, Forensic Architecture, Notes from Fields and Forums, dOCUMENTA (13): 100 Notes, 100 Thoughts #062 (Ostfildern: Hatje Cantz, 2012) 5-6.
4. Thomas Keenan and Eyal Weizman,“Mengele’s Skull” Cabinet (Fall 2011) 43, <http://www.cabinetmagazine.org/issues/43/keenan_weizman.php>.
Avi Feldman, who is the initiator of ALI, will be sharing during the curatorial symposium some of the agency’s past projects, while also outlining future ideas for a Museum of Law.
More information about the ALI’s projects can be found here: http://ludlow38.org/contributors/avi–feldman/
For a full presentation by Avi Feldman at the 1st Curatorial Forum Symposium see here.
References:
1. Shoshana Felman, “In an Era of Testimony: Claude Lanzmann’s Shoah,” Yale French Studies 1991, n79: 39.
2. Shoshana Felman, The Juridical Unconscious: Trials and Traumas in the Twentieth Century (Cambridge: Harvard University Press, 2002) 134.
3. Eyal Weizman, Forensic Architecture, Notes from Fields and Forums, dOCUMENTA (13): 100 Notes, 100 Thoughts #062 (Ostfildern: Hatje Cantz, 2012) 5-6.
4. Thomas Keenan and Eyal Weizman,“Mengele’s Skull” Cabinet (Fall 2011) 43, <http://www.cabinetmagazine.org/issues/43/keenan_weizman.php>.
ARCHIVE: ART WEEKEND
EXHIBITION, SCHEDULE OF ART-MEDIATIONS, TOURS AND LECTURES
5-6.10.2019
EXHIBITION, SCHEDULE OF ART-MEDIATIONS, TOURS AND LECTURES
5-6.10.2019
General media partner of
ART WEEKEND in St. Petersburg in 2019
ART WEEKEND in St. Petersburg in 2019
Sat., 5.10.2019
Working hours of Art Weekend venues:
Working hours of Art Weekend venues:
12:00 - 20:00 - 21 sites were opened in St. Petersburg. The addresses of the sites were presented in the printed and on-line map.
Sat., 5.10.2019
Schedule of art-mediations at the venues of Art Weekend in Petrogradky district:
Schedule of art-mediations at the venues of Art Weekend in Petrogradky district:
Sofia Dmitreva's art-mediation in Petrogradsky district: Freud's Dream Museum, Rosa's House of Culture, Kunsthalle nummer sieben.
What are the bonds between art and everyday life? This and other questions were suggested to be discussed during art-meditation.
11:00 - 13:00
13:00 - 15:00
15:00 - 17:30
Anastasia Levchenko's art-mediation in Petrogradsky district: Rosa's House of Culture, Kunsthalle nummer sieben, Freud's Dream Museum.
Are revolution and social activism, breaking the boundaries of space and creating internal restrictions, memory and the unconscious also part of art? This and other questions were be raised in art mediation.
11:00 - 12:30
13:30 - 15:00
15:30 - 17:00
What are the bonds between art and everyday life? This and other questions were suggested to be discussed during art-meditation.
11:00 - 13:00
13:00 - 15:00
15:00 - 17:30
Anastasia Levchenko's art-mediation in Petrogradsky district: Rosa's House of Culture, Kunsthalle nummer sieben, Freud's Dream Museum.
Are revolution and social activism, breaking the boundaries of space and creating internal restrictions, memory and the unconscious also part of art? This and other questions were be raised in art mediation.
11:00 - 12:30
13:30 - 15:00
15:30 - 17:00
Sat., 5.10.2019
Schedule of art-mediations at the venues of Art Weekend in Petrogradky district:
Schedule of art-mediations at the venues of Art Weekend in Petrogradky district:
Arina Pshenichnaya's art-mediation in the Central District: Antonov Gallery, Sergei Kuryokhin Center for Contemporary Art, Pushkinskaya-10 Art Center.
This route is about how artists create their works. You will learn the secrets of the masters of St. Petersburg and will be able to see the creative potential in yourself.
11:00 - 13:00
13:00 - 15:30
16:00 - 18:30
Anastasia Drozd's art-mediation in the Central District: Pushkinskaya-10 Art Center, Anna Nova Gallery, Sergei Kuryokhin Center for Contemporary Art, Antonov Gallery.
In our conversation about institutions we rely a little bit on Adrian George's Curator's handbook and other books about the art market and its heroes, and in the narrative of our art walk we embed some ideas from Guy Debord's Psychogeography.
14:00 - 17:30
17:30 – 20:00
This route is about how artists create their works. You will learn the secrets of the masters of St. Petersburg and will be able to see the creative potential in yourself.
11:00 - 13:00
13:00 - 15:30
16:00 - 18:30
Anastasia Drozd's art-mediation in the Central District: Pushkinskaya-10 Art Center, Anna Nova Gallery, Sergei Kuryokhin Center for Contemporary Art, Antonov Gallery.
In our conversation about institutions we rely a little bit on Adrian George's Curator's handbook and other books about the art market and its heroes, and in the narrative of our art walk we embed some ideas from Guy Debord's Psychogeography.
14:00 - 17:30
17:30 – 20:00
Sat., 5.10.2019
Schedule of the special events:
Schedule of the special events:
12:00 - 13:00 - Excursion from Masters School with Gleb Ershov to the Museum of St. Petersburg Avant-garde (Matyushin House).
Address: Prof. Popov Street, 10; Organizer: Masters school.
14:00 - 15:00 - Tour to the workshops artists working with metal with Anton Shulgin.
Address: The territory of the "Blue Goose", Zavod Gosmetr, 28/32 Kurskaya str.
16:00 - 16:30 - Tour at the exhibition "Anatomy".
Address: Rubinstein St., 40/11; Organizer: Antonov Gallery
17:00 - 18:00 - Lecture "New Media. Augmented Reality in Art and in Life". Artist Alexey Andreyev, organizer and one of the authors of the "Density of Void" Augmented Reality project talked about the application of new technologies in painting and about the opportunities that Augmented Reality (AR - Augmented Reality) and Virtual Reality (VR) open to modern artists.
Address: ArtPlay, 3E Krasnogvardeyskaya Sq.; Organizer: Abramova Gallery.
18:00 - 20:00 - Chikako Goto's workshop within the exhibition "Military Requiem. 872 days in Leningrad".
Participants were able to get acquainted with the author's technique of meditative drawing and together with the artist created works for a large-scale installation in the gallery.
Address: 53, Ligovsky Ave.; Organizer: Pushkinskaya Art Center 10.
19:00 - 20:00 - Presentation of the catalogue of the exhibition project "Protection of the Luzhina", implemented jointly by the WöD Graphic Cabinet and the Nabokov Museum in 2018.
Artists: Maria Baturina, Mikhail Zaikanov, Asya Marakulina.
Curators: Andrey Shabanov, Danila Sergeev.
Address: 45 Bolshaya Morskaya St.; Organizer: WöD Graphics Cabinet.
19:30 - 21:00 - Lecture by Mirjam Westen "Curatorial turn: a view from the position of feminism and intersectionality". The lecture was held as part of the retrospective exhibition of the Creative Association of Curators of TOK.
Address: Admiralty Channel nab. 2; Organizer: New Holland Island and TOK.
Address: Prof. Popov Street, 10; Organizer: Masters school.
14:00 - 15:00 - Tour to the workshops artists working with metal with Anton Shulgin.
Address: The territory of the "Blue Goose", Zavod Gosmetr, 28/32 Kurskaya str.
16:00 - 16:30 - Tour at the exhibition "Anatomy".
Address: Rubinstein St., 40/11; Organizer: Antonov Gallery
17:00 - 18:00 - Lecture "New Media. Augmented Reality in Art and in Life". Artist Alexey Andreyev, organizer and one of the authors of the "Density of Void" Augmented Reality project talked about the application of new technologies in painting and about the opportunities that Augmented Reality (AR - Augmented Reality) and Virtual Reality (VR) open to modern artists.
Address: ArtPlay, 3E Krasnogvardeyskaya Sq.; Organizer: Abramova Gallery.
18:00 - 20:00 - Chikako Goto's workshop within the exhibition "Military Requiem. 872 days in Leningrad".
Participants were able to get acquainted with the author's technique of meditative drawing and together with the artist created works for a large-scale installation in the gallery.
Address: 53, Ligovsky Ave.; Organizer: Pushkinskaya Art Center 10.
19:00 - 20:00 - Presentation of the catalogue of the exhibition project "Protection of the Luzhina", implemented jointly by the WöD Graphic Cabinet and the Nabokov Museum in 2018.
Artists: Maria Baturina, Mikhail Zaikanov, Asya Marakulina.
Curators: Andrey Shabanov, Danila Sergeev.
Address: 45 Bolshaya Morskaya St.; Organizer: WöD Graphics Cabinet.
19:30 - 21:00 - Lecture by Mirjam Westen "Curatorial turn: a view from the position of feminism and intersectionality". The lecture was held as part of the retrospective exhibition of the Creative Association of Curators of TOK.
Address: Admiralty Channel nab. 2; Organizer: New Holland Island and TOK.
Exhibitions of the Art Weekend
Route I. From Chernyshevskaya
metro station
metro station
I am Joining in
Curator: Kirill Spasskov
The exhibition of Stieglitz Academy students analyzes the processes of response of classical and applied schools to the challenges of contemporary art development.
Traditional academies are often accused of being detached from current processes and of being too conservative in teaching students.
The exhibition of Stieglitz Academy students analyzes the processes of response of classical and applied schools to the challenges of contemporary art development.
Traditional academies are often accused of being detached from current processes and of being too conservative in teaching students.
Circle of Interpretations
Saint Petersburg Stieglitz State Academy of Art and Design
Solyanoy lane, 13
http://www.ghpa.ru/
Solyanoy lane, 13
http://www.ghpa.ru/
Artists: Anastasia Kolesnik, Anna Martynenko
Curator: Alexandra Ominina
The Interpretation Circle is a diploma project of the 2019 Stieglitz Academy, Anastasia Kolesnik. "The Circle of Interpretations explores the possibility of liberation from self-representation and is presented in two forms: installation and performance.
Curator: Alexandra Ominina
The Interpretation Circle is a diploma project of the 2019 Stieglitz Academy, Anastasia Kolesnik. "The Circle of Interpretations explores the possibility of liberation from self-representation and is presented in two forms: installation and performance.
Buffer Zone
MYTH Gallery
Chaykovskogo str., 61
www.mythgallery.art
12.09.19 – 15.11.19
Chaykovskogo str., 61
www.mythgallery.art
12.09.19 – 15.11.19
Artist: Liza Bobkova
Revelations and confessions of friends and acquaintances were recoded into symbols and sound waves. Images from watercolor got through the symbolic and transformed into the real.
Revelations and confessions of friends and acquaintances were recoded into symbols and sound waves. Images from watercolor got through the symbolic and transformed into the real.
Summer Camp
Anna Nova Gallery
Jukovskogo street, 28
27.07.19 – 12.10.19
Jukovskogo street, 28
27.07.19 – 12.10.19
Artists: Group Sever-7
Curator: Stanislav Savitsky
As a part of the exhibition, the artists will present the whole diversity of post-apocalyptic society and the ease of flâneuring of modern teenager in it.
Curator: Stanislav Savitsky
As a part of the exhibition, the artists will present the whole diversity of post-apocalyptic society and the ease of flâneuring of modern teenager in it.
Melioration, or 12th Lesson on Post-exoticism
FFTN
3rd Sovetskaya st, 2
04 – 11.10.19
3rd Sovetskaya st, 2
04 – 11.10.19
Artists: Anna Andrzhievskaya, Igor Gulin, Arseniy Zhilyaev, Sasha Zubritskaya, Nikita Klen and others.
Curators: Irina Aksenova and Tatiana Danilevskaya
Melioration - is a result of FFTN's two-years work in the contemporary art field of Saint Petersburg. Curators betray the usual tactics of elusiveness and, being inspired by the attitude of the theoretician Irit Rogoff, declare the politics of separation between the representative function of the exhibition space and the function of the actual event itself (curating vs curatorial). However, the project doesn't manifest it bluntly - otherwise, it whispers with the wind, murmurs with the water and rustles with the grass of the local landscape. Finding itself in the middle of the big cultural event, being a sort of "honeypot" for outlander guests, FFTN applies aesthetics and temporality of post-exoticism**, elaborated by French literature tradition (from Franz Fanon to Antoine Volodine). The center and periphery, voices, that represent various cultures and approaches are mixing to mask postcolonial trends, melioration and fertilization (at whose expense?). What eventually should we do to make those planted to bear fruit? To drain or to moisture, to transgress or to build the borders?
Curators: Irina Aksenova and Tatiana Danilevskaya
Melioration - is a result of FFTN's two-years work in the contemporary art field of Saint Petersburg. Curators betray the usual tactics of elusiveness and, being inspired by the attitude of the theoretician Irit Rogoff, declare the politics of separation between the representative function of the exhibition space and the function of the actual event itself (curating vs curatorial). However, the project doesn't manifest it bluntly - otherwise, it whispers with the wind, murmurs with the water and rustles with the grass of the local landscape. Finding itself in the middle of the big cultural event, being a sort of "honeypot" for outlander guests, FFTN applies aesthetics and temporality of post-exoticism**, elaborated by French literature tradition (from Franz Fanon to Antoine Volodine). The center and periphery, voices, that represent various cultures and approaches are mixing to mask postcolonial trends, melioration and fertilization (at whose expense?). What eventually should we do to make those planted to bear fruit? To drain or to moisture, to transgress or to build the borders?
Impulse
Sergey Kuryokhin Center for Contemporary Art
Ligovsky pr., 73, 4th floor
kuryokhin.net
05.10.19 – 17.10.19
Ligovsky pr., 73, 4th floor
kuryokhin.net
05.10.19 – 17.10.19
Artists: Andreev twins, Natalia Balabanova, Katja Butorina, Katerina Veselovskaya, VOPI, Tata Gorian, Philipp Guzeev, Anastasiia Kolesnik, Valentina Makarova, Anna Martynenko, Evgeniy Molodtsov, Darya Molodtsova, Polina Orlova, Anna Prilutckaia, Lidiya Rikker, Alena Smolina, iBiom Box
Curators: Veronika Nikiforova, Khristina Ots
Impulse project consolidates artworks of young artists, who shift the scopes of contemporary "St. Petersburg art". Without seeking to determine unambiguous direction of young art development, whether through formal or narrative affinity, the project tends to capture the differential singularity of the present.
Curators: Veronika Nikiforova, Khristina Ots
Impulse project consolidates artworks of young artists, who shift the scopes of contemporary "St. Petersburg art". Without seeking to determine unambiguous direction of young art development, whether through formal or narrative affinity, the project tends to capture the differential singularity of the present.
War Requiem. 872 Days in Leningrad
Artist: Chikako Goto (Japan)
In the framework of the St. Petersburg Art Residency the artist Chikako Goto created a calligraphic series of 872 sheets, dedicated to the Siege of Leningrad and historical memory.
In the framework of the St. Petersburg Art Residency the artist Chikako Goto created a calligraphic series of 872 sheets, dedicated to the Siege of Leningrad and historical memory.
Why Should I?
Artist: Marina Koldobskaya
Curator: Gleb Ershov
The new project by Marina Koldobskaya is introduced by the questioning slogan "Why should I"? After standing up against the conventional roles and order, the artists turns her critical gaze towards the traditional image painting.
Curator: Gleb Ershov
The new project by Marina Koldobskaya is introduced by the questioning slogan "Why should I"? After standing up against the conventional roles and order, the artists turns her critical gaze towards the traditional image painting.
Anatomy
Antonov gallery
Rubinstein str., 40/11
19.09.19 – 24.10.19
Rubinstein str., 40/11
19.09.19 – 24.10.19
Artist: Sergey Bondarev, Andrey Antonov
Once a gift book by Yeone Barchai Anatomy for artists, inspired a series of works by Sergei Bondarev ANATOMY. Selected pages from the album were printed on canvas and turned into huge paintings and exercises.
Once a gift book by Yeone Barchai Anatomy for artists, inspired a series of works by Sergei Bondarev ANATOMY. Selected pages from the album were printed on canvas and turned into huge paintings and exercises.
Route II. Nevsky prospect – Sadovaya
Art group KOLHUi
Pig Snout Gallery
Fontanka emb., 5
entrance code: 1978# and 1959
https://vk.com/kolhui_svinoe
24.09.19 – 13.10.19
Fontanka emb., 5
entrance code: 1978# and 1959
https://vk.com/kolhui_svinoe
24.09.19 – 13.10.19
Art group KOLHUi open the new season with a digest of all this year's exhibition projects. Nikolay Kopeikin, Vasya Lozhkin, Andrey Kagadeev, Kirill Miller, Pavlik Lemtybozh, Andrey Lublinsky, Mikhail Gavrichkov, Nikolay Vasilyev and others will take part in it.
Necrorealism
Pig Snout Gallery
Fontanka emb., 5
entrance code: 1978# and 1959
https://vk.com/kolhui_svinoe
24.09.19 – 13.10.19
Fontanka emb., 5
entrance code: 1978# and 1959
https://vk.com/kolhui_svinoe
24.09.19 – 13.10.19
Artist: Valery Morozov
The exhibition of Valery Morozov, a member of the famous art group Necrorealists, includes a retrospective and new works on the theme of death and its border states.
The exhibition of Valery Morozov, a member of the famous art group Necrorealists, includes a retrospective and new works on the theme of death and its border states.
Open Archive. Be Alone
Curator: Elena Yushina
The open archive contains videos from the 1970s from the Aperto collection, which were donated to the reading room by German collectors and archivists, including John Baldassari, Gilbert and George, Nam June Paik and others. The Open Archive allows you to meet with yourself in the arts and to pause yourself temporarily.
The open archive contains videos from the 1970s from the Aperto collection, which were donated to the reading room by German collectors and archivists, including John Baldassari, Gilbert and George, Nam June Paik and others. The Open Archive allows you to meet with yourself in the arts and to pause yourself temporarily.
Stolen Sun
Artist: Maxim Svischov
In the new project Stolen Sun Svischov will act not only as the author of the works, but also as an architect:he will turn the exposition space into a zone of search for lost meaning.
In the new project Stolen Sun Svischov will act not only as the author of the works, but also as an architect:he will turn the exposition space into a zone of search for lost meaning.
Housekeeping
Wynwood
Canal Griboyedova emb., 18-20
http://wynwood.co
01.10.19 – 15.01.19
Canal Griboyedova emb., 18-20
http://wynwood.co
01.10.19 – 15.01.19
Curator: Anna Zavediy
Artists: Sasha Zubritskaya, Veronika Ivashkevich, Alina Kugusheva, Asya Marakulina, Anna Prilutskaya, Alyona Tereshko
Housekeeping exhibition brings together works by St. Petersburg artists that directly or indirectly relate to the topic of household management, interpreting it from within today's world.
Artists: Sasha Zubritskaya, Veronika Ivashkevich, Alina Kugusheva, Asya Marakulina, Anna Prilutskaya, Alyona Tereshko
Housekeeping exhibition brings together works by St. Petersburg artists that directly or indirectly relate to the topic of household management, interpreting it from within today's world.
How To Work Together
New Holland Island, Pavilion
Admiralteysky Canal Embankment, 2 www.newhollandsp.ru
03.10.19 – 13.10.19
Admiralteysky Canal Embankment, 2 www.newhollandsp.ru
03.10.19 – 13.10.19
Curators: The Creative Association of Curators TOK
The chronological markers that have defined the current political agenda, will be mapped at the exhibition alongside the stages of TOK's development, and will allow us to reflect upon the change in society and within all of us.
The chronological markers that have defined the current political agenda, will be mapped at the exhibition alongside the stages of TOK's development, and will allow us to reflect upon the change in society and within all of us.
Photo between Print and Digital
Artists: Yulia Borissova, Olga Bushkova, Katya Bykova, Aleksey Bogolepov, Alexander Verevkin, Anastasia Golovina, Yuri Gudkov, Monika Dubinkaite, Asya Zhetvina and others.
Curators: Nadezhda Sheremetova, Yuri Gudkov
Through multimedia, photographic prints, walls and windows that connect the outside world and the space of the FotoDepartament, we will make visible and material what we regularly conduct virtually or what itself has a network nature. And we will put online the live response and visit the space, and create a situation of mediation to switch attention in the evaluation of photographs from the object of aesthetics to the object of meaning.
Curators: Nadezhda Sheremetova, Yuri Gudkov
Through multimedia, photographic prints, walls and windows that connect the outside world and the space of the FotoDepartament, we will make visible and material what we regularly conduct virtually or what itself has a network nature. And we will put online the live response and visit the space, and create a situation of mediation to switch attention in the evaluation of photographs from the object of aesthetics to the object of meaning.
Iron Notes
Artist: Asya Marakulina
The main theme of the project by Asi Marakulina is finding her own intonation. The world depicted by Asya Marakulina exists between the music school and the playground, between the schedule and the game.
The main theme of the project by Asi Marakulina is finding her own intonation. The world depicted by Asya Marakulina exists between the music school and the playground, between the schedule and the game.
A Personal Motive. Graphic Art of the 1920s–80s from the collections of Mikhail Karasik and Anna and Leonid Frants
Artists: Vladimir Lebedev, Nikolai Tyrsa, Alexander Vedernikov, Olga Hildebrandt-Arbenina, Vladimir Sterligov, Tatiana Glebova, Pavel Kondratyev, Alexander Arefyev, Rikhard Vasmi and others.
The exhibition in the Library of Book Graphics brought together some 100 graphic works by more than 60 artists who shaped key aspects of unofficial art in this country between the 1920s and 1980s.
The exhibition in the Library of Book Graphics brought together some 100 graphic works by more than 60 artists who shaped key aspects of unofficial art in this country between the 1920s and 1980s.
Route III. Petrogradsky district - Vasilevsky Island
Journey to the Vast North in a Search for Crater of the Other Rose with LibreLight's Compass
Artists: Alexander Tsikarishvili, Elizaveta Tsikarishvili, Anna Andrzhievskaya, Ivan Chemakin, Alexey Kuznetsov, Natalya Rybalko, Anastasia Kizilova and others.
The public is invited to observe the exchange of practices and forms of interaction on the two adjacent sites. Two camps, two protected areas, two completely different in structure tribe will merge in a ritual dance
The public is invited to observe the exchange of practices and forms of interaction on the two adjacent sites. Two camps, two protected areas, two completely different in structure tribe will merge in a ritual dance
Journey to the Vast North in a Search for Crater of the Other Rose with LibreLight's Compass
Artists: Alexander Tsikarishvili, Elizaveta Tsikarishvili, Anna Andrzhievskaya, Ivan Chemakin, Alexey Kuznetsov, Natalya Rybalko, Anastasia Kizilova and others.
The public is invited to observe the exchange of practices and forms of interaction on the two adjacent sites. Two camps, two protected areas, two completely different in structure tribe will merge in a ritual dance
The public is invited to observe the exchange of practices and forms of interaction on the two adjacent sites. Two camps, two protected areas, two completely different in structure tribe will merge in a ritual dance
The Museum and the Cabinet
Artist: Sofia Israel
"This project is about the history of my family in the context of the history of my country. A study of the family archive in the form of a ceramic cartoon script in which the intersection of my memory with the historical one unfolds against the background of a layout of a total installation", - Sofia Israel.
"This project is about the history of my family in the context of the history of my country. A study of the family archive in the form of a ceramic cartoon script in which the intersection of my memory with the historical one unfolds against the background of a layout of a total installation", - Sofia Israel.
Second Avant-garde
DiDi Gallery
62, Bolshoy prospect V.O.
didigallery.com
24.09.19 - 20.10.19
62, Bolshoy prospect V.O.
didigallery.com
24.09.19 - 20.10.19
Artists: Evgeny Mikhnov-Voytenko, Leonid Borisov, Arkadiy Petrov, Tatiana Nazarenko, Mikhail Schwartzman, Leonid Purygin and others.
DiDi Gallery opens the autumn exhibition season with an exhibition of unofficial works of art of Soviet artists from the 50-80s. Among them: Yevgeny Mikhnov-Voytenko, Leonid Borisov, Arkady Petrov, Tatiana Nazarenko, Mikhail Schwarzman , Leonid Purygin and other representatives of the Soviet underground culture, or the so-called "second wave avant-garde".
DiDi Gallery opens the autumn exhibition season with an exhibition of unofficial works of art of Soviet artists from the 50-80s. Among them: Yevgeny Mikhnov-Voytenko, Leonid Borisov, Arkady Petrov, Tatiana Nazarenko, Mikhail Schwarzman , Leonid Purygin and other representatives of the Soviet underground culture, or the so-called "second wave avant-garde".
IV Route.
Density of Emptiness
Abramova gallery
Krasnogvardeyskaya sq., 3E
ArtPlay. 3 floor, Е3-130
abramovagallery.art
29.05.19 — 31.10.19
Krasnogvardeyskaya sq., 3E
ArtPlay. 3 floor, Е3-130
abramovagallery.art
29.05.19 — 31.10.19
Artists: Alexey Zakharov, Alexey Andreyev, Olga Krokhicheva, Mila Sketch, Sergey Kolesov, Andrey Surnov, Anton Semyonov, Artem Chebokhi, Taras Pashchenko, Leonid Zarubin, Evgeny Yanovich, Mikhail Yershov.
Spectators will find themselves involved to the space of augmented reality and move beyond day-to-day glance on art. The only mediator between them and the world of artist will become an essential element of modern life – a smartphone.
Spectators will find themselves involved to the space of augmented reality and move beyond day-to-day glance on art. The only mediator between them and the world of artist will become an essential element of modern life – a smartphone.
Offline/Online
Artists: AES+F, Anatoly Zverev, Ilya Kabakov, Komar and Melamid, Adam Lister, Lidia Masterkova, Vladislav Mamyshev-Monro, Asya Marakulina, Taus Makhacheva and others.
Curators: Antonio Geusa, Marina Alvitr
The new project of the art space "DK Gromov", the exhibition project Offline/Online explores the impact of new technologies on the development of art, art collecting, as well as communication between art and the viewer.
Curators: Antonio Geusa, Marina Alvitr
The new project of the art space "DK Gromov", the exhibition project Offline/Online explores the impact of new technologies on the development of art, art collecting, as well as communication between art and the viewer.
SAM FAIR
SAM FAIR Contemporary Art Fair is a project designed to support the local artistic environment and its members, providing them with a platform to sell, to showcase their art and meeting with the audience. 130 artists-participants of the fair.
Benua Art Garden
Artists: Ivan Gorshkov, Nikolai Kopeikin, Andrei Lyublinsky, Petr Beliy, Sergei Karev, Anna Martynenko, Turben, Ekaterina Malakhova, Viktor Andreev, Igor Plotnikov, Nestor Engelke.
Curator: Anastasia Pronina
In July, the first public exhibition of contemporary art was opened in the Garden of Benua in the residential district of St. Petersburg.
The Benua Art Garden has become not only a park of art objects, but also a creative platform that brought together St. Petersburg artists and viewers.
Curator: Anastasia Pronina
In July, the first public exhibition of contemporary art was opened in the Garden of Benua in the residential district of St. Petersburg.
The Benua Art Garden has become not only a park of art objects, but also a creative platform that brought together St. Petersburg artists and viewers.
Feel On/Off
Artists: Makovskaya Vitana, Ignatiev Mikhail, Dracheva Karina, El-Safadi Victor, Kazarina Daria, Venkov Nikita and others.
Curators: Kazarina Daria, Venkov Nikita.
The conception of exhibition is based on the synaesthesia – the perception of reality in few sensual dimensions simultaneously.
This is a unique project designed and realised by ambitious and creative students and artists, who permanently look for new artistic and expositional solutions.
Curators: Kazarina Daria, Venkov Nikita.
The conception of exhibition is based on the synaesthesia – the perception of reality in few sensual dimensions simultaneously.
This is a unique project designed and realised by ambitious and creative students and artists, who permanently look for new artistic and expositional solutions.
ART BUS
On the route of AC Gromov - Youth House "Square" - Street Art Museum - Public Space Benoit 1890 - Abramova Gallery - will be running Art bus - a joint project of the NCCA, JSC Third Park and street artist Maxim Ima.
On the route of AC Gromov - Youth House "Square" - Street Art Museum - Public Space Benoit 1890 - Abramova Gallery - will be running Art bus - a joint project of the NCCA, JSC Third Park and street artist Maxim Ima.
traffic schedule:
Metro Novocherkasskaya:
Zanevsky Prospekt, 8
Departure at 12:00, 14:11, 16:32, 18:53.
DK Gromov:
"Stakhanovtsev Street" (9 Zanevsky Prospekt)
Departure at 12:03, 14:24, 16:45, 19:56.
House of Culture "Square":
"Pr. Peredovikov / Polyclinic 103" at St. Peredovikov, 14 k.2.
Departure at 12:30, 14:51, 17:12
Street Art Museum:
"Highway of Revolution" on the highway of Revolution, 86B.
Departure at 12:51, 15:12, 17:33.
Benoit 1890:
"Tikhoretsky Prospekt" on Tikhoretsky Prospekt, 17G
Dispatch at 13:17, 15:38, 17:59.
Abramova Gallery:
"Pr. Novocherkasskiy" at 2, Novocherkasskiy Avenue.
Departure at 13:53, 16:14, 18:35.
ART WEEKEND
5-6.10.2019
5-6.10.2019
AECHIVE: SPECIAL PROJECT
DISCUSSIONS, PORTFOLIO REVIEW, OPEN STUDIOS
5-6.10.2019
DISCUSSIONS, PORTFOLIO REVIEW, OPEN STUDIOS
5-6.10.2019
Sat., 5.10.2019
Discussion panel in CEH "Manege":
12:00-13:00 - Open discussion with Alisa Prudnikova and Pavel Prigara about the NEMOSKVA project.
13:00-14:30 - Curating in public spaces
Moderator: Jussi Koitela
Participants: Tara Tappola, Anna Jensen, Carol Stakenas, Naila Allahverdieva, Artem Filatov, Susan Katz.
15:00-16:30 - Art and politics. Three propositions
Moderator: Dmitry Vilensky
Participants: Olesya Turkina, Luisa Zia, Sonja Lau, Corina L. Apostol, Artem Magun.
16.30-18.00 - Artistic self-organizations
Moderator: Lizaveta Matveeva
Participants: Tonya Trubitsyna, Anne-Catherine Rudolph, Clarinda Mac Low, Irina Aksenova, Nikita Seleznev, Ekaterina Sokolovskaya, Alexander Tsikarishvili.
The event was held with simultaneous interpretation supported by: Frame Contemporary Art Finland, Institute of Finland in St. Petersburg, CEC ArtsLink, Goethe Institute, Austrian Cultural Forum;
11:00 - 16:00 - portfolio review took place in the office of NCCA in St. Petersburg.
12:00-13:00 - Open discussion with Alisa Prudnikova and Pavel Prigara about the NEMOSKVA project.
13:00-14:30 - Curating in public spaces
Moderator: Jussi Koitela
Participants: Tara Tappola, Anna Jensen, Carol Stakenas, Naila Allahverdieva, Artem Filatov, Susan Katz.
15:00-16:30 - Art and politics. Three propositions
Moderator: Dmitry Vilensky
Participants: Olesya Turkina, Luisa Zia, Sonja Lau, Corina L. Apostol, Artem Magun.
16.30-18.00 - Artistic self-organizations
Moderator: Lizaveta Matveeva
Participants: Tonya Trubitsyna, Anne-Catherine Rudolph, Clarinda Mac Low, Irina Aksenova, Nikita Seleznev, Ekaterina Sokolovskaya, Alexander Tsikarishvili.
The event was held with simultaneous interpretation supported by: Frame Contemporary Art Finland, Institute of Finland in St. Petersburg, CEC ArtsLink, Goethe Institute, Austrian Cultural Forum;
11:00 - 16:00 - portfolio review took place in the office of NCCA in St. Petersburg.
Sun., 6.10.2019
11:00 - 16:00 - portfolio review took place in the office of NCCA in St. Petersburg;
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info-spb@ncca.pushkinmuseum.art
North-West branch of Pushkin State Museum of Fine Arts
(The National Center for Contemporary Arts in St. Petersburg)
North-West branch of Pushkin State Museum of Fine Arts
(The National Center for Contemporary Arts in St. Petersburg)