Curator in residence 2011
Ben Crothers, Charlotte Bosanquet, Rowan Sexton, Sinead O’Donnell, Lydia Holmes, Yvonne Kennan, Siraj Izhar, Susan Lynch, Tonya McMullan & Colm Clarke
Ends 02 July 2011
For 'curator in residence'- research phase, PS² will be arranged as an office for up to 8 participants and is open for the public to get an insight in the ongoing research work. During this phase the curators should each or in a team work and develop two proposals, one for the project space and one for an outside location. Two proposals will be selected and realized in January and March 2012, curated by the chosen curators.
The 'curator in residence'- research phase should be informal, open and a learning/ research experience for all participants- including us in PS².
The final proposals for a project should include
- concept and location
- participating artists
- social/ environmental context
- social relevance
- artistic quality
- forms of participation and engagement
- realistic budget
- time planning
Curator/s in residence programme
2011 About curating, three week long
2012/13 PRIME collective, Alissa Kleist, Tonya McMullan, Charlotte Bosanquet
2012/13 Ursula Burke
2014/15 Household collective, Sighle Bhréathnach-Cashell, Eoin Dara, Ciara Hickey, Alissa Kleist, Kim McAleese
2016/17 Mirjami Schuppert
2018/19 Jane Morrow
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04.08.2011: 4 external assessors + PS² have read through all the final project proposals and selected
Ben Crothers - THE NEW ADVENTURES OF A WONDER WOMAN will show the video piece ’Technology/Transformation: Wonder Woman’,
(1978-79), by American artist Dara Birnbaum, a seminal work to which the
Belfast based artists Christopher J.Campbell and Michael Hanna will
respond, both in terms of subject and the use of material.
This project will be realised in January/February 2012, see.
Sinead O’Donnell - ‘Mapping performance art in context - a map work by Boris Neislony’.The project deals with the work of German performance artist Boris Neislony, including his theoretical, complex research into the specifics of this artform. Through a series of talks, the project will audio describe his ideas and translate the map into more accessible audio/visually ways, specifically for and with the help of the disabled community.
The project will take place in January and March 2012, curated and delivered by the two curators.
To see 'Mapping performance art in context' floow the link
What is curating? Of what? For Whom
Thursday, 23 June, 11am- late
In the current contemporary art scene, the role of the curator as selector of art and constructor of meaning is often more in the foreground than the work of the artists. But this statement already implies a critique which presumes that art and artists can speak for themselves. Yet the relationship between artist, art object and audience is continuously changing, challenged by cultural producers, social contexts and engaged publics.
As part of the ‘curator in residence’ project, PS² invited curators to an open and critical forum about their understanding and praxis of curating. Unlike more traditional formats of a concentrated session, ABOUT CURATING will take the form of open conversations, presentations, chance encounters, in between discussions and missed opportunities; a loosely structured continuum, starting in the morning with talks and presentations, either in person or via Skype.
The forum is open to everyone interested.
11.00 Peter Richards, Golden Thread Gallery
11.30 Siraj Izhar- Skype session, info
12.00 Colin Darke- Manifesta X bid
12.30 Ciara Hickey, Ormeau Baths Gallery
13.00 Karen Downey, Belfast Exposed
13.45 Dave Beech- Skype session, info
14.15 Shan McAnena, The Naughton Gallery
15.00 Hugh Mulholland, The Third Space Gallery
ABOUT CURATING- talks
The nine curators in residence have put together a list of
'questions for curators'
-How do you describe your practice?
-Do you consider your practice administrative or creative?
-How do you design your projects and where do your ideas stem from?
-What is your curatorial strategy?
-Do you have a specific area of research?
-How pivotal is funding to the design of the projects?
-What is the best curated show you have seen recently?
-What techniques do you use to exhibiting outside the white cube and have exposure to other audiences?
-How do you approach the documentation and archive of the shows curated?
-What do you think the future of curation is? Theoretical; Practical; Speculative; Operational? Conceptual; Logistical?
ABOUT CURATING is supported by Visual Artist Ireland.
Friday, 01 July, 10.30 -13.00 Deirdre Robb- Arts Council Northern Ireland Applications, funding, guidlines- tips and tricks?.
Educational part It is planned to invite professional curators, art critics, artists and cultural workers to contribute to the project with talks and assistance. This educational part should explore formats and methodologies of curating, context-responsive forms of presentation within an art space and outside the white cube as well as organizational practicalities. Background PS² hardly ever uses the term curator in the planning and organization of the projects in 'project space' or at outside locations. Curating is seen by us as a background task -exhausting as it might be- the artists and their projects come first. (Catalyst arts do have the same no name policy for their curating). The' curator in residence' project is for PS² important, as it will open us up to new ideas and ways of presentation, new subjects and artists. Practically, it might be a chance for us, to attract interested people, who would like to work with PS² and run projects as 'guest curators' on a voluntary bases. Curators and curating play a significant role in the arts scene since the 1960's with the shift in focus away from the artist as sole creator to the social and political conditions of art production and dissemination. The curator is often seen as the author of projects, exhibitions, biennials..., the selector of artists and specific works, revealing a clear conceptual argument. Many universities now offer 'curatorial studies', but not here in the Northern Ireland. Art institutions like the Douglas Hyde gallery, Dublin and the Golden Thread gallery, Belfast, have created in the last few years internships for young curators. Their aim is, to offer opportunities to gain practical insight and experience in curating, art administration and presentation. The Context Gallery, Derry, last year launched an annual International Curatorial Residency Program, restricted to one curator.
NOW CLOSED- Open call for artists/ curators/ cultural practitioners to research new projects
Phase 1 (13 June- 02 July)
Up to 8 curators or curatorial teams will each work and develop proposals in PS². The space will be converted during this time into an open research office.
Two proposals will be selected and realized in January and March 2012, organized by the chosen curators. To take part in 'curator in residence', please email email@example.com stating your interest for this project, your motivation for curating and your professional background. At this stage, no project proposals are required. Please note that 'curator in residence' does not include proposals for 'own' work.
Mini library for ‘curator in residence' - research phase
-Situation (Documents of Contemporary Art), Claire Doherty, 2009
-Art, Space and the City, Malcolm Miles
-One Place After Another: Site-specific Art and Locational Identity, Miwon Kwon, 2007
-The Intangibilities of Form: Skill and Deskilling in Art After the Readymade, John Roberts, 2008
-Conversation Pieces: Community and Communication in Modern Art, Grant H. Kester, University of California Press, 2004. -What Makes a Great Exhibition? Edited by Paula Marincola, Philadelphia, 2007
-On Curating: Interviews with Ten International Curators, Carolee Thea, New York 2010
-Curating and the Educational Turn by Paul O'Neill & Mick Wilson. London 2010
-Hans Ulrich Obrist: A Brief History of Curating (Documents) by Daniel Birnbaum, Christophe Cherix, Hans-Ulrich Obrist and Lionel Bovier, Zuerich 2008
-Hans Ulrich Obrist: Everything You Always Wanted to Know About Curating But Were Afraid to Ask, 2011
Web- sources (mostly outdated by now)
Online journals/ platforms
Curating Degree Zero- http://www.curatingdegreezero.org/index.html
Manifesta Journal- http://www.manifestajournal.org/info.html
On Curationg- http://www.on-curating.org/
Google search: Curator in residence (accessed May 2011- and now probably invalid)
The British Council
LABoral, Spain (2008)
The call for a Curator in Residence at the Centro de Arte is intended to initiate dialogue with external curators that are developing projects within LABoral’s areas of interest, to promote research and curatorial projects within the context of the region of Asturias and the industrial north of Spain and to open up new possibilities of curatorial practice in the convergence of art, science, technology and industrial creation. This call was open to curators interested in the area of art and industrial creation. The Curator in Residence will be encouraged to participate in the development of LABterritorial, an ongoing project that deals with notions of territory from a contemporary perspective, within the context of industrial heritage and regeneration strategies.
Context Gallery, London-Derry,
This autumn, the Context Gallery is launching an annual International Curatorial Residency Program. This ambitious and innovative project consists of a series of field trips over a six-month period and an exhibition to be developed during the following year. Therefore, it offers an opportunity for an experienced, dynamic curator to research contemporary art produced in Northern Ireland and the North West of Ireland, as well as to establish a network within the local contemporary art scene.
3331 Arts Chiyoda has recently launched a new residency program open to artists, curators and creative practitioners internationally. This includes not only the visual arts but also practitioners in design, architecture, dance and music etc. With a full range of facilities including accommodation, studio and gallery, creative practitioners have the exceptional opportunity to extend their artistic engagement in the heart of Tokyo. Not only will artists be able to pursue their own individual research and practice, but they will be connected to the extensive network of Tokyo’s art scene through the hub that is 3331. With the energy of the electronics and anime haven of Akihabara right at one’s doorstep and the traditional cultures of downtown but a stone’s throw away artists will be able to experience all aspects of this kaleidoscopic city from this convenient base. Artists are not only able to spend time in Tokyo, but are able to create work onsite and then finally exhibit what they have developed during their stay, in the distinct setting of 3331 Arts Chiyoda. We are pleased to be able to offer these facilities to artists who can contribute to the diverse creative expressions of this cosmopolitan metropolis and engage its inhabitants in new ways. (http://www.residencyunlimited.org/kiosk/opportunites/2010/10/3331-arts-chiyoda-residency-japan-deadline-november-19-2010/ )
London, Zabludowicz Collection (2011)
Continuing its commitment to working with artists and curators, the Zabludowicz Collection launched this annual initiative to encourage and support experimental curatorial practice. The Curatorial Open invites creative professionals to engage with the Collection and propose a project for public exhibition and an accompanying publication and programme of events at 176 Prince of Wales Road to be realised in July and August. The Curatorial Open seeks to actively engage new voices in the discussion around works in the Zabludowicz Collection, encouraging points of view from a variety of disciplines and transcending the confines of contemporary art curating.
KIOSKO, Santa Cruz de la Sierra, Bolivia (2010) http://www.artscollaboratory.org/projects/curator-residence-programme-kiosko
Since 2008, Kiosko has also invited international curators to share their residency with Bolivian artists. This Curator-in-Residence programme, which takes place once per year, is critical to the improvement of the artistic practice in Santa Cruz as it provides local artists the opportunity to exchange ideas and benefit from the the curators’ broad knowledge on international contemporary artistic practices and discourse. Furthermore, the international curators’ residencies provide the opportunity to incorporate research and theory into their space and programme. Having curators that can look at the local art scene and production with a critical perspective is of utmost importance for the development of contemporary art in Bolivia.
Object Not Found, Monterrey, Mexico (2009)
The Nano Residencies for Curators program aims to address the growing need in our city for professional curators who have theoretical knowledge and practical experience in curating and criticism.
Participants will receive their own office-style studio and an agenda of studio visits and access to local artists work.
This residency program creates opportunities for creative collaborations resulting from direct interaction with artists in many disciplines. Residency length can vary according to personal need and can range in duration from 5 to 10 days.
Mattress Factory Museum, Pittsburgh, USA