[oberlist] AM* evnt: Summer Seminars for Art Curators 2011
US Vladimir
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Sun Jul 24 20:40:40 CEST 2011
-- artist&curator
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Date: Sun, 24 Jul 2011 02:12:56 +0500
Subject: Re: ss2011
From: naz.karoyan at gmail.com
To: naz.karoyan at gmail.com
AICA
Armenia
Summer
Seminars for Art Curators
6-th
Edition
THE
INSTITUTIONAL AND IDEOLOGICAL OPERATION OF TRANSNATIONAL ART
EVENTS
July
25-August 4, Yerevan,
Armenia
The 1989 Fall of Berlin Wall did not only mark the
collapse of the ideologically bipolar world order and the start of the
triumphant rhetoric of global capitalism but also the leveling of
contemporary art practices, representational mechanisms and institutional
structures. The historical collapse of state socialism also designated the
breakdown of an art system that relied on non-market driven consumption
and circulation. The unofficial art practices heretofore evolving behind
the Iron Curtain found a comfortable shelter in various transnational
biennials, art festivals, fairs, collections and discursive events
mushrooming since the 1990s.
The transnational art events are no longer
exhibitions in a traditional sense of art representation, but these are
global events that are also evolving in extra artistic domains that
include discussions, educational programs, networking and so on. “Global”
and mobile artists and curators, leaving the imprint of thousands of
carbon traces, fly from Moscow to Venice, from Sao Paolo to Seoul and from Gyumri to Beirut in order to
share the latest discursive vogue and the representational paradigm, the
possible potential of radical political art as well as the latest
curatorial stratagems and artistic debuts.
Then, what are those
mechanisms, systems and ideologies of contemporary art representation that
construct the global art event in the transnational framework? How does
this framework impact certain local contexts? How is the aesthetical value
being constructed and articulated through such events?
By proposing the
above outlined framework, the 6th edition of the International Summer
Seminars for Curators in Yerevan is initiating a series of seminars,
lectures, discussions and public reading groups that aim at questioning
the economic, political and ideological bases of constructing the global
art event on one hand, and the participation of the contemporary art scene
in Armenia in those events on the other hand.
Coinciding with the 54th
Venice Biennial of 2011, where three Armenian curators are representing
three artists, a series of events is aimed at addressing the role of
global art events in reshaping Armenia’s cultural policy. We
will refer to the history of Armenia's participation in the
Biennial and its ideological and cultural-political implications. Hence,
the most important issue that we would like to propose relates to the role
of the curator, its purpose and function in relation both to the local
scene and the ongoing international redefinitions of the curator within
the framework of transnational art events.
The aim of the program is
twofold: to discuss a timely issue in the international arena and at the
same time address the experience of participation of the local context in
transnational art events. Further, we would like to extend these questions
to discuss issues related to the impact of these events on cultural policy
and institutional politics in the field of contemporary
art.
PARTICIAPNTS:
Lecturers
Misko Suvakovic, Beatrice von Bismarck, Bassam El Baroni,
Sarah Rifky
Presenters
Ozge Ersoy, Eleonora Farina, Maaike Gouwenberg, Isabella
Hughes, Milena Leszkowicz, Marianna Liosi, Kamil Julian
Malinowski Combiz Moussavi-Aghdam, Saša Nabergoj, Corina Oprea,
Claudia Slanar, Elisa Tosoni
Round-table
moderators
Angela Harutyunyan, WHW and
Nazareth Karoyan, Sasa Nabergoj, Sarah Rifky, Vardan
Azatyan
Reading
session's conductor
Angela
Harutyunyan
Critical & Curatorial
Studie's
Lousine
Navasartyan, Vaghinak Ghazaryan, Sona Asatryan, Inna Kholodova, Susanna
Vardanyan
ABSTRACTS
International & Global Nomad:Art &
the Transcultural
Misko Suvakovic
In this two-part lecture I will point
to the transformation of the intercultural status of art in modernism,
postmodernism and contemporary times. I will discuss the imperial model of
the influence of large dominant cultures on small marginal cultures.
Further I will discuss the influence of French, German and Russian art at
the turn of the 19th and the 20th century. I will perform a model of
cultural imperialism. I will consider the notion of style in international
Western art, design and architecture between the 1930s and 1950s. I will
point to the American cultural imperialism and Soviet internationalism
during the Cold War. I will further interpret the concepts of the plural
and the transcultural in postmodernism. It will help to indicate the
difference between the nomadic and transcultural art practices. I will
introduce the concept of the global and point to characteristics of a
global art. The concepts of regional, glocal and transitional art in
relation to globalization will be discussed and performed parallel to
analysis of artistic practices and art
institutions.
Curatorial Conditions – Relations in
Process
Beatrice von Bismarck
Collective forms of curating have been a trend in recent
years. It has become obvious especially for international large scale
exhibitions, from the teams at the Manifesta, via the various Biennials –
the one in Berlin, Venice, Istanbul or
the Caribbean -- to Okwui Enwezor’s
documenta 11 in 2002 or the travelling exhibition “Utopia Station”. While
these forms of collaboration allow for synergies with respect to expertise
as well as to symbolic capital – fame and status, they also possess a
self-reflexive potential analyzing, questioning and redefining the
conditions and relations in the field. The talk will trace recent examples
of the latter approach and analyze its implications for the notion of
authorship and work within the field of the curatorial. As a
transdisciplinary, transprofessional and transcultural mode of working
together, collective curating mirrors not only the connectivity specific
for curatorial practice but also the questions pertaining its economic
aspects. Activities, roles and positions can be brought together in ever
newly definable re lationships. What gains central importance in this
context is the capacity of collectivity to accumulate different forms of
capital, its operational function and the techniques and strategies
employed to this end.
Bassam El
Baroni
Just What Is It that Makes Today's
Transnationalism So Prescribed, So Paradoxical? *
After and sometimes during the span of a "transnational" art
event (such as a biennial) journalistic and critical material circulates
pointing towards the event's over or under-representation of artists from
a certain region, the nationalities of the participating artists etc. In
these debates the wider issues of what kind of art is subject to exclusion
in present day "trans-nationalism" and the reasons behind this supposed
ineligibility are often overlooked. The talk will claim that the majority
of art being produced around the world is non-compatible with the paradigm
of contemporary discursive art production that the curators of such events
aspire to. In fact, it might not be a matter of aspiration but actually of
obligation. Most peoples' imaginary of what art is can be tagged under the
term 'Fine art', art characterized by the academic application or
manipulation of canonical art histories. The present day biennale and
similar event structures favor 'contemporary art' over 'fine art', the
reasons given are unconvincing for most people. It is in unraveling,
analyzing, and healing the schism between these two nodes of art that
might lay a more pertinent chance for a radical transnational
model.
* Based on the title of Richard
Hamilton's 1956 work entitled "Just What Is It that Makes Today's Homes So
Different, So Appealing?"
Sarah
Rifky
On Being an Institution
The discussion on a desire for increased autonomy in the arts
is by no means new. Increasingly, the desire of being autonomous or
independent is outlined in the way one choses to formulate what one does
as an artist and as a curator, be that individually or collectively. An
analysis of the daily trivial aesthetics that make up the work of
independent, self-employed and self-invested people, including artists and
curators, is integral towards understanding the structures within which we
operate primarily governed by a de facto social contract that binds our
individual practices into a type of collective action derived from a
shared collective intentionality. What 'I' do becomes part of what 'we'
do. The modus operandi that governs our relations and our work is
increasingly tending towards a form of 'self-institutionalization'. We
become locked into a system of relations that predicates certain forms of
work and responsibilities that lie outside of the bounds of acting on the
pure intentionality of hopes, desires, dreams and visions. The flexibility
and autonomy of practice dissipates in this collective condition whereby
we exist in relation to each other in the manner of institutions rather
than persons.
To be able to think about
institutions, it is necessary to think oneself into the institution. What
is an institution and how can we perform ourselves as institutions in a
way that deflects the precariousness of new forms of flexible labour
within an increasingly intertwined economy that subsumes us, and art? This
and other questions pertaining to time, responsibility and self-fashioning
of institutions will form the basis of this lecture, and the subsequent
moderated
discussion.
PRESENTATIONS
Ozge
Ersoy
Transnational Art Events and Regional Artistic
Practices
Ersoy’s presentation will
introduce her two recent projects, How to Begin (2010) and The Timeline
(2010). How to Begin is a publication that invites artists and curators to
envision the possible impacts of the soon-to-be-built Guggenheim Abu Dhabi
on their own practices in particular, and the art scenes of the Middle East in general. The Timeline (2010) takes
the form of a poster that suggests the question of how exhibition
practices could engage contemporary art that tackles peoples, places and
cultures which once constituted the expansive Ottoman
Empire. The Timeline acts as an interpretive and suggestive
mapping exercise as it highlights the changes in the fields of museology,
as well as visual arts and culture during the 19th and 20th century
Ottoman Empire. It also raises questions
about the ways in which contemporary art, modern art and traditional art
forms have been categorized through clear-cut definitions and so-called
‘ruptures’ from their predecessors.
Ersoy’s presentation will focus on two fundamental questions:
What is lost when curatorial and critical accounts of non-Western
contemporary art are limited to ahistorical and essentialist readings? And
what is the potential of emerging art organizations and museums to
challenge the existing representational mechanisms in contemporary arts?
Ersoy’s interest lies in rethinking the representational mechanisms in
this field, as well as our very expectations from curatorial practices and
emerging infrastructural models in the
arts.
Eleonora
Farina
National Art Systems vs. Transnational Art
Events: the Romanian case
Compared to
other East European artistic milieus, Romania has managed to strongly
establish itself at an international level presenting artists in major
transnational art events. The most impressive example is the one by the
dissident Ion Grigorescu (1945), who during the last years has exhibited
at documenta12 (2007) and at the 6th Berlin
Biennale (2010) and is representing the Romanian Pavilion at
the 54th Venice Biennial. How is it possible to build a national art
system to support the enormous international (and, let us say, occidental)
demand? How can a country that has just come out of a communist
dictatorship (the Ceauşescu's one) propose, or better impose, its own
artistic choices? Or maybe is it more suitable to talk about the
'colonization' of Romanian art by foreign curators? Taking my cue from my
experience as assistant curator at the National Museum of Contemporary Art
in Bucharest (MNAC), I will discuss the Romanian art scene focusing on the
mechanism of exportation of local art out of its national borders: from
the disputed MNAC to the internationally known Pavilion Unicredit (founder
of the Bucharest Biennial), from the independent The Paintbrush Factory in
Cluj-Napoca to the new Club Electro Putere in Craiova, from the numerous
not-for-profit spaces (among all the Centre for Visual Introspection in
Bucharest, curator of the Romanian Pavilion at the last Venice Biennial)
to the active commercial galleries (i.e. Plan B in Cluj-Napoca, dislocated
in Berlin for three years) ending with the much needed art magazines
(principally “IDEA art + society”).
Maaike
Gouwenberg
Local Audiences, Global
Curating
Within my practice as a
curator there are different elements to focus on. Here in Yerevan, I would
like to give you a small introduction about myself and where I come from,
the scene and the changes at the moment in The Netherlands, after which I
would like to concentrate on two things. The part will focus on the
question “How to show a project that connects both to the local context
and the international art scene while at the same time critically engages
with the given structures of the Netherlands, where community
art and social projects are pushed through by the (local)
government?”
The second part will focus on an
ongoing project. It is a close collaboration with artist Gerbrand Burger
who will make a performance that deals with the (impossible) attempt to
take on the view of the outsider, collected in a story that will be turned
into a theater play and video work. The idea of the outsider connected to
the role of the curator within the global art scene might be a good
starting point for a conversation. The underlying structure of the
organization, which deals with questions on the role of the curator as
producer, and has as one of the main goals to place the artist and his
work at the core of the program will be brought to
attention.
Isabella
Hughes
Contemporary Art: An Agent of Cultural
Diplomacy
Getting back to the core of
cultural diplomacy, a definite buzz word these days: it's about exchanges
and building relationships between people and cultures different than our
own. I will discuss the power that contemporary art has to build greater
understanding, tolerance and awareness both within the US, where I am from, by focusing on new
immigrant and indigenous communities, as well as contemporary art and
cultural diplomacy in a more global context, with an emphasis on the
Middle East. I'll also reference my own
background as an Iranian-American, born and raised in Hawai'i, now living
in the Arab world and how this impacts my curatorial practice and the
projects that I develop. I will reference two past exhibitions that I've
curated and one upcoming project and how they relate to this
topic.
Milena
Leszkowicz
Contemporary Art and
Anthropology
How can contemporary art
criticism benefit from cultural and social anthropology?
Recently a number of publications and workshops including the
books Contemporary
Art and Anthropology and
Between Art and Anthropology edited by Chris Wright and
Arndt Schneider and the Connecting Art and Anthropology (CAA)
workshop in 2007 pointed towards a convergence of art and anthropology.
While cultural and social anthropologist reach out to the art world to
find new ways of representation and more freedom for experiment, the
understanding and interpretation of contemporary art production can deeply
benefit from anthropological approaches and methods. In reliance on
ethnographic fieldwork anthropologists generate much of their data and
knowledge through direct, personal interactions and observations creating
in-depth and thick descriptions. Such ethnographic studies in the field of
art practice and criticism can be used to challenge and analyze processes
of value production or understanding general processes underlying the
cultural connections and clashes which appear when art (increasingly
non-Western art) is exhibited in inter - and transnational
contexts.
Transnational exhibitions and
art events increasingly confront artistic expressions based on different
local, cultural and political influences with a globalized, international
art market and context. It seems that anthropologists might be uniquely
positioned to understand art as an activity embedded in a complex set of
social relationships and cultural
influences.
Marianna
Liosi
Residency zine
Among other projects I’ve developed so far, one in particular
fits with the topic of the Seminars. It’s a long term work which started
last year and arose from the interest in residency programs as one of the
strongest examples of transnational events in the contemporary art system.
The research consisted of mapping residencies provided by Western European
art institutions, in order to list who and how many artists from Central-
East areas caught the attention of the Western art system in the past.
Consequently, a report of various ways each artist experienced the
residency was collected. These contributes will be part of an e-zine,
temporary entitled Res-zine that should ideally circulate by email and
would be periodically brought up to date.
The
project aims at mapping artists/curators passages from a context, a social
history, a society and a culture to another, and at highlighting the role
that residency programs play in the art system, in terms of relationships
among people, territories and point of views. Behind this, key topics
concern the definition of geographical and political borders and its
influence on the art system; the growing network occurring thanks to
artists’ movements and to physical and cultural passages and its effect.
Accordingly, the Residency-zine would become a means to give form to the
network and spread information, since it is free of charge, nonofficial
and non-professional. It will represent a virtual map of artists’
movements and physical and cultural passages, as well as a way cross
political and geographical borders.
Kamil Julian
Malinowski
Daniela Kostova Unorthodox
Image
I would like to present the
exhibition Daniela Kostova Unorthodox Image that I organized in early 2010
in Warsaw in the framework of 93 Foundation, and the project-book I issued
from that.
The project evolved around the
Alexander Nevski Orthodox Church, built by the Russian Church and co-funded by the Russian Empire – a
huge church imposed over Warsaw, located at the Saxon Square
and hated by the Poles. I invited artist Daniela Kostova to work with the
(non-existing nowadays) church, and as a result new works were created.
The project touched upon political and historical issues related to the
Russian presence in Warsaw as well as contemporary
functioning of unwanted historical architecture that often goes covered
with huge advertisements. Furthermore, Unorthodox Image interrogated the
relation between image, memory (screen memory) and (official) history: the
way they complement and contradict one other.
The project book includes both textual and visual material,
where images create their own narration. The publication is a survey from
analysing the work by Daniela Kostova, through texts covering the
background of the history of the Saxon Square and Alexander Nevski
Orthodox Church with archival photographs, to essay on art of Daniela
Kostova, a Bulgarian-born and New York-based
artist.
Combiz
Moussavi-Aghdam
The Narratives of Art History and
Iranian Intelligentsia in the 1960s and 1970s
Since the early twentieth century, many Iranian intellectuals
have attempted to construct and demonstrate their new identity with
reliance on their national history vis-à-vis the history of the modern
West. Associated with nationalism, Shiite Islam and modernist currents,
certain narratives of Iranian history shaped modern Iranian subjectivities
during the past century. In this context, the development of art
historical narratives in intellectual environment played a significant
role in the flourishing of modernist artistic trends in
Iran of the 1960s and 1970s. On
the one hand, the narratives of both Iranian and Western art history were
mainly based on the writings of Euro-American scholars with their
Orientalist and colonialist views. On the other hand, both Marxist and
Formalist approaches in art criticism were highly influential in
determining the new modes of image representation, specifically when the
Cold War reached its zenith within mentioned period. Today, with reference
to art history books and journals available at the time, policies on
translation and publication, university curricula and exhibition
catalogues are be able to analyse the flourishing of modernist trends in
Iran, and the ways images are chosen, reproduced and located within the
historical narratives.
This talk intends
explore the links between the narratives of art history and the history of
intellectual trends in 1960s and 1970s in Iran.
Despite the fact that visual analysis can play a significant role in
showing how modern Iranian identities have been developed, almost all
intellectual discourses have failed to address the ways the collective
subjectivities are imag(in)ed through visual arts and its history in
Iran. In this paper, I will
focus on the role of ideological agendas in the construction of modern
Iranian art history and the approaches in which Orientalism meets
nationalist and religious tendencies. Revealing the limits and problems of
these canonised approaches in art history will shed light on some
unexplored angles of Iranian identity today.
Saša
Nabergoj
Dolce Far Niente: The Praise of
Laziness
In this lectures Saša Nabergoj
will try to defend the right to leisure in contemporary hyper-productive
society. She will examine the roots of our contenporary obsession with
work and in the 18th century. The capitalist economic system was formed
during the Enlightenment, and within this system rational discourse on
work and economy emerged. At the same time, however, an alternative
discourse celebrating laziness was established. In this discourse lies the
roots of resistance to participation in a social project based on the work
ethic, and the beginning of scepticism about the belief that productivity
and the production of goods are the ultimate goals in life. The generally
accepted circle of supply and demand fuelling the consumer society of the
21st century will be questioned with reference to artists such as Kazimir
Malevich, Marcel Duchamp and Mladen Stilinović. Laziness will be presented
as an alternative which can turn the need for (multi)production into
freedom for production.
Corina
Oprea
Breaking Through the Political Ideology within
the Venice
Biennale
Since its launch in 1895, the
Venice Biennale has been constructed on the politics of nation-states.
Besides being an artistic platform the biennale functions as a marketing
agency for states and regions. Individual countries are showcasing in
national pavilions their own artists and representing their nations.
Through the years, the biennale mirrored also the global geo-politics and
the changes happening on the European map. New countries are represented
each year, similar to other transnational events, such as Sports Olympics.
In some cases, state sanctioned identities are being highjacked by
individual or political interests in order to achieve individual
curatorial or artistic projects.
The biennial
has also become the stage for initiatives that use the political charge of
the event to reach across with a meaningful content that questions
political strategies within artistic
contexts.
Claudia
Slanar
InBetween Disruption: About the Connection
Between Artistic and Political Events
How does the character of an event frame an exceptional state
interrupting our ontological state of being? How and why do artistic
practices that deal with events investigate not only a rupture that an
event (and its often traumatic experience) presents in the fabric of our
sensual world, but also seek to re-visit it, to re-frame and re-shape the
“distribution of the sensible” (Jacques Rancière)? Is there an intrinsic
quality or potential to (hopefully and possibly) change the course of a
particular historical narrative when dealing with such a practice and can
the “thought-provoking” (Claude Lefort) nature of an event be reshaped
again by its re-staging?
Elisa
Tosoni
Transnational Artistic Events: On Temporality
and its Repercussions on the Local Context
Is it possible to imagine a biennial - the most iconic of
transnational art events - as something that could possibly exceed its
canonized temporality? Could an event be considered not as a momentum, but
rather as an iteration of simultaneous momenta, for which power resides in
a moving - evolving - mass, becoming something that stretches across a
time-lapse of two years? Or would the art system then face the paradox of
a continuous, eternal biennial, in which one edition fades through to the
next? And, again, what are the consequences of the voracious rhythms of
artistic production and consumption, often dictated by those of global
institutions, on the locality? How could a host city or territory forge a
biennial in becoming, adapted to the rhythms of its own social norms, its
inhabitants and geographies, aiming towards sustainability and perhaps a
fruitful slowness? Rethinking the temporality of such events, by shifting
the attention away from the “finished” exhibition and artworks, the
opening week and the art professionals’ tourism, towards a continuously
accretive process, in which a variety of tangents unfold simultaneously or
remain idle, appears to be a solution to connect with - rather than tower
over - the local context.
The presentation
will address these questions through the lens of three case studies: BB3
(Bucharest, Romania, 2008), Manifesta (with particular focus on the
exhibition The Rest of Now, and its offspring Tabula Rasa, at Manifesta 7
- Bolzano, Italy, 2008) and the 6th Momentum Biennial (the exhibition
Imagine Being Here Now, and its itinerant performance program - Moss,
Norway, and across Scandinavia, 2011).
PROGRAM
July 25,
Monday
11:00- Breakfast
11:30 – Opening Remarks
Angela
Harutyunyan and Nazareth Karoyan
12:00pm
–Lecture
Beatrice Von Bismarck, Curatorial
Conditions – Relations in Process
1:30-2:30pm
– Lunch
2:30pm –4:00 Round-Table
Discussion
On the Temporality of
Transnational Art Events
Moderated by Angela
Harutyunyan
6:30 - Introduction on Suburb
Cultural Center by Eva Khachatryan
7:00 –
8:30 Public Presentations (Venue—Mkhitar Sebastatsi Fine Arts
School)
Eleonora Farina, National Art Systems
vs. Transnational Art Events: The Romanian Case
Elisa Tosoni, Transnational Artistic Events: On Temporality
and Its Repercussions On The Local Context
Maaike Gouwenberg, Local Audiences, Global
Curating
July 26,
Tuesday
10:30-Breakfast
11:30- Lecture
Misko Suvakovic,
International & Global Nomad: Art & The Transcultural, Part
I
1:00-2:00pm –Lunch
2:00-3:30 – Round-Table
Curating
a Biennial, Moderated By WHW and Nazareth Karoyan (TBC)
7:00- 8:30 Public Presentations (Venue – The Club, 40
Tumanyan str.)
Claudia Slanar, In-between
Disruption: About the Connection between Artistic and Political
Events
Ozge Ersoy, Transnational Art Events
and Regional Artistic Practices
Corina Oprea,
Breaking Through the Political Ideology within the Venice
Biennale
July 27,
Wednesday
10:30–
Breakfast
11:30-Lecture
Misko Suvakovic, International & Global Nomad: Art &
the Transcultural, Part II
1:00-2:00 –
Lunch
2:00-3:30 –Round Table
Discussion
Institutional Frameworks of
Transnational Art Events, Moderated By Sasa Nabergoj
7:00-8:30- Public Presentations SWEET 60s in Yerevan,
transit.at (Harutyun Galents Museum, behind Mergelyan
Institute of Physics)
SWEET 60s is a long term
experimental, curatorial, scientific and educational research project that
investigates the hidden territories of the revolutionary period of the
1960s through contemporary artistic and theoretical perspectives, which
has developed around itself a wide international network of interested and
cooperating individuals and institutions.
The curatorial and artistic focus of SWEET 60s lies on "post
ideological societies" (in post-Soviet, post socialist, Eastern European,
Middle Eastern, West and Central Asian as well as North African countries
and in a second phase in China and Latin America), in making a comparative
analysis and contextualizing the historical developments in the arts,
culture and societies of the 60s and 70s and researching their subsequent
effects on contemporary socio-political and cultural situations. The
Yerevan
presentation for the International Curatorial Summer School brings
together key personalities involved in the project. The participants will
give an insight into their practice in regard to the project „Sweet
60s“.
Introduction - Ruben Arevshatyan
artist, art critic and independent curator, Yerevan and Georg Schöllhammer
editor, author, curator and editor-in-chief of Springerin magazine,
Vienna
Speakers
Ali Akay curator, sociologist, Mimar Sian
University, Istanbul
Keti Chukhrov philosopher, Institute of
Philosophy, Moscow
Ivet Curlin curator, member of
'What, How & for Whom' (WHW)
curatorial collective,
Zagreb Sohrab Mahdavi cofounder and English
editor of Tehran Avenue magazine, Tehran
Lali
Partenava, Art Historian and Critic, Tbilisi.
„Sweet 60s“is supported by Allianz
Kulturstiftung and the European Commission through the Culture
Program.
ERSTE Foundation is the main partner of
tranzit.at.
The panel is coorganized by International
Curatorial Summer School - Yerevan
July 28,
Thursday
10:30 – Breakfast
11:00
– Lecture
Sarah Rifky, On Being an
Institution
1:00-2:00-
Lunch
2:00-3:30 – Round-Table
Discussion
Labour, Value and Art Production in a
Transnational Framework
Moderated By Sarah
Rifky
7:00-8:30 – Public Presentations (Venue –
Cafesjian Museum Foundation)
Kamil Julian Malinowski, Daniela: Kostova
Unorthodox Image (Suburb Center’s
presentation)
Isabella Hughes, Contemporary Art: An Agent
Of Cultural Diplomacy
Sasa Nabergoj, The Praise of
Laziness
29th July,
Friday
Visits to Art Institutions: National Art
Gallery, Armenian Center for Contemporary Experimental Arts
(ACCEA)
July 30th and 31th - Weekend Retreat to
Lake Sevan
August 1st,
Monday
11:00-2:00 – Visits to Art Institutions: Museum
of Modern Art, Cafesjian Foundation, Art Laboratory,
etc.
5:00-8:00 -Reading Sessions In Various Locations
In Yerevan
Conducted By Angela
Harutyunyan
August 2nd,
Tuesday
10:30 – Breakfast
11:00-
Lecture
Bassem El Baroni, Just What Is It that Makes
Today's Transnationalism So Prescribed, So
Paradoxical?
1:00-2:00-
Lunch
2:00- 3:30 – Round-Table
Discussion
Transnational Art Events and Local Cultural
Politics
Moderated By Vardan
Azatyan
7:00-8:30pm – Public Presentations (Venue –
Narekatsi Cultural Center, near Vernissage)
Mariana
Losi, Residency Zine
Milena Leszkowicz, Contemporary
Art and Anthropology
Combiz Moussavi Aghdam, The
Narratives Of Art History And Iranian Intelligentsia In The 1960s And
1970s
August 3rd-4th, Wednesday -
Thursday
11:00-2:00 – Visits to Art Institutions:
Museum of Modern Art, Cafesjian Foundation, Art Laboratory,
etc.
5:00-8:00 -Reading Sessions In Various Locations
In Yerevan
Conducted By Angela
Harutyunyan
Boris Groys, “Art and Money” and
“Comrades of Time”
Allan Badiou, exceprts from The
Communist Hypothesis
Agamben –“Author as
Gesture”
Bataille – The Story of the Eye, Part
II
Jalal Toufic –Undeserving Lebanon,
excerpts
12:00-4:00 – Visits to Art Institutions and
Artists’ Studios
Intersections: Critical and
Curatorial Practices of Art and Art Education, ed. By Angela Harutyunyan.
PrintInfo: Yerevan,
2011
www.aica.am
Sources:
www.artservis.org
www.curating.infors
naac.am
summerschoolforcuratorsyerevan.blogspot.com
queeringyerevan.blogspot.com
PARTNERS:
"Mkhitar Sebastatzi " Fine
Arts School
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