[oberlist] RU* edu/cur: «Практика вещей» - пятая Московская кураторская летняя школа

[ober]

Пятая Московская кураторская летняя школа. Подача заявок до 24 июня

Фонд V-A-C представляет пятую Московскую кураторскую летнюю школу и 
объявляет прием заявок.

Школа будет проходить в период с 18 июля—5 августа 2016 года в 
Государственном музее Востока.
Тема школы: «Практика вещей».

Обучение в Московской кураторской летней школе бесплатное. Участникам из 
других городов будут возмещены расходы на проезд и проживание. 
Участникам из других стран необходим действующий паспорт и готовность 
заняться получением визы в Россию.

К участию в конкурсе приглашаются люди, заинтересованные в изучении 
истории и практики кураторства и современного искусства.

Требования к кандидатам:
- законченное высшее образование или профессиональные достижения в 
современном искусстве (в кураторстве или художественных практиках), а 
также интерес к кураторству;
- знание английского языка, позволяющее принимать участие в семинарской 
работе и слушать лекции. Занятия будут проходить на английском языке.

Форма заявки:
- резюме (с указанием возраста, образования, академических или 
профессиональных достижений);
- мотивационное письмо (не более 1500 знаков);
- описание невыставочного кураторского проекта на тему «Практика вещей» 
(не более 2000 знаков).
Все документы должны быть представлены на английском языке в формате 
PDF.

Прием заявок до 24 июня.

Контакты: curatorialschool at v-a-c.ru

Подробности: http://5th.curatorialschool.v-a-c.ru/

- - -

About
Moscow Curatorial Summer School was conceived by the V-A-C Foundation in 
2012 as an annual programme running for three weeks every July. While 
the intensive development of the contemporary art system in Russia has 
turned the curator into one of the most important and at the same time 
problematicfigures within the Russian cultural context, the School aims 
to foster discussion around questions such as: What are the professional 
boundaries and competences of a curator? What are the author's rights 
and professional duties? What levels of knowledge and skill define this 
new sphere of professional activity? How should this specialized 
experience be applied professionally? Students selected to take part in 
the summer school are chosen on the basis of their applications. 
Students are involved in the preparation of curatorial projects and 
seminars, while the lectures are open to the public.

Theme
Curatorial Things
The fifth edition of the Moscow Curatorial Summer School is devoted to 
the changing meaning and status of things. This development has been 
especially evident since the beginning of the 21st century, but can be 
traced back to the growing scepticism towards culture being presentable 
through things since the second half of the 20th century. As a paradigm 
shift the questioning of thingness becomes particularly evident in the 
mode of presentation, which in turn has decisively informed and shaped 
the societal relevance of the field of the curatorial. Imminently 
related to presentation as a mode of being (public) in the world, - in 
terms of practices, methods as well as discourse, - the curatorial has 
the potential to address, visualize and question the central effects of 
the changing status and function of things. Even further than that the 
presentational mode must be considered to have had a generative role in 
this development, since it participates vitally in the mobilization of 
things with all its aesthetic, semantic, social and not least economic 
dimensions.

In the practice of today's globalized exhibition system things are of 
high mobility just like people, discourses and information. Being thus 
involved in changing signifying contexts traditional concepts of how 
things obtain meaning as exhibits begin to dissolve and get 
re-formulated. This development entails far-reaching consequences for 
the techniques, strategies and conditions of dealing with them. Among 
them must be noted a significant shift in the attitude towards exhibits 
from containers of meaning to "semantic monsters". Initially in Western 
culture exhibits were understood as repositories of meaning and thereby 
obtained the central constituting role in the conception of the museum. 
Just as little as this notion can be generalized in regards to 
non-Western exhibition practice and institutions, it cannot be applied 
to the curatorial practice of other disciplines – such as theatre, dance 
or film. Considering things as "semantic monsters" requires an 
experimental reflection on notions and methods of presentation, 
contextualization, actualizing, and documentation taking the 
ephemerality, immateriality and shifting encounters into consideration.

Finally, things can acquire the status of agents, thus acting as 
participants in presentational situations. Challenging the line of 
demarcation between things and human beings necessarily asks for a 
revision of the concept of presentation. It is particularly evident in 
museums that present art, craftsmanship, archaeology, ethnography, and 
anthropology together or separately — like in the Oriental Art Museum 
where the 5th Moscow Curatorial School will take place. Its collection 
is based on several private collections dating back to the late 19th 
century, as well as gifts to the museum and objects discovered during 
archaeological excavations. Having several official names — Museum of 
the Nations of the East, Museum of the East and Oriental Art Museum — 
this exceptional institution draws the distinction between the East and 
the West as introduced in the discourse of Orientalism and bases the 
presentation of things on fascination with, and appreciation of, Eastern 
traditions, philosophy, religion, and culture. The collection of the 
Oriental Art Museum is divided into regional departments and showcases 
an outstanding constellation of artifacts, carefully labeled and placed 
on the historical timeline. This combination of things from the East and 
the Western tradition of repositories establishes a certain system of 
relations between things as well as defines the value of each of them 
and the significance of the collection as a whole, while the museum's 
research and educational mission let this system remain scientific and 
objective. But what happens to the status and the role of these things, 
this relationship and these systems as history goes on? And how do they 
keep their validity with regard to the notions of the contemporary and 
the curatorial?


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