A curatorial project by Session 18 of l’Ecole du Magasin.
During my posts, I will develop this Archive-Practice research proposition by focusing on four experiences based in Armenia. Each offers a concrete situation made interesting by their particular problematic and history. The second episode considers the International Summer School for Art Curators in Yerevan, which since 2006 is organized yearly by AICA Armenia.
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The Shiryaevo Biennial (Russia) is oriented to a concept of process, from the realization of artworks to their installation to their reception. Instead of relying on the model of the guides and docents touring the public through to understand the artworks, they started the Biennial concept with the guided tour as a format. Case study on two artists who used this inside their works in this framework, Dmitry Gutov and Peter Haury & Elke Hammelstein.
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In Singapore Art Museum at what was called the The Korean Contemporary Show, it requires consideration in relation to development of Korean contemporary painting from modernism to now. Also it represents these questions: how do they maintain their cultural identity? and how it can be transmitted to the next generation?
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This second episode introduces a link between collective identity and its history connected to traumatic historical events.
Jeremy Deller, a British artist has proposed a work The Re-enactment which had a deep impact on the collective identity of social history in England.
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The first simulation I would like to introduce is The road to Bethlehem, a project by BBC Middle East correspondent Aleem Maqbool.
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An introduction to Tactical Networks and Simulations.
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I would like to focus my research on the relationships between art practice and collective identity. As the individual identity is structured by the different representations a subject has of themselves, I would like to open a discussion about the representations that are constructed for the collective identity. Art practice is a possibility of a collective experience through common identifications. I could as well question the notion of subjectivity through the collective experience.
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Cultural identity and representation, this subject comes from the question about how to interpret national specificity in contemporary art. I would like to consider this subject from two major angles such as historical context and current state of cultural identity focused on the case of Korean Contemporary art.
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These weekly posts will set up a dialogue within certain concrete practices in contemporary art which are trying to develop an alternative process of archiving. They will consider the process of archiving related with the present underlining the importance of the concrete practices and initiatives in the specific art situations and contexts. One aim of the process of archiving is to have an input and responsibility in terms of an educational and pedagogical sense, which will be examined as a tactic against the gaps in history and as a bridge between generations.
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This first episode deals with the definition of borders from the general sense of the word to its specificity in art, and linked to the terminology used by Theodore Adorno in a conference held in the Berlin Arts Academy in 1966.
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This Season 18 section will deal with the narrative structures inside exhibition spaces. Over the episodes, I would approach this notion of “narrative” in the artists’ artworks / solo exhibitions and make it get wider to curators’ displays.
Why is the exhibition place somewhere special for the transmission of some story, witness or fact? Why do artists choose such a place for such a form? Is this a place for a rumor that could then grow?
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