Assembling a Praxis: Choreographic Thinking and Curatorial Agency - Clew: A Rich and Rewarding DIsorientation
(2024)
author(s): Lauren O'Neal
published in: University of the Arts Helsinki
This exposition examines the curatorial project "Clew: A Rich and Rewarding Disorientation," held at the Lamont Gallery at Phillips Exeter Academy in 2017. The project is part of my doctoral research on “Assembling a Praxis: Choreographic Thinking and Curatorial Agency.” “Clew” proposes a framework for curatorial dramaturgy and asks: What is the potential of a dramaturgical approach within an open-ended exhibition structure? Who, or what, is the curatorial dramaturg? How do materials and time contribute to unfolding exhibition narratives?
[This exposition corresponds to Section Six: Extending Lines in All Directions: Curatorial Dramaturgy in the printed dissertation.]
Periphrasis (for a ditto, ditto device)
(2017)
author(s): Franz Thalmair, Michael Kargl
published in: University of Applied Arts Vienna
Periphrasis (for a ditto, ditto device) is an experimentally designed scenario in the draft stage, a think-tank and rehearsal for a future exhibition—but Periphrasis (for a ditto, ditto device) is also an exhibition in itself. Starting from the idea of the copy as a nowadays omnipresent yet more and more invisible artistic practice and form, seven Austrian and international participants discuss different strategies of appropriation. At the center of this public reflection on methodologies is the potential of the act of copying, its generative force and mimetic productivity. The purpose of this test setting is to collect current copying methods and to analyze their modes. By subjecting the copy to the act of copying again, new copying techniques will derive from this process, creating a research loop that is self-reflective and auto-generative at the same time.
Material in the artistic process
(2017)
author(s): Michael Kargl
published in: University of Applied Arts Vienna
The materials used in a work of art are not necessarily determined from the start. The contemporary artistic work process involves a great deal of experimenting in order to arrive at the most suitable material to realize an idea. In this test phase one also risks altering the complete work, its parameters, characteristics, and not least its final appearance. This process of material-based transformation has a two-fold effect: first, on the artwork itself (its haptic conditions), and then on its perception, which in turn influences the specific form of aesthetic recognition actuated by the artwork.
Veranderend kunstenaarschap : de rol en betekenis van de kunstenaar in participatieve kunstpraktijken
(last edited: 2023)
author(s): Rina Visser
connected to: Academy of Creative and Performing Arts
This exposition is in progress and its share status is: visible to all.
This research of Rina Visser is only available in Dutch.
De positie van kunst en kunstenaars in de westerse samenleving is de afgelopen decennia sterk veranderd. Veel kunstenaars voelen zich maatschappelijk betrokken en zoeken naar aansluiting bij de samenleving. Participatieve kunstpraktijken zijn daarvan een goed voorbeeld. Bij deze kunstvorm werken kunstenaars samen met burgers in hun eigen leefomgeving. De kunstpraktijken zijn gericht op maatschappelijke vraagstukken. Burgers worden met inzet van verbeeldingskracht geactiveerd om te reflecteren op hun eigen situatie en zo tot een andere visie te komen. Het werkterrein van de participatieve kunstenaar wordt daarmee van atelier, theater of concertzaal naar de samenleving verplaatst. Participatieve kunstpraktijken zijn zowel sociaal-maatschappelijk als kunst gericht. Door deze nieuwe manier van werken komt de kunstwereld en de kunstenaar in een ander daglicht te staan. Om deze veranderingen nader te kunnen vaststellen, zijn vijf participatieve kunstpraktijken in de Randstad onderzocht. Uit het onderzoek blijkt dat ook de artistieke identiteit van de kunstenaar van invloed is op de inhoud en vorm van de kunstpraktijk. Sommige kunstenaars zijn gericht op het kunstwerk als eindresultaat. Anderen vinden het sociale proces van de deelnemers belangrijker. Ook de invulling van de deelnemersparticipatie blijkt daarmee samen te hangen. Participatieve kunstenaars vervullen een nieuwe rol in de samenleving, namelijk die van netwerkkunstenaar.
This exposition examines the curatorial project "Clew: A Rich and Rewarding Disorientation," held at the Lamont Gallery at Phillips Exeter Academy in 2017. The project is part of my doctoral research on “Assembling a Praxis: Choreographic Thinking and Curatorial Agency.” “Clew” proposes a framework for curatorial dramaturgy and asks: What is the potential of a dramaturgical approach within an open-ended exhibition structure? Who, or what, is the curatorial dramaturg? How do materials and time contribute to unfolding exhibition narratives? [This exposition corresponds to Section Six: Extending Lines in All Directions: Curatorial Dramaturgy in the printed dissertation.]open exposition comments (0)