| 1. |
- Wilson, Mick, 1964
(författare)
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Curatorial Moments and Discursive Turns
- 2014
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Ingår i: Ce zhan hua ti - 策展話題 - Curating Subjects (Chinese Edition) Paul O'Neill editor. - Guangdong China : China Youth | 中國青年 (Guangdong - China). - 9787515322506
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Bokkapitel (refereegranskat)abstract
- The text describes and critically analyses the turn to discursive practice as a mode of artistic and curatorial production in recent art practice. With respect to contemporary art it itemises key examples of discursive artmaking and curatorial practice while suggesting some of the ambivalences in this development with reference to the question of rhetoric, the role of discursive linkages within reputational economies and the prior move to language-based art in 1960s conceptualism.
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| 2. |
- Caminha, Kjell, et al.
(författare)
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Public Art Research Report (2018)
- 2018
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Rapport (övrigt vetenskapligt/konstnärligt)abstract
- This report provides an overview of the current state of research on public art in the Nordic Countries, as well as within the wider international context. The key purpose of the report is to identify where the needs and opportunities are for the development of a research programme to support the further development of public art paradigms, policies and practices within Sweden. The report is commissioned by the Public Art Agency Sweden, and has been prepared by researchers based at Södertörn University and at Valand Academy, University of Gothenburg, between June and September, 2018. The report is based on two strands of survey and analysis: (i) research produced within the Nordic countries, and (ii) research produced in the wider international context. Both strands have focused on academic sources, as traditionally construed, such as peer-reviewed conference papers, articles, dissertations, monographs, anthologies and professional journals. We have drawn upon a sampling of research from a broad range of disciplines (art history, urbanism, planning, architecture, social science) as well as taking under consideration the work done by various public art agencies. In addition to this we have included artistic research about public art in a broad sense as well as various co-operations between artists and academics, as well as other non-institutional actors. (A second iteration of the international report is in development for 2022.)
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| 3. |
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Curating Research
- 2015
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- This anthology of newly commissioned texts presents a series of detailed examples of the different kinds of knowledge production that have recently emerged within the field of curatorial practice. The first volume of its kind to provide an overview of the theme of research within contemporary curating, Curating Research marks a new phase in developments of the profession globally. Consisting of case studies and contextual analyses by curators, artists, critics and academics, including Hyunjoo Byeon, Carson Chan and Joanna Warsza, Chris Fite-Wassilak, Olga Fernandez Lopez, Kate Fowle, Maja and Reuben Fowkes, Liam Gillick, Georgina Jackson, Sidsel Nelund, Simon Sheikh, Henk Slager, tranzit.hu, Jelena Vestic, Marion von Osten and Vivian Ziherl, the book is an indispensible resource for all those interested in the current state of art and in the intersection between research and curating that underlies exhibition-making today.
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| 4. |
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Exhibitionary Acts of Political Imagination
- 2021
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- The art exhibition is the object of a wide range of critical explorations in contemporary practice and theory. Exhibition may be approached as a genre, as an apparatus and/or as a poetics (a process of worldmaking) and there is a wide and growing literature on exhibition histories and on the exhibition as a site of enquiry where these different constructions are employed. This volume seeks to add to the current wide range of scholarship, critique and curatorial experimentation that considers the affordances of exhibition. It seeks to do so with respect to the question of political imagination. Political imagination is intended here to suggest general operations of imagination in the realm of the political, and also the specific, more technical concept of the political imaginary. Cătălin Gheorghe and Mick Wilson – Exhibitionary Acts of Political Imagination. Introduction Galit Eilat – The Transparent Museum through the Looking Glass Vasıf Kortun and Merve Elveren – What Do We Do Now? The space of the exhibition as a space of political potential – A Conversation with Cosmin Costinaș Marco Scotini – Not a Just Exhibition, But Just an Exhibition. The Case of Disobedience Archive Nick Aikens – Approaching Research-Exhibition Practices Carolina Rito – Infrastructures of the Exhibitionary Simon Sheikh – The Problem Is Not To Make Political Exhibitions But to Make Exhibitions Politically! Maria Lactans – Post-Exhibitionary Ruminations: Summer of 2021 Bassam El Baroni – Whither the Exhibition in the Age of Finance? Notes towards a Curatorial Practice of Leveraging
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| 5. |
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Expo-Facto: Into the Algorithm of Exhibition
- 2022
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- The ascendancy within the contemporary art system of e-flux announcements, social media posting, art-blogging, website mediation of exhibition, and jpg-enabled art sales has been in place for some time. However, there has been, in the context of the COVID19 global pandemic, an intensification of the relays between exhibition protocols and the culture of digital networks. In what seems like a global institutional convergence – similar in ways to the pervasive distribution of white cube though much more accelerated – there has been a widespread adoption of the exhibition-online as the immediate solution to the demands of physical distancing, lockdown and travel restriction in the context of the global pandemic. This would seem to warrant some critical reflection and analysis in its own right. What is at stake in this drive to online exhibition? What are the operative presumptions about exhibition that inform this imperative? This volume contains a series of responses by contributors to the task of thinking the question of exhibition in response to the extensive digitization of culture in general, and the intensive mobilisation of exhibition via digital network infrastructures in particular.
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| 6. |
- Gheorghe, Cătălin, et al.
(författare)
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Exhibitionary Acts of Political Imagination. Introduction
- 2021
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Ingår i: Exhibitionary Acts of Political Imagination. - Isi, Romania; Gothenburg, Sweden : Artes Publishing House (UNAGE Iasi) and ArtMonitor (University of Gothenburg), and it is co-financed by the Administration of National Cultural Fund in Romania and PARSE (University of Gothenburg).. - 9789198517200
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Bokkapitel (refereegranskat)abstract
- Introduction to an edited volume seeks to add to the current wide range of scholarship, critique and curatorial experimentation that considers the affordances of exhibition with particular reference to the theme of the political imaginary. The text provides an expansion of the terms of the invitation to contributors and the framing of the book project.
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| 7. |
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How Institutions Think: Between Contemporary Art and Curatorial Discourse
- 2017
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- Reflections on how institutions inform art, curatorial, educational, and research practices while they shape the world around us. Contemporary art and curatorial work, and the institutions that house them, have often been centers of power, hierarchy, control, value, and discipline. Even the most progressive among them face the dilemma of existing as institutionalized anti-institutions. This anthology–taking its title from Mary Douglas's 1986 book, How Institutions Think–reconsiders the practices, habits, models, and rhetoric of the institution and the anti-institution in contemporary art and curating. Contributors reflect upon how institutions inform art, curatorial, educational, and research practices as much as they shape the world around us. They consider the institution as an object ofienquiry across many disciplines, including political theory, organizational science, and sociology. Bringing together an international and multidisciplinary group of writers, How Institutions Think addresses such questions as whether institution building is still possible, feasible, or desirable; if there are emergent institutional models for progressive art and curatorial research practices; and how we can establish ethical principles and build our institutions accordingly. The first part, “Thinking via Institution,” moves from the particular to the general; the second part, “Thinking about Institution,” considers broader questions about the nature of institutional frameworks. Contributors include Nataša Petrešin Bachelez, Dave Beech, Mélanie Bouteloup, Nikita Yingqian Cai, Binna Choi and Annette Kraus, Céline Condorelli, Pip Day, Clémentine Deliss, Keller Easterling and Andrea Phillips, Bassam El Baroni, Charles Esche, Patricia Falguières, Patrick D. Flores, Marina Gržinić, Stefano Harney and Fred Moten, Alhena Katsof, Emily Pethick, Sarah Pierce, Moses Serubiri, Simon Sheikh, Mick Wilson
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| 8. |
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On the Question of Exhibition, PARSE Journal Issue 13: Parts 1,2,3
- 2021
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- This issue of PARSE, published in three parts, examines the question of the exhibition. One of the aims of this series-issue is to turn attention to the material, experiential, as well as conceptual and political conditions of the exhibition that may have been overlooked within the growing literature on curatorial and exhibition histories. Our aim, as editors is not to elevate the exhibition form. Rather, we wish to interrogate exhibition as a pervasive category of display and mediation where principles of exposition, demonstration, exemplification, taxonomy, circulation, commentary, spectatorship and valorization are operative. Since the 1990’s curatorial discourse has sought to position the curatorial away from, or at the very least as in excess of, the practical tasks of exhibition-making whilst the burgeoning field of exhibition histories has created a historiographic approach to the forms, developments and questions posed by exhibition. This series of contributions seeks, in some respects to return to the fundamental question of exhibition-to interrogate it as a self-explanatory category. Part 1 published in June 2021 includes contributions from Dave Beech, Kathrin Böhm, Alaina Claire Feldman, Samia Henni, Steven Henry Madoff, Saul Marcadent, Lisa Rosendahl and Jéssica Varrichio; and roundtables with Rasha Salti, Nick Aikens, Kristine Khouri and Anthony Gardner; and with Yolande Zola Zoli van der Heide, Gavin Wade, Mick Wilson and Franciska Zólyom. The contributions in Part 2 extend the considerations initiated in Part 1, by bridging the world-making and ordering techniques of exhibition–what we might broadly call its onto-epistemological register-with the pragmatic and technical questions of exhibitionary apparatuses, or its operational register. The purpose being not to create a dichotomy but rather to set up a field of tension and interference between different moments of production-analysis. This part offers detailed analyses of individual exhibitions, allowing for an interplay between the specificities of singular instances coupled with a wider angle from which to survey the field. Part 2 contains contributions from Ingrid Cogne Patrizia Costantin, Kris Dittel & Jelena Novak, Catalina Imizcoz, Joey Orr, Barbara Neves Alves, Mateusz Sapija, Vladislav Shapovalov, Sasha Shestakova, and Joshua Simon. The restless questioning of exhibition underpins Part 3, where artists curators and researchers unpick exhibition’s entangled relationship to pedagogy, to institutional processes, to aesthetics, to constituent work, to lived experience and the ways in which the political arises out of these entanglements. Part 3 includes texts by Doreen Mende, David Morris and Grace Samboh, Ola Hassanain, Li Yizhuo, Ginevra Ludovici, Cătălin Gheorghe, Sabine Dahl Nielsen, a visual essay by Paul O’Neill and a roundtable with Jeanne van Heeswijk, Maria Hlavajova, Damon Reaves & Mick Wilson
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| 9. |
- Wilson, Mick, 1964, et al.
(författare)
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An Opening to Curatorial Enquiry : Introduction to Curating and Research
- 2015
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Ingår i: Curating Research Paul O'Neill and Mick Wilson editors. - London and Amsterdam : Open Editions and de Appel. - 9780949004031 ; , s. 10-22
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- The text describes the wider context of debate into which the anthology being introduced intervenes, identifying the different trajectory of the debate on curatorial and curating research with respect to that of artistic research.
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| 10. |
- Wilson, Mick, 1964
(författare)
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Applied Experiments in Political Imagination
- 2018
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Ingår i: Learning in Public : transEuropean Collaborations in Socially Engaged Art, E. Tunney, (ed.). - Dublin and London : Create and the Live Art Development Agency. - 9780993561177 ; , s. 28-39
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- An essay produced in response to an invitation from the Collaborative Arts Partnership Programme (CAPP) a European network, requesting an outline of the state of play with respect to collaborative and socially engaged arts practice in the European context, and a consideration of the following questions: How can artists working collaboratively respond to current political circumstances (ethno-nationalism, populism etc)? How can collaborative arts and cultural practices challenge dominant and exclusionary narratives, or indeed, can they do this? How does a trans-European network such as CAPP create the conditions to extend the field of practice not just geographically but artistically?
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