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Week 6 Publishing as curatorial practice

Bedel (2021) considered that publishing is the new home studio – multifunctional, portable, accessible, a ‘print community’. Hindley (2019) pointed out that today’s Art Book Fair is not only a venue that represents an independent, previously published scene, but also a central forum for constructing and nurturing communities around publishing as an artistic practice.

In ‘Publishing as artistic practice’ Anne (ed.) explores the evolving role of publishing in contemporary art and culture. It provides insights into how publishing has transcended its traditional boundaries to become an independent form of artistic expression. The discussion includes the shift in publishing practice from physical books to integrated digital platforms, conceptualising publishing as a creative process and a medium for artistic innovation. Key themes include the interplay between text, authorship, and the public sphere, with publishing as an important tool for artistic and cultural engagement. This nuanced view of publishing challenges conventional notions and positions it as a powerful participant in the broader artistic and cultural dialogue. Curators extend their influence beyond the arrangement of works in traditional gallery spaces. Extending the curatorial impact to include: the relationship between the discursive possibilities of artwork and time around artistic practice will have an impact beyond duration.

As does LUX Scotland, a not-for-profit organisation dedicated to supporting, developing and promoting the moving image practice of Scottish artists. Its Artists’ Moving Image Festival: Demonstrating How Publishing Extends the Life and Discourse of Festivals Beyond Their Temporal Boundaries aims to provide a platform for the discussion and presentation of artists’ moving images, demonstrating forms of production and research through screenings and discussi

 

References：

Anne Gilbert (ed.), Publishing as artistic practice, (Berlin, Germany: Sternbery Press, 2016), Introduction pp. 6-39

Bedel, D. (2021). Publishing as Artistic Practice. [online] Medium. Available at: https://medium.com/@delphinebedel/publishing-as-artistic-practice-9a80153abd73 [Accessed 30 Apr. 2024].

Hindley, V. (2019). Publishing as Artistic Practice: In Conversation With Michalis Pichler. [online] The MIT Press Reader. Available at: https://thereader.mitpress.mit.edu/publishing-as-artistic-practice/.

luxscotland.org.uk. (n.d.). Artists’ Moving Image Festival. [online] Available at: https://luxscotland.org.uk/programme/projects/artists-moving-image-festival [Accessed 30 Apr. 2024].

Week 5 Theme academic research

Psychology & Art

Art is perceptual and has its roots in the interpretation of observations and occurrences. Since comprehending art allows one to see cultural continuity, art is a conceptual substance that implies cultural continuity. Artistic activity may be given a feeling that ideas like soul, art, love, beauty, relationships, justice, perfection, and freedom have unique significance in every aspect of life through the interplay between psychology and the arts.

Art will be the movement, the meaning, and the reason for life, in the material life of a person. Based on the type of art and the level of spiritual principles, the resulting meaning will address different periods of life. Thus, the active fluctuation from purely material life to spiritual life through art and the material body of man has to do with how much art is inspired by spiritual principles. These principles will have a wide range of human realities(Naderand Moosa, 2012).

Therefore, as I see it, MBTI gives the testers personality labels that create some sort of meaning in specific areas of their lives. The moment the audience sees and empathises with artworks that are similar to their own personality type, it gives the exhibition a realistic and contemporary meaning.

Reference:

Nader, K. and Moosa, J. (2012). The Relationship between Art and Psychology. Life Science and Biomedicine, 2(4), pp.129–133.

Week 5 Multi-arts models

ATLAS Arts organises arts projects in Skye, Raasay and Lochalsh. As part of the community, ATLAS Arts supports a programme of long term artist commissions, educational projects, events, residencies, screenings, workshops and gatherings. The vision is of a world where many ways of thinking, being and creating are celebrated. A world where everyone is able to experience the arts as a meaningful part of their lives and learning.

The 2022-2026 ATLAS Arts Strategic Plan includes a multi-arts model that emphasises community engagement through diverse arts programming and local and global connections.

  1. Alternative Education

Long-term projects with artists and young people, creating spaces to gather, think with the arts, form new alliances, and share knowledge and skills for the future.

Alternative Education

2. Public Programming:

Implementing art projects that involve the community through workshops, exhibitions, and participatory art, often in unique settings outside traditional gallery spaces. The arts programme includes long-term commissions, films, gatherings, residencies, meals and workshops – across community halls, archaeological sites, schools, outdoor and other spaces.

Art in School

3. Environmental and cultural focus:

ATLAS Arts has a unique place in Scotland’s cultural ecology, driven by ATLAS Arts’ distinctive approach to creating and presenting art. ATLAS Arts’ projects are centred on people, process and place and are rooted in local culture, language, history and ecology, with artists and members of the public working together to develop work of enduring significance. ATLAS Arts focusing on ecological and climate-focused practices within arts programming, reflecting the unique geography and culture of the Skye, Raasay, and Lochalsh regions.

LAND LINE FIVE WALKS IN SKYE

DÀN FIANAIS

References:

ATLAS Arts. (2022). ATLAS Arts Strategic Plan 2022 – 2026. Available at: https://atlasarts.org.uk/assets/images/ATLAS-Arts-Strategic-Plan-2022-2026-Published-low-res.pdf (Accessed 10 January 2024).

atlasarts.org.uk. (n.d.). ATLAS Arts – Arts Organisation Skye. [online] Available at: https://atlasarts.org.uk/ [Accessed 30 Apr. 2024].

 

Week 4 Ethics

1.What specific issues would guide you?

In today’s global art environment, which is based on a Euro-American cultural point of view, non-Western artists are subjected to the rules set by the Western world. Since it is the Euro-American art world that selects, legitimises, promotes and buys, non-Western artists are forced to ‘adapt’ to satisfy the preferences of a curatorial culture that seeks not only material gain, but also the prestige of following a legitimised paradigm.

2. Why are these issues so pressing?

Addressing Eurocentrism in the contemporary art world is equally challenging. Most exhibitions organised by Western institutions lie to non-Western artists. They rarely challenge the broader framework of Euro-American-centred contemporary art. In other words, the so-called “global” art market is not global at all; its centre of privilege is always the Western one.

3. How would you actively encourage change?

Curators can pursue their goal of organising a ‘global’ exhibition by positioning themselves as ‘agents of cultural exchange’. Curators should turn to experts outside their field of expertise and recognise their own limitations.

4. Who would you collaborate with to facilitate

Regional experts, who have a deeper understanding of the socio-economic and political context and the local language in which the work is produced, can broaden the artist’s sample base, and the critical exchange of dialogue with these consultants will add the necessary breadth to the overall project and allow for the emergence of a range of perspectives that will enable the curator to see the work a new in its geographic and cultural context

5. What would be your guiding principle?

Decolonization of Art History: Reexamine and reframe art history to incorporate stories and viewpoints that colonial and Eurocentric prejudices have left out or marginalised. This calls for a critical examination of art history and its organisations in order to identify and address historical imbalances and injustices.

 

 

References:

Reilly, M. (2019) Curatorial activism towards an ethics of curating / Maura Reilly ; foreword by Lucy R. Lippard. London: Thames & Hudson.

 

Week 3 Curatorial theory research

Artificial Hells: Participatory Art and the Politics of Spectatorship. In this book, Bishop (2012) discussed various forms of participatory art, where the audience is actively involved in the creation or experience of the artwork.She also mentioned that the impact of participatory art on the viewer’s engagement with social issues.

As I see it, audience engagement plays a vital role in an exhibition. The aim of an exhibition is to attract more audiences, to make them think, and to leave a deep impression on them. Therefore, I intend to curate an exhibition that can evoke the audience’s empathy and reflects social issues.

Exhibiting might range from rehanging part of a permanent collection through various kinds of temporary exhibition to the staging of an event, the creation of a sequence of sites, or the orchestration of a discursive interaction, such as a public dialogue. The exhibition—in this expanded, extended sense—works, above all, to shape its spectator’s experience and take its visitor through a journey of understanding that unfolds as a guided yet open-weave pattern of affective insights, each triggered by looking, that accumulates until the viewer has understood the curator’s insight and, hopefully, arrived at insights previously unthought by both (Smith, 2012).

The word ‘care’ is becoming as present in the vocabulary of contemporary art and culture as has the word ‘curating’. After COVID19, one route by which this new understanding of care and the crisis of care has been circulated is through curated exhibitions, public programmes, and discursive and educational events. The cultural production of curators, including curation at different scales ranging from the big museum to the self-managed art space, from the global Biennale to the local cultural community centre, is always an expression, and a refection, of urgent contemporary concerns (Krasny & Perry, 2023).

Therefore, as far as I am concerned, showing your care to audiences a hot topic in recent years and it is one of the goal in curating an exhibition.

 

 

References:

Bishop, Claire. (2012) Artificial hells : participatory art and the politics of spectatorship / Claire Bishop. London: Verso.

Krasny, E. & Perry, L. (eds.) (2023) Curating with care / edited by Elke Krasny and Lara Perry. London: Routledge.

Smith, T. (Terry E.) (2012) Thinking contemporary curating. Second edition.. New York, NY, Independent Curators International.

 

Week2 Individual Curatorial Theme research

Exhibition theme: 16 personalities (MBTI test)

Developed by Isabel Briggs Myers and her mother Katherine Briggs, the MBTI is a very popular personality test. Many people consider the MBTI to be an invaluable tool to help them understand their own behaviour as well as the behaviour of others, and is a common psychological concept (Farmer, 2018).

Medium:
Game

“The contribution of games as an artistic medium and how art subverts the power hierarchy of reproduction. Also, through the communicative potential of games and the licence to imagine art, exploring how the combination of the two offers alternative ways of seeing the world”(García, 2019).

Installation Art

“Art is a special kind of object that can be better understood when the audience is recognised or taken seriously, just when we come into face-to-face contact with others. This requires us to question preconceptions, to endeavour to offer the benefit of the doubt and to acquire an attitude of openness. In this way, art can be seen as a sort of exchange between different selves, contributing to the construction of self-knowledge.”
“In terms of the psychology underlying postmodernism and contemporary art, contemporary artwork encourages the perception of the self and the sense of proprioception (a pre-reflective ‘thin’ sense of self), while experimenting with possible worlds and selves and engaging with a rich narrative self-concept. The notion of self expressed in contemporary artworks is a desire for an irreducible “plurality” of experiences, avoiding essentialising debates and embracing the notion of “self”. Each audience has their own understanding of the artwork, and seeks themselves in works of equal personalities” (Nader and Moosa, 2012).

References:

Farmer, A. (2018) Leading like an educator: How MBTI profiles vary from the norm. Journal of global education and research (Print). [Online] 2 (1), 127–134.

García Martínez, A. (2020) Games as an Art Medium: Critical Art Game Exhibitions in the Twenty-first Century. The international journal of new media, technology and the arts. [Online] 15 (1), 21–39.

Nader, K. and Moosa, J. (2012). The Relationship between Art and Psychology. Life Science and Biomedicine, 2(4), pp.129–133.

 

Week 1 Research on Tate museum ‘Media Networks’ exhibition

This exhibition shows artists’ responses to the impact of mass media and the changing technologies that have shaped the world over the last hundred years. The exhibition includes a wide variety of techniques and materials – from posters and paint to analogue and digital technologies – that raise questions about feminism, consumerism and the cult of celebrity.

Tate Media exhibition

In my opinion, too broad a theme for this exhibition. The redundancy and illogical stacking of content only allows the audience to go through the motions, neither clarifying the historical timeline of media development nor empathising with the works. It makes it difficult for the audience to focus on a specific media material and theme.

Charline von Heyl,  Untitled  2011

Ming Wong, Life of Imitation 2009

For example, the Guerrilla Girls.regarding this art project, the curator has covered the walls with artworks on a large scale, and as the audience carefully reads the words in them, while absorbing the impressive content of them. Turn a corner and one arrives at another conceptual art medium. Most of the words and hidden connotations in the Guerrilla Girls then fade out of the audience’s mind. This curatorial idea without logical connection is like swiping a short video that flashes through the audience’s mind.

Guerrilla Girls,  Do Women Have To Be Naked To Get Into the Met. Museum?  1989

As a result, they get exhibition amnesia. We live in an era of hypermetabolic memory, and the more exhibitions there are, the fewer viewers will be able to remember what they have seen.

So in the following part of my curatorial proposal, I think I need to curate an exhibition that can bring deep content to the audience, that allows them to empathise, interact, understand and learn about the knowledge and culture involved.

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