Curating after the Global

A belated post, but Curating after the Global. Roadmaps for the Present, the third in the series of anthologies published by The MIT Press in collaboration with CCS Bard is out. In many ways more complex than the two previous books in the series – The Curatorial Conundrum (2016) and How Institutions Think (2017) – all three combined provide an interesting overview of concerns, histories and positions in the ever-expanding contemporary curatorial field and its discourse.

Coming to the end of the series – and thus to several years of close collaboration with various people involved, including the editors (Paul O’Neill, Simon Sheikh, Lucy Steeds and Mick Wilson) and the designers (Julia) – I wrote a short text that closes the book (below the start and end of it), in which I (finally!) have the last word…Screen Shot 2019-11-16 at 19.05.38

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Three times lucky…

It’s been a slightly longer process than with the two previous books in the series, but Curating after the Global: Roadmaps for the Present is now off to the printers. This time the team of editors had expanded to four: in addition to Paul O’Neill, Lucy Steeds and Mick Wilson, with whom I worked on How Institutions Think (2017) and The Curatorial Conundrum. What to Study? What to Research? What to Practice? (2016), Simon Sheikh was this time also part of the team of editors. Once again we worked with Valerio di Lucente from Julia, who is as pleasant and responsive a designer to collaborate with as one can wish for.

Although the range of contributions looks similar to the two previous books, quite a few of the essays/text/exchanges this time were significantly longer, some needing work in terms of structure and clarity, or serious expansions and/or reworkings from the presentation during the conference the book follows on from. All of which required more time than originally envisaged. In the end I’ve also managed to squeeze in a small contribution myself, about how anthologies like these are key platforms and mediums in the development of curatorial discourse, and my role in the care for words and the nuanced differences between the spoken utterance and the printed word on the page. Due out in the autumn, available via The MIT Press. Announcements about (a) launch(es) to follow in due course.

Cover open


 

Curating After the Global

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Following on from How Institutions Think (2017), and The Curatorial Conundrum, What to Study? What to Research? What to Practice? (2016), I will shortly start work on Curating after the Global. Following a conference at the Luma Foundation in Arles in September 2017, the book aims to address curating with respect to questions of locality, geopolitical change, the reassertion of nation states, and violent diminishing of citizen and denizen rights across the globe.

It has become commonplace to talk of a globalised art world, with specific circulations of discourses, commodities, and individuals, and even to speak of contemporary art as a driver of globalisation. This universalisation of what art is, or can be, is often presumed to be claimed at the cost of local traditions and any sense of locality and embeddedness. But what exactly does it mean to be global, or to be local in the context of artistic, curatorial, and theoretical knowledge and practice?

The book will approach these questions in four sections, which include diagnoses of current conjuctures, exhibition histories, institutional repositioning and roadmaps for the future. The editors are Paul O’Neill, Simon Sheikh, Lucy Steeds and Mick Wilson. Among the contributors are: Marwa Arsanios, Athena Athanasiou, María Berríos and Jakob Jakobsen, Ntone Edjabe and David Morris, Liam Gillick, Alison Greene, Prem Krishnamurthy & Emily Smith, Emmanuelle Lainé, Nkule Mabaso, Qalander Bux Memon, Morad Montazami, Paul-Emmanuel Odin, Vijay Prashad, Kristin Ross, Grace Samboh, Sumesh Sharma, Joshua Simon, Hajnalka Somogyi and Françoise Vergès. The book will be designed by Julia and is due out in 2019, published by The MIT Press.

How Institutions Think – launch

The year 2018 will kick off with the launch of the book How Institutions Think on Monday 15 January, at 6.30 – 8.30 pm, during which I will be in conversation with Paul O’Neill, Lucy Steeds and Mick Wilson, the editors. The event will be hosted by The Showroom, which also hosted the launch of The Curatorial Conundrum, published in 2016, and which was the first in a series of three books on current curatorial practice and discourse, published by CCS Bard and The MIT Press. Emily Pethick, The Showroom’s director, contributed an essay to the new book and will join us in conversation. More information on the book, see below and here:

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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, organisational 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.

 

How Institutions Think

cover-draftFollowing the conference titled ‘How Institutions Think’, which took place in Arles in 2016, and which was organised by CCS Bard, Central St. Martins, Valand Academy (University of Gothenburg) and the Luma Foundation, work has commenced on the book. I will be working on it as managing editor, alongside editors Paul O’Neill, Lucy Steeds and Mick Wilson.

The publication How Institutions Think: Between Contemporary Art and Curatorial Discourse brings together an international and multi-disciplinary group of writers who will reflect upon how institutional practices inform art, curatorial, educational and research practices as much as they shape the world around us. It also aims to propose new and emergent forms of institutional practice. Implementing a work-together methodology, combining and sharing networks and knowledge resources, the publication asks how we may begin to conceptualise and build possible institutions/anti-institutions of the future: What are the models, resources, skills and knowledge bases required to build new and progressive institutions now and in the future, if that is indeed possible?

Contributors include Nataša Petrešin-Bachelez, Dave Beech, Mélanie Bouteloup, Nikita Yingqian Cai, Binna Choi and Annette Kraus, Pip Day, Clémentine Deliss, Keller Easterling and Andrea Phillips, Bassam El Baroni, Charles Esche, Patricia Falguières, Patrick D. Flores, Marina Gržinić, Stefano Harney, Alhena Katsof, Emily Pethick, Sarah Pierce, Zahia Rahmani, Moses Serubiri, Simon Sheikh and Mick Wilson.

How Institutions Think is the second in a series of three publications and builds on the success of The Curatorial Conundrum: What to Study? What to Research? What to Practice? (Cambridge, MA: The MIT Press, 2016).It is due in September 2017.

The Curatorial Conundrum


9780262529105_0The Curatorial Conundrum 
is nearly off to print. The book looks at the burgeoning field of curatorship and tries to imagine its future. Both practitioners and theorists consider a variety of futures: the future of curatorial education, the future of curatorial research, the future of curatorial and artistic practice, and the institutions that will make these futures possible.

They examine the proliferation of graduate courses in curatorial studies over the last twenty years, and consider what can be taught without giving up what is precisely curatorial, within the ever-expanding parameters of curatorial practice. They discuss curating as collaborative research, asking what happens when the exhibition operates as a mode of enquiry in its own right. And they explore curatorial practice as an exercise in questioning the world around us, and speculate about what it will take to build new, innovative, and progressive curatorial research institutions.

Contributors include Nancy Adajania, Mélanie Bouteloup, Nikita Yingqian Cai, Luis Camnitzer, Eddie Chambers, Zasha Cerizza Colah, Galit Eilat, Liam Gillick, Vladimir Jerić, Koyo Kouoh, Miguel A. López, Hans Ulrich Obrist, Paul O’Neill, Tobias Ostrander, João Ribas, Sarah Rifky, Sumesh Sharma, Simon Sheikh, Lucy Steeds, Jeannine Tang, David Teh, Jelena Vesić, What, How & for Whom/WHW, Mick Wilson and Vivian Ziherl.

Edited by Paul O’Neill, Mick Wilson and Lucy Steeds, and published by the Center for Curatorial Studies Bard College/Luma Foundation and The MIT Press. Due in March/April 2016.