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.