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This issue of OnCurating aims to shed light on the complex and often-times concealed economic basis of art production and exhibition-making. The contributions cover a range of issues from a highly speculative financial model of the art market, public funding mechanisms, and attempts of building alternative economic systems. The compilation of texts are to be read in the context of two key problems related to arts funding: The art market’s speculative value production and the state-based public funding paradigms and the reproduction of unequal relations., https://www.librarystack.org/speculations-funding-and-financing-non-profit-art/?ref=unknown

This study focuses on the understanding of art as governmental practices. It researches global and postcolonial – translocal & transcultural – contexts of contemporary artistic and curatorial practices, theoretically and through an in-depth analysis of two case studies: Philadelphia Assembled demonstrates the complicated power dynamics within collaborative artistic practices, while documenta fifteen highlights the many complex challenges that the commons approach, and thus more horizontal forms of knowledge production, bring to the art field. Reassessing the curatorial discourse of the “New Museology” since the 1990s (Bennett et al.) and incorporating feminist-influenced critiques of representation (Spivak, Haraway) and the concept of governmentality (Foucault), this dissertation introduces the concept of the “post- exhibitionary complex.” Here, exhibitions become active social spaces and contact zones that promote participatory and direct learning over traditional hierarchical methods. This approach promotes nuanced, networked forms of knowledge production and dissemination grounded in feminist materialism (“Situated Knowledges”). An analytical toolkit is introduced to evaluate exhibitionary projects and their institutional frameworks, focusing on the relationships between art, institutions, and audiences in their governmental and economic contexts. Overall, the study aims to offer an in-depth analysis of the changing landscape of art and curatorial practices in response to global political and economic shifts, highlighting the importance of transversal and post-exhibitionary approaches., https://www.librarystack.org/curating-as-governmental-practices-post-exhibitionary-practices-under-translocal-conditions-in-governmental-constellations/?ref=unknown

This practice-based research contributes a new perspective to the field of contemporary post-representational curation with the specific angle of examining how the curatorial can activate spaces and conditions for a micropolitical and holistic making of social empathy. The research reconsiders and experiments with what an “ex-hibition” can be, how else ideas can be “ex-hibited” or rather “in-habited” and made to be experienced beyond curatorial forms of display, representation and beyond the mere consumption of the visual. It explores how the curatorial can achieve a more self-determined aesthetic and discursive form of practice, that actively engages and dissolves the on-looking audiences; a practice that instead strives to nurture agency and partaking protagonists. The explorations extend Nora Sternfeld’s notions of the “contact zone” and “asymmetric relations”. It takes guidance in Paulo Freire’s learning approach of “critical consciousness”, and Suely Rolnik’s “micropolitics” and “knowing body” as approaches for the decolonisation and de-subjectivation of the (social) body and its relationality to what is considered as Other, towards a delinking from hegemonic and capitalistic appropriations in the process of subjectivation. Through the practical research of the Radical Empathy Lab (REL), a curation that creates the conditions for holistic and relational–versus informational–learning is explored. REL’s approach emphasises the sensual and experiential in creating conscientization, to sharpen our senses for an “active micropolitics” towards exploring new forms of being together that momentarily allow one to reflect, to re-feel and undo a reactionary an-aesthesia. The examination concludes with the coinage of new terminology such as “intra-curation” and “affective transformative curation” for considering this specific curatorial approach., https://www.librarystack.org/towards-a-micropolitical-and-holistic-post-representational-practice-a-case-study/?ref=unknown

Dorothee Richter’s argument understands curating or the curatorial not as a philosophical concept but as a practice that is deeply involved in the politics of display, politics of site, politics of transfer and translation, and regimes of visibility. It is based on a concept of critical research that takes as its starting point the investigation of what is often the overly simplistic understanding of the curator as a new agent in the fields of art and culture. Richter understands the curatorial as a multi-authored approach to the production of meaning, which is intrinsically linked to transformations of contemporary societies, the reorganisation of labour, cultural policies, politics of inclusion/exclusion, and issues posed by points of intersection. Curatorial practice and theory have been developed in the context of cultural analysis, theories of power, and theories of communities based on feminist, queer, postcolonial, ecological, post-Marxist and other political and emancipatory positions. Many of these positions emerge out of political struggles or social movements. Ideally, curatorial knowledge production can be seen as a space for the negotiation of social, political, cultural, and economic conflicts. It understands curating as agency from which new constellations emerge. These could be represented in the format of an exhibition but equally in other forms of meaning production through a context-related media conglomeration, which involves a critical review of contemporary curatorial practices and theories. By engaging with these trajectories, the conditions and the foundations of knowledge production in the curatorial field become the subject of critical research leading to their re-positioning., https://www.librarystack.org/curating-politics-of-display-politics-of-site-politics-of-transfer-and-translation-politics-of-knowledge-production/?ref=unknown

This collection of texts reflects experiences of curating musical practices and wishes to help contributing meaningful traces to the relatively new discourse of curating in contemporary music. Curating makes us think about the interconnection of the aesthetic/conceptual aspects and the socio-political dimension of what we are doing. It offers us the opportunity to analyze what is actually happening when people share sonic experiences and to reflect on the meaning of the relationships that are created between the different agents (sound, audience, technology, etc.). We hope that the readers enjoy the different perspectives on the topic and will be inspired to come up with new ideas and ways of acting curatorially., https://www.librarystack.org/no-cure-curating-musical-practices/?ref=unknown

Curating Dance : Decolonizing Dance is one of the first publications within an international context to deal with the curation of dance as a performative art as well as a sociocultural practice. With this issue, we aim to develop the relevant theoretical and methodological foundations of curating dance with a particular focus on decolonization in the field of performing arts., https://www.librarystack.org/curating-dance-decolonizing-dance/?ref=unknown

In his essay Oliver Marchart takes an analytical and provocative look at the last six documenta exhibitions. Based on the theories of Antonio Gramsci, Ernesto Laclau and Chantal Mouffe, Marchart describes museums and biennials as national and global hegemony machines that reproduce bourgeois dominant culture, but also make it vulnerable to attack. Along with documenta’s recent history, Marchart traces a canon shift in the art field with regard to political art practices, theory, art education and the decentering of the West., https://www.librarystack.org/hegemony-machines-documenta-x-to-fifteen-and-the-politics-of-biennalization/?ref=unknown

This issue gathers contributions that emerged from the conference and workshop “Situated Knowledges – Art and Curating on the Move” in June 2021 and exemplify the partiality and situatedness of one’s own position in our respective fields of expertise, within our educational frameworks and contact zones. The term “situated knowledges” coined by Donna Haraway declares that all scientific knowledge is fundamentally conditional. Against an assumption of the apparently neutral and unmediated knowledge of the (male, white) Western idea of science and its representation through totalizing visualization techniques, Haraway develops her concept of situated and embodied knowledges., https://www.librarystack.org/situated-knowledges-curating-and-art-on-the-move/?ref=unknown

This issue is the result of more than two years of intensive engagement with aspects of commoning in curatorial and artistic practice, stemming from our encounters with ruangrupa on the way to documenta fifteen. At its core, this issue follows our research into the discourse on commons and its implications for the exhibitionary complex. We have conducted interviews with lumbung members, curators, theoreticians, art historians and artists. With practices of commoning entering a large-scale exhibition like documenta, a novel approach meets the curatorial-artistic complex. And with that, various conflicts loomed on the horizon, not to mention the internal difficulties of “scaling” a resource infrastructure and its principles of sharing, originally intended for a rather small village community or small group of people, to a global scale. The question is in what form, with what instruments, with what knowledges, and with what new alliances this apparent paradigm shift will come about. We offer a critical review from different perspectives., https://www.librarystack.org/documenta-fifteen-aspects-of-commoning-in-curatorial-and-artistic-practices/?ref=unknown

Extreme exposes art and curating cultivated through unique modes of production and creation in the margins of the globe, reflecting a dynamic developed through ongoing colonial realities. The issue is a compendium of partial, situated knowledges, originating from the four corners of the globe that, when combined, create a pluriverse of visions and a hopefully a momentary community that sustains contradictions inherent in the joining of a variety of vantage points. The issue deals with such pertinent issues such as: the colonization of knowledge as a driving force that abandons experimental and open-ended forms of knowledge; cross-cultural collaboration between non-binary identities ..., https://www.librarystack.org/extreme/?ref=unknown

Although the Fluxus art (non-)movement is often read as a historical phenomenon, the breadth of its innovations and complexities actively thwarts linear and circumscribed viewpoints. The notion of Fluxus incorporates contradiction in challenging and enduringly generative ways. More than five decades after its emergence, this special issue of OnCurating entitled Fluxus Perspectives seeks to re-examine the influence, roles, and effects of Fluxus via a wide range of scholarly perspectives. The editors Martin Patrick and Dorothee Richter asked notable writers from different locations, generations, and viewpoints, all of whom having written about Fluxus before, to offer their thoughts on its significance, ..., https://www.librarystack.org/fluxus-perspectives/?ref=unknown

“Instituting Feminism,” this issue of OnCurating, reflects on the efforts of curators, artists, and community organisers to move beyond identifying inequities in the cultural industries to devising tools that can foster structural change. Exploring how curators have developed projects informed by feminist politics and aesthetics, contributors also look beyond representational formats to highlight the infrastructures and co-dependencies upon which cultural production relies. They understand that feminism’s integration into the mainstream art world has been accompanied by a tokenistic “pink-washing,” and thus raise questions about the terms under which gestures of “inclusion” and “participation” occur. Envisaging feminist instituting as an active, ..., https://www.librarystack.org/instituting-feminism/?ref=unknown

(Un)Commoning Voices and (Non)Communal Bodies takes as its starting point the project (Un)Commoning Voices and (Non)Communal Bodies, curated by Sheleff and Spies for Reading International, UK (2019), which included artworks and workshops by Zbyněk Baladrán, Željka Blakšić, Marco Godoy, Chto Delat/Dmitry Vilensky, Noam Inbar and Nir Shauloff, Jamila Johnson-Small/Last Yearz Interesting Negro and Fernanda Muñoz-Newsome, Mikhail Karikis, Tali Keren, Public Movement, Michal Oppenheim, Rory Pilgrim, Jack Tan, Nina Wakeford and Katarina Zdjelar. Looking back at the project from within the pandemic’s viral choreography, with the forced distancing of bodies and further silencing of already marginalized voices, alongside the simultaneous performative enactment ..., https://www.librarystack.org/uncommoning-voices-and-noncommunal-bodies/?ref=unknown

Yasar Torres-Yaghi, Amelia Carwin, Jacob Carolan, Steven Nakano, Fahd Amjad, Fernando Pagan Department of Neurology, National Parkinson’s Foundation Center for Excellence, Translational Neurotherapeutics Program, Movement Disorders Program, MedStar Georgetown University Hospital, Washington, DC, USACorrespondence: Yasar Torres-YaghiMedStar Georgetown University Hospital, Department of Neurology, National Parkinson’s Foundation Center for Excellence, Translational Neurotherapeutics Program, Movement Disorders Program, 3800 Reservoir Road, NW, Washington, DC, 20007, USATel +1 202-444-6087Fax +1 202-444-2186Email yasaryaghi@gmail.comAbstract: In addition to the classic motor symptoms of Parkinson’s disease (PD), people with PD frequently experience nonmotor symptoms that can include autonomic dysfunction and neuropsychiatric symptoms such as PD psychosis (PDP). Common patient characteristics, including older age, use of multiple medications, and arrhythmias, are associated with increased risk of corrected QT interval (QTc) prolongation, and treatments for PDP (antipsychotics, dementia medications) may further increase this risk. This review evaluates how medications used to treat PDP affect QTc interval from literature indexed in the PubMed and Embase databases. Although not indicated for the treatment of psychosis, dementia therapies such as donepezil, rivastigmine, memantine, and galantamine are often used with or without antipsychotics and have minimal effects on QTc interval. Among the antipsychotics, data suggesting clinically meaningful QTc interval prolongation are limited. However, many antipsychotics have other safety concerns. Aripiprazole, olanzapine, and risperidone negatively affect motor function and are not recommended for PDP. Quetiapine is often sedating, can exacerbate underlying neurogenic orthostatic hypotension, and may prolong the QTc interval. Pimavanserin was approved by the US Food and Drug Administration (FDA) in 2016 and remains the onl

Even before the current pandemic, contemporary music existed in a state of crisis. Its structures and institutions struggle to support any minority, let alone artistic practices outside of a narrow Western European style, meaning fundamental change is inexorable if this field is to remain societally relevant. With this issue of OnCurating journal, the curatorial collective GRiNM (Gender Relations in New Music) gathers texts based on its 2019 conference at the Zurich University of the Arts that explore practical and theoretical approaches to opening and diversifying the field. Our intention with this issue is to articulate these voices as central to ..., https://www.librarystack.org/gender-relations-in-new-music/?ref=unknown

Biennials are each in their own way a complex constellation of different economical and geopolitical, and representational cultural aspects within its own power relations. With all their underlying deficiencies (canonical, hegemonic, colonialist, hot money-funded, politically influenced, hierarchical), biennials tend to establish international discourse, at best, rooted in local cultural specificities and contexts. With this edition of the journal, we wanted to include a variety of cases and research areas, not ordered along a historical trajectory, but rather, ordered by theme. With a mix of over sixty new contributions and reprints of important articles for the biennale discourse this issue is ..., https://www.librarystack.org/contemporary-art-biennials-our-hegemonic-machines-in-times-of-emergency/?ref=unknown

This issue seeks to bring to the forefront the various positions and strategies of the most diverse art initiatives, from project and off-spaces to personalities within the art field, as well as those of established galleries and institutions and city officials based in Zurich in 2020. Originally, this issue was intended to draw a picture of the Zurich art scene and was meant to be published parallel to Art Basel 2020. Though with the current pandemic’s additional layering, the main focus of the precariousness of the independent art scene in Zurich has increased dramatically. In this respect, we would like ..., https://www.librarystack.org/zurich-issue-dark-matter-grey-zones-red-light-and-bling-bling/?ref=unknown

This issue compiles a series of perspectives on art-making and curating that consider forms of production through contemporary digital networks as well as increased reliance on digital technologies. We consider the issue as a much-needed start to discuss curating under digital conditions on our platform. Each interview, artwork, and article thinks through contemporary practices that rework or examine what the relationship of place, automation, labour, and archives have in relation to technological effects in production under neoliberalism. Four interviews focus on art practice and digital art-making and also how the digital is an asset in the making and production of ..., https://www.librarystack.org/curating-the-digital/?ref=unknown

What are the roles of the curator in the music field, and how does the work materialize? What kind of practices are involved? Defragmentation – Curating Contemporary Music was a project that attempted to highlight some of the problems and urgent questions that we find in today’s contemporary music scene. Within the frame of ideas around gender, diversity, decolonization and technology, Defragmentation looked at – and tried to understand – structures in various institutions of contemporary music. The ambition was to investigate how the urgent sense of fragmentation and disconnection that exists in the public sphere at the moment is materialized ..., https://www.librarystack.org/curating-contemporary-music/?ref=unknown

Contemporary choreographic and curatorial practice have a somewhat contentious relationship, arguably ranging from co-operative exchanges at the vanguard of experimental artistic practice to more proprietary tensions within the neoliberal real-estate of major contemporary art institutions. The context of this publication therefore examines the arc of curatorial frameworks that since the early 21st century continues to excavate Western contemporary choreographic practice for its potential to negotiate the systems that govern collectivity, transmission, embodiment, mediation, participation, and immaterial exchange under the ‘new’ performance turn. The performative qualities of both choreography and dance in the contemporary museum can easily be annexed under the affective ..., https://www.librarystack.org/choreographies-of-the-curatorial-performative-trajectories-for-choreography-and-dance-in-the-museum/?ref=unknown

What happens when feminist activism turns art making into social practice? What happens when feminist conversations, at once joyful, contentious, conflictual, and generative, are being cared for through curatorial practice that mobilizes the archives of ephemeral, art-enabled conversations? Feminist artists of the 1970s concerned with developing a radical critique of heteropatriarchy used dinner parties and conversations for artistic exploration. The Dinner Party by artist Judy Chicago is the best-known example harnessing the representational power of a dinner party. Much less known is The International Dinner Party by Suzanne Lacy, who invited “sisters” around the world to hold dinner parties simultaneously ..., https://www.librarystack.org/archive-care-and-conversation-suzanne-lacys-international-dinner-party-in-feminist-curatorial-thought/?ref=unknown

The symposium “Revisiting Black Mountain College: Cross-Disciplinary Experiments and Their Potential for Democratization (in Times of Post-Democracy)” asked questions in relation to anti-democratic tendencies in many countries worldwide. How can education still hold up democratic values, while at the same time presumably measuring its success by careers in the market? This issue brings together contributions from participants of the conference and adds further contributions by Andres Janser, Olga von Schubert, Caroline Adler, Boris Buden, Lucy Bayley, Sascia Bailer, Simon Fleury, Gilly Karjevsky, Asli Uludag, and Mieke Matzke.The interview by Ronald Kolb with Bitten Stetter, Brandon Farnsworth, Dorothee Richter, Jochen Kiefer, Martin ..., https://www.librarystack.org/on-curating-issue-43-december-2019/?ref=unknown

Law and art are oftentimes perceived as standing in opposition, and even seen in terms. The first is dismissed as provincial, rigid, and bureaucratic, while the latter is repeatedly characterized as global, flexible, and dynamic. Yet, closer observation and analysis reveal hidden links and layers, and substantial preoccupation by both legal and art practitioners in the visual and in the judicial. It is through the unraveling of spaces, gaps, and lacunae in which both fields of practice and knowledge intersect that this publication sets in motion an exploration of influences and interactions between law and art. Offering a new critical approach ..., https://www.librarystack.org/after-the-law-towards-judicial-visual-activism/?ref=unknown

Artistic and curatorial practices can be seen as the prime testimonies of transformative movements—on the one hand situated in a specific site and region, and on the other, transgressing disciplines, classes, norms—proposing new forms and relations of living and establishing these practices (building centres along the way) but at the same time always changing their positions, never staying at the centre, but instead unfolding on the periphery of social life. In this OnCurating Issue, we searched for and researched projects and institutions that hold at their core something between the lines of centres–peripheries with their transversal practices and modus operandi. For many of our interview partners, the question of oppositionality is less important than the equal networking of their own artistic and curatorial practices in an international exchange, which is informed by the historical and local references of the particular place. These projects do not establish a distinction—aesthetically and personally; they open up to a broader public (and not only the “art insider”), and they relate to an embracing mode of encounters with “other” cultures, identities, and ideas, and present an inclusive gesture. Instead of voicing one view on the complex constellations of centres–peripheries in the arts, we have decided to propose different introductory statements to show the multifaceted approaches to this topic., https://www.librarystack.org/on-curating-issue-41-june-2019/?ref=unknown

This issue focuses on HIV, culture and curation, edited by scholar and organizer Theodore (ted) Kerr. The print and online issue features over 40 contributions—including essays, conversations, visual projects, reprints, and personal reflections—from artists, activists, academics, and writers from around the world, exploring AIDS-related culture in the 21st century, through four themes: forgetting, seeing, collecting, and making, all of which reflect on both the historical turn in contemporary AIDS cultural production, and the ongoing need to keep an eye on the present., https://www.librarystack.org/what-you-dont-know-about-aids-could-fill-a-museum/?ref=unknown

This issue developed from a research project by Lorenzo Sandoval and Emanuele Guidi that looks at artistic and curatorial practices so as to explore the role and potential of artistic and cultural institutional models. So far, Spaces of Anticipation has taken the form of a symposium with the same title at EACC (Castellón, Spain, 2014); the research exhibition Making Room. Spaces of Anticipation, and a second symposium and workshop (2015) both at ar/ge kunst (Bolzano, Italy). The term ‘anticipation’ aims at proposing an affirmative approach to the research as intends to elude the use of ‘post-isms’ and ‘future-ism’ terminology, which ..., https://www.librarystack.org/spaces-of-anticipation/?ref=unknown

This draft edition of OnCurating began life by a group of scholars and researchers asking a series of questions about the nature of art production and curating today and what role, if any, biennials play within this paradigm. We wanted to examine and question the underlying assumptions and factors that are generally attributed to the rise in the number of large-scale recurring exhibitions and create a draft-working document that may spur further research and analyses by practitioners and scholars in the field. Is the biennial format really a worldwide phenomena? And if so, to what extent? Do biennials look the ..., https://www.librarystack.org/on-curating-issue-39-june-2019/?ref=unknown

On the occasion of documenta’s 14th edition, this special issue scrutinizes the ways in which the Kassel-based periodic exhibition has been contributing to curating the history of the present since its inception in 1955. From diverse perspectives, the authors engage with questions of how documenta’s iterations played a significant role not only in the making of a history of contemporary art but also in the canon of the relatively young field of curatorial and exhibition studies. Focusing on documenta’s engagement with artistic and broader cultural developments, as well as its implication in shifting socioeconomic and geopolitical contexts, the texts assembled ..., https://www.librarystack.org/documenta-curating-the-history-of-the-present/?ref=unknown

For the Oncurating Issue 34, we asked artists, theorists, and researches to send us their proposals for a decolonized art practice, or how to deal with institutions in that regard. The 34 invited artists were given a carte blanche to contribute to the topic of decolonising art institutions. The aim: to provide a platform for a multiplicity of voices from the arts. These voices would propose an image of a decolonised art practice, all the while raising questions with regard to how one can engage with pre-existing institutions in a congruent manner. The material was then displayed as printouts by ..., https://www.librarystack.org/de-colonizing-art-institutions-artists-book/?ref=unknown

This issue compiles the outcome of the symposium at the Kunstmuseum Basel and a summer academy at the Zurich University of the Arts. The symposium “De-colonizing Art Institutions” took place at Kunstmuseum Basel, June 21 and 22, 2017, with the speakers Sabih Ahmed (Asia Art Archive), Jeebesh Bagchi (Raqs Media Collective), Binna Choi (Casco), Eyal Danon (Holon Digital Art Archive), Kadiatou Diallo (SPARCK), Same Sizakele Mdluli (Lecturer, Wits University), Rohit Jain (ISEK, Uni Zürich), Shwetal A. Patel (Kochi-Muziris Biennale), Dorothee Richter (Postgraduate Programme in Curating, ZHdK), Roma Jam Session art Kollektiv (RJSaK), and Søren Grammel. You will find contributions by ..., https://www.librarystack.org/de-colonizing-art-institutions/?ref=unknown

This special issue of OnCurating has been conceived with the intention of inquiring into the relation between law and art as it is manifested in a variety of recent artistic and curatorial projects and legal writings. Based on the notion that the law holds an abiding influence on all terrains of society, our aim was to unravel tactics and mechanisms used by art and legal practitioners alike as they deconstruct, reconstruct, and appropriate legal matter and form…, https://www.librarystack.org/imagine-law/?ref=unknown