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On the occasion of the tenth anniversary of the master program Cultures of the Curatorial at the Academy of Fine Arts Leipzig,
the symposium and curatorial program Show and Try Again focused on the potential of curatorial research.
Art and artifacts transform in the process of becoming public. Each presentation creates new meanings for both the exhibits and for the relations generated within an exhibition situation. As a result, what is familiar can become unfamiliar, forms of knowledge discarded, institutions redefined, roles overruled and narratives reoriented. How can showing itself be understood as a form of research, rather than merely a result of an invisible process preceding it? What can be required from operations of presenting art in the face of the increasing economization of education, knowledge, and visibility? What is the emancipatory, critical potential of showing in specific orders? How can showing and research be understood as a mutual process?
The role of the curatorial — a set of interrelated practices and positions — in the context of transformation processes on an aesthetic as well as on a social, political and economic level is undisputed in the current discourse. However, the debate on the actual practices, strategies and processes that could and should be used for this purpose is ongoing and open. It addresses those meaningful actions that are specific to the act of showing and self-reflection of art and culture. Experimental, repetitive processing and reorganizing ways of dealing with curatorial situations, which are especially interested in epistemological and socially relevant questions, toke center stage within the framework of Show and Try Again. Artists, curators and scholars explored the potentials of curatorial research through various formats, ranging from performances, presentations, workshops, panels and lectures.
Showing implies more than creating visual presence: It entails strategies of trying, repeating, non-showing and assembling. The symposium and the curatorial program, which took place from October to November 2019, at the HGB Leipzig, thus explored curatorial practice as a method of reflection. Within a changing, situative display developed during a workshop with spatial designer Herman Verkerk and Maureen Mooren, Head of the System Design class at HGB, the space was opened for questions regarding realization and implementation of collaborative and transdisciplinary practices.
Venue — HGB Academy of Fine Arts Leipzig, Gallery, Wächterstraße 11, D–04107 Leipzig
Showing implies that something is put on display. Its visibility though is based on different forms of visualities, of ephemeral constellations, and subjacent archives that follow different narratives and regulations. So how can the act of showing be shown itself?
|2.15 pm||Michael Riedel: Forms of Selfdescription|
|4 pm||Maureen Mooren: TITEL|
|6 pm||Thomas Weski: The Invisible Part of the Iceberg|
Becoming public always means trying something unpredictable. How do these processes of experimenting and re-arraging of given contexts perform as a laboratory? How do they question and re-formulate the conditions of being on display?
|2.15 pm||Rike Frank & Pip Day: Researching Back Accessing Back|
|4 pm||Fehras Publishing Practices: Missing Languages, Dominating Terms|
|6 pm||Nanne Buurman: Being Natural is Simply a Pose|
Nothing can be shown without referring to previously existing contexts. However, the moment of re-staging causes difference by creating new situations and relations. How can this process of re-framing lead into an ongoing oscillation between the past and the future?
|2.15 pm||BüKÜ — Office for Cultural Translations: Fame Female Walk|
|6 pm||Jörn Schafaff & Ari Benjamin Meyers: The Exhibition As Rehearsal|
With every act of showing, something invisible is performed as well: Institutional frameworks, questions of representations, and practices of collaboration are an essential part of every moment of display. How do they relate to the process of showing?
|2.15 pm||Bruangrupa (farid rakun/Indra Ameng): Nongkrong with ruangrupa|
|6 pm||Simon Sheikh: Approaches to presentation, representation and depresentation|
To become public necessarily means to assemble – to join systems, orders, groups and publics. It implies aspects of inclusion and exclusion likewise and thus links different audiences, media, spaces, things, and actors. What is the political and emancipatory potential of an assembly? And how can this open up spaces for discussion?
|2.15 pm||Binna Choi: Climate Justice Code for Artists and Art Institutions - On the making through the Assembly and after|
|4.30 pm||Hans Christ & Iris Dressler: Models of Collaborative, Transcultural and Transdisciplinary Forms of Curating|
|6.30 pm||Assembly Panel: Hans D. Christ and Iris Dressler, ruangrupa (farid rakun, Indra Ameng), Simon Sheikh|
|8 pm||Cashmere Radio|
Building upon the seminars Diggin’ Deeper, Living with Ghosts and Academy of Crisis that took place during the summer term of 2019 at the Academy of Fine Arts (HGB), the spatial and graphical setting of Show and Try Again is developed by students of the Academy within a collaborative workshop in cooperation with Herman Verkerk and Maureen Mooren. The main goal of the transdisciplinary, non-public workshop is to develop a setting that offers the curatorial program of Show and Try Again not only a stage, but also a space for reflection and resonance.
Herman Verkerk trained as an architect at the TU Delft and ETH Zürich from 1984 — 1990. In 1993 he formed EventArchitectuur, a design firm for time and experience based architecture with projects ranging from a temporary art museum, a series of landscape parks to shop interiors, and temporary exhibitions and installations on contemporary culture for cultural institutes in the Netherlands and abroad. Verkerk has been teaching design, exhibition design and architecture at the Design Academy Eindhoven, Hochschule Düsseldorf, TU Delft and Sandberg Institute Amsterdam. Together with architect Rianne Makkink he co-founded Sloom.org, an organization that operates on slow growth processes.Right now he is head of the department for interior architecture and furniture design (IA&FD) at the Royal Academy of Art in The Hague. He edited a book on the temporary in architecture and twenty five years of EventArchitectuur called EVENTS: Situating the Temporary published by Birkhauser Verlag in June 2017.
Maureen Mooren studied graphic design at the Willem de Kooning Academy Rotterdam. Her work focuses on dealing with questions of representation. She independently develops corporate designs, books and print material, especially for cultural institutions such as the Holland Festival, Marres Center for Contemporary Culture Maastricht and the initiative If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution. She also designs artist’s books, most recently for Manon de Boer, Joachim Koester and Keren Cytter. In 2011, she was one of the exhibiting artists of Opera Aperta / Loose Work in the Dutch Pavilion at the 54th Biennale di Venezia. Mooren has been responsible for the visual identity of the Het Nieuwe Instituut Rotterdam since October 2013. From 2011 to 2014, Mooren taught at the ArtEZ Institute of the Arts Arnhem on the Faculty of Graphic Design. In addition, she taught from 2011 to 2014 at the Werkplaats Arnhem in Typography. Since 2014, she is Professor of System Design at the Academy of Fine Arts Leipzig. Maureen Mooren lives and works in Leipzig and Amsterdam.
Beatrice von Bismarck is a Professor of Art History at the Academy of Fine Arts (Hochschule für Grafik und Buchkunst) Leipzig, where she also teaches Visual Culture and Cultures of the Curatorial. Previously, she worked as a Curator of the 20th Century Art Department at Städel Museum, Frankfurt and taught at the Leuphana University in Lüneburg where she was also co-founder and co-director of the Kunstraum. In Leipzig, she was co-founder of the project space /D/O/C/K and initiator of the M.A. Program Cultures of the Curatorial, which started in autumn 2009. She also co-conceived and co-directed the itinerant TRANScuratorial Academy that toured from Berlin to Mumbai and Phnom Penh (2017 — 2018). In 2018, she was the Philippe Jabre Visiting Professor of Art History and Curating at the American University of Beirut. For her research project on the Curatorial, she was awarded the Opus Magnum fellowship of the Volkswagen Stiftung, Hannover (2015 — 2017). Recent Publications: Now–Tomorrow–Flux: An Anthology on the Museum of Contemporary Art (ed. with Heike Munder and Peter J. Schneemann), JRP|Ringier, Zurich, 2017; Curatorial Things (ed. with Benjamin Meyer-Krahmer), 2019 (forthcoming), and O(f)f Our Times: The Aftermath of the Ephemeral and Other Curatorial Anachronics, (ed. with Rike Frank), Berlin 2019 (forthcoming).
In addition to her work as a research associate and lecturer for the Cultures of the Curatorial program at the Academy of Fine Arts Leipzig, Julia Kurz is also a freelance curator and art mediator inbetween emancipatory (un)learning and undisciplined practice. Kurz has developed numerous exhibitions, public programs, workshops and publications, primarily in collectives or in close cooperation with accomplices from various contexts. She is closely connected with the Museum of Contemporary Art Leipzig, for which she was curator, project manager and art mediator from 2006 — 2016 in the framework of the projects Politics of the small Act — A Call for Action at the Intersection of Artistic and Civic Practices (2012), Scenarios about Europe: Learning for Life? (2012/2013), Responsive Subjects — The Design of Collective Actions/Designing Collective Actions (2013/2014), Travesty for Advanced Performers (2015) and collaborations with Celine Condorelli, James Langdon, Alexandra Pirici, Slavs and Tatars, Kateřina Šedá, Ulf Aminde and Anna Witt, among others. From 2008 — 2013, Kurz was part of the collective and project space dieschönestadt in Halle (Saale) where she also taught from 2014 — 2016 Exhibiting and Mediating, a subject which she developed together with Professor Nike Bätzner at the University of Art and Design Halle. Julia Kurz studied Drama and Arabic at the Universities of Damascus and Leipzig and Cultures of the Curatorial at the Academy of Fine Arts Leipzig.
Benjamin Meyer-Krahmer has worked at the Academy of Fine Arts Leipzig and taught in the Cultures of the Curatorial program since 2011. From 2015 — 2017, he assumed the professorship for Visual Culture and Art History on behalf of Prof. Dr. Beatrice von Bismarck. Since 2017, Meyer-Krahmer is a Professor of Cultures of the Curatorial. He studied Comparative Literature and History in Tübingen, New York and Berlin. After the completion of his doctorate on the artist Dieter Roth, he worked in the field of Exhibition Conception and Design. He realized the publication and exhibition project Intolerance (2010/11) together with the artist Willem de Rooij for the Neue Nationalgalerie, Berlin. He initiated the exhibition project Grassi Invites #1: Fremd (2016) in the Grassi Museum of Ethnology with Nanette Snoep, Director of the Ethnographic Collections of the State of Saxony, which reflected the construction of foreignness within the ethnological museum. His work and research focuses on the epistemology and methodology of artistic and curatorial practice as well as questions of presentation and representation. Meyer-Krahmer’s publications include a monograph on the artist Dieter Roth, questions of artistic and curatorial practice, as well as numerous essays and articles in the field of art criticism, among others.
Maureen Mooren studied graphic design at the Willem de Kooning Academy Rotterdam. Her work focuses on dealing with questions of representation. She independently develops corporate designs, books and print material, especially for cultural institutions such as the Holland Festival, Marres Center for Contemporary Culture Maastricht and the initiative If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution. She also designs artist’s books, most recently for Manon de Boer, Joachim Koester and Keren Cytter. In 2011, she was one of the exhibiting artists of Opera Aperta / Loose Work in the Dutch Pavilion at the 54th Biennale di Venezia. Mooren has been responsible for the visual identity of the Het Nieuwe Instituut Rotterdam since October 2013. From 2011 — 2014, Mooren taught at the ArtEZ Institute of the Arts Arnhem on the Faculty of Graphic Design. In addition, she taught from 2011 — 2014 at the Werkplaats Arnhem in Typography. Since 2014, she is Professor of System Design at the Academy of Fine Arts Leipzig. Maureen Mooren lives and works in Leipzig and Amsterdam.
Agnieszka Roguski is a writer and curator living in Berlin. In her PhD project at Freie University Berlin, she focuses on visual performances of the Self among shifting technologies. Her venture into exhibition space came by way of the theater stage (Volksbuehne am Rosa-Luxemburg-Platz). She has curated or assisted at Kunstverein Leipzig, Torrance Shipman Gallery New York, WATTIS Institute San Francisco, and PRAXES Center of Contemporary Art Berlin. Under the transdisciplinary collective A.R. practice, she works with graphic designer Ann Richter on curatorial projects, which currently includes the book Subjective Sceneries, in collaboration with ONOMATOPEE press. Focusing on strategies of display, they develop fluid, media-reflective formats. Agnieszka Roguski participated in the Cultures of the Curatorial graduate program at the Academy of Fine Arts Leipzig, the TRANScuratorial Academy in Phnom Penh (2018), the Mountain School of Art in Los Angeles (2017) and the International Curator Course of the 11th Gwangju Biennale in Gwangju, South Korea in (2016), among others. Her writing has been published in Texte zur Kunst, Spike Art Magazine, Camera Austria, Eikon, and Springerin. For Show and Try Again, she works as a lecturer at the Academy of Fine Arts Leipzig, Department of Cultures of the Curatorial.
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