Tag Archives: curatorship

Why The Tate Gallery is right to put on a queer art exhibition: Issues in justifying queer art, by Jonathon Austin

This is a repost of Jonathon Austin’s thesis, for the Master in Art Studies: Museum and Curatorial Studies, at the University of Porto, Faculty of Fine Arts. Thank you for sharing your point of view with us, Jonathon.

 

Why The Tate Gallery is right to put on a queer art exhibition.

Issues in justifying queer art
by Jonathon Austin

Abstract

Queer curating can be thought of as an attempt to dismantle heterosexist and normative concepts of society in contemporaneity embodied by the art museum. This means taking into consideration Art History’s discourse but also how history is being defined by values of present times. Sexual and gender dissidence is not usually taken into account in Art History as art and culture institutions remain rather conservative on the topic. One could even go to the length of saying one could attend a museum exhibition about Andy Warhol without learning about his sexuality. One could also claim that it is one irrelevant piece of information. Is identity irrelevant to the production of art? Are not sexual and gender identity part of one’s self construct? What or who determines its relevance to the production of art to the point of eliminating it from the historical discourse? Given the apparent irrelevance why does this seem to call forth a clash between outrage for censorship measures and free expression in a discussion still kept alive to this day? Queer art attempts to make the point that an alternative history can be told because Art History is generally uninterested in its issues. This is not to say that queer is the only account to be told in history’s discourse but it’s an account that has not been told for institutions keep choosing to maintain it that way. This paper finds its justification on the premise that a queer perspective is inviting to think of the multiple worlds in which art is produced and enjoyed and the difference of artistic expression in private and public forms. This paper is titled with the exact opposite premise of a famous newspaper article intended to perpass a queer art exhibition by The Tate Gallery as wrong and unnecessary. The arguments used here are made in an attempt to contradict the aforementioned article’s arguments while several past queer art exhibitions are brought up as support evidence to justify them.

 

Keywords: queer curatorship; Queer Theory; art; LGBTQI+

 

 

Following the celebration of half a century upon the decriminalization of male homosexuality in England, The Tate Gallery has announced its first LGBTQ-related British art exhibition with artworks ranging from 1867 to 1967. The Tate has given good grounds for the public to expect an exhibition where it will be possible to explore art from a century marked by the evolution of the concepts of gender and sexuality. From political to erotic themes, the artworks to be shown are to reveal a variety of personal stories from individuals whose identity and sense of belonging to a community were still in development as the LGBTQI+ acronym wasn’t yet recognized[1].

Views on why such an exhibition is wrong and unneeded have been expressed, this being a contested position in attempts to underline the necessity of the first exhibition of this kind to be organized by The Tate. The claim that our society has been losing the capacity to react to art freely because of its fixation on sexuality[2] calls indeed for the recognition that the concepts to be dealt with by this exhibition reflect the dominance in our society of the concepts of gender and sexual identity – as these are dominant traits in our thinking. In spite of this, these definitions are a cause for celebration since the decriminalization of male homosexuality (as lesbianism had never really been criminalized by the law) marks an important turning point in the history of LGBTQI+ people.

The Tate exhibition proposes a queer lens through which great art can be experienced by the public. This is a valid analysis perspective of art by artists who might have identified themselves with the recently reclaimed meaning of queer to different degrees. This means a queer lens can uncover lost or hidden meanings and stories in art from a time when queer feelings, desires and thoughts were repressed or hidden for the simple sake of survival. A queer aesthetic might even be exposed since the imagery and self-expression of queer identities were kept out of sight or concealed from normative society, thus allowing the possibility of a new and informed gaze upon issues around gender and identity politics of the 19th and 20th centuries. This is only one way through which art can be examined as different stories can be told according to the lens used to find meaning.

The relevance of grouping artists such as David Hockney, Duncan Grant, Francis Bacon and Keith Vaughan based on their sexual preferences was also questioned. Queer is not equivalent to homosexual as it refers to a much extensive spectrum of identity possibilities through variation of the normative concepts of gender and sexuality. Thus, queer art exhibitions or art queering exhibitions promote a critical standpoint to the institutionalized art exhibition as a symbol of hierarchical power and the ways by which cultural institutions act as education mediators and influence thinking and taste in the making of history’s discourse. This can better be understood if linked to the theories and practices defended by New Institutionalism and Institutional Critique. These theories promote a series of questioning tools to a better understanding of ways art institutions can become more inclusive of the society they fit in and represent – this marks a move from the classical museum towards the new politically and socially engaged art institution which is critical of its own functions and mechanisms of action. These also attempt to analyze the way naturally taken historic discourses are in fact socially and politically constructed to maintain a status quo.

The exhibition “neoqueer” at Seattle’s Center on Contemporary Art (2004) makes an effort to contest the idea that queer art is always regarded in association with sexuality. As stated by the curators, instead of specifically looking for homoerotism and queer content, the show focused on modern art, with quality and originality as key concepts – and not sexual orientation[3]. Although without a defining theme, or at least with an ambiguous one, the show asks the question of what it means to be LGBTQI+ and what role does sexuality play in an artist’s work – a necessary dialogue between queer artists and the public in order to dismantle preconceived ideas about queer art. The show does not portray the usual stories drawn up by queer shows that focus on the political statements of the previous century marked by the sexual revolution, nor does it solely present homoerotic drawings as art. Indeed, the collection of works selected by the curators range from the poetic to the provocative and the explicit. It tries to push queer beyond those boundaries, indicating an ever increasing trend towards “subtlety and individualism”[4].

Looking beyond the issue of whether Tate’s queer art exhibition should have gender and sexuality transgression as a worthy cause for celebration or should solely serve the purpose of reminding us of our obsession with these definitions[5], perhaps it would be more constructive when seen as a particular position or place that allows critical thinking about the paradigm of these issues given the symbolic date. By simply giving viewers a critical lens on why and under what circumstances gender and sexuality have become dominant in our thinking, this exhibition has a plausible reason to exist. Furthermore, it can help the public question the relationship between normative society and transgressive queer identity.

While trying to prove the point that this exhibition is wrong and unnecessary there’s a failure in questioning the definition of queer and the representation of queer in all its extension of identity possibilities. This is a common issue of art exhibitions titled and advertised as queer nowadays resulting in attempts to essentialize queer identity and stripping it down to the white homosexual figure. Queer art exhibitions are a way of depicting queer issues and experiences in an effort that stretches way beyond the necessity of making the institutional art world a more inclusive space. Museum studies and curatorship practice must be informed about Queer Theory in order to not pass on discourses perpetuating the construction of concepts such as gender and sexual identity based on normativity[6]. This is where an intersectional perspective must be adopted in order to fully explore the potential of queer identity without neglecting other categories and dimensions of experience and sensibility.

Categorizing a queer show as gay is biased and reductive. This is not a promotion of the condition of being gay or queer but instead a question of visibility. Being visible means being acknowledged as part of society and thus, requires being given the opportunity to be seen, heard and represented. Being visible means existing. Essentializing queer down to the homosexual figure means omitting a wide range of fleeting self-identification possibilities between the gender and sexuality spectrum.

Attempting to pass through this kind of exhibition as unneeded by arguing that everybody knows there are artists who are queer only adds to the institutional conservatism in the art world that accounts as part of the reason why queer identities still lack representation. A queer exhibition makes a contribution so that queer identities and content aren’t still only tolerated by normative society. Whenever consuming any form of culture people tend to look for signs of themselves and of a community in which they fit. Queer individuals, perhaps to a greater extent than average exhibition visitors who do not identify as queer, seek these spaces that celebrate their community, culture and history.

Exploring and digging up queer content in works of art is different from searching for a queer sensibility hidden behind imagery but a combined approach of the two would be rather interesting in making perceptible to the viewer the intricate complexity of queer identity through its aesthetics, sensibilities and content, and also its difficult relationship with the normative workings of society[7]. The viewer would be prompted to ask himself if some stories are queer in essence despite whether they portray or not queer content, and if some stories are not queer in essence (i.e. heteronormative) despite of whether or not queer content is portrayed. What then is queer content and queer sensibility?

There seems to exist understandable confusion as to what queer stands for in our days, with much prejudice arising from the distortion of its ambiguous meaning. It does not refer to an identity’s specific essence and thus, does not refer specifically and intrinsically to LGBT individuals. Queer can instead be thought of as the corporealization of an experience or sensibility which uses a discourse that intimately connects the personal/intimate and the social/public realms in an attitude of resistance and self-affirmation. Artistic production in this context aims the questioning and challenging of dominant ways of production and representation in art and it can ally itself with the subversion of traditional form, genre, structure and aesthetic in art. This approach consequently results in a form of provoking and experimenting which celebrates at the same time its transgressive characteristics – what keeps it from being absorbed into normative behavior and thinking.

In reply to the question of the validity in jumping to conclusions by labelling something or someone as queer, a queer perspective can be applied even to art produced by artists who do not specifically identify as queer. To queer or queering refers to this method which the institutional art world can apply to be more socially inclusive at least to the length of bringing visibility issues under the spotlight. Assuming this method is only concerned with exploring homosexual individuals and content in art is wrong as it concerns everything and everyone that characterizes as transgressive, as in not corresponding to societal norms in terms of sexual and gender identity and power structures based on that. Queering works of art not only contributes to making visible these individuals but can also provide viewers some initial support for understanding and accepting it. Furthermore, it can uncover hidden information that can be useful for another understanding of these works and artists. This does not mean ignoring already known traits of works as this method can additionally incorporate them into constructions of different interpretative meanings. A queer perspective on art does not neglect a work’s theme and try to replace it with the word queer – usually in association with sexuality. Moreover, it does not obliterate or deny previous values of an artwork but it can add more information to them. This is not to say that a queer lens is the only valid perspective an artist’s work is to be analyzed, interpreted or enjoyed.

A queer perspective can be sustained by drawing up Umberto Eco’s discussion about the open work of art. The notions of completeness and openness refer to the viewer’s reception of a work as an authorial construction of communicative engagement with the viewer[8]. Each individual can participate in dialogue with the piece through stimulus, being that this is dependent on their receptiveness, sensibility and capacity to respond. In this response, the viewer presents an overview of his own being, an amalgamation of beliefs, tastes, and prejudices. The original work’s meaning conceived by the artist is thus later adapted by the receptacle that is each individual with different perspectives formed by personal and cultural backgrounds.

Without invalidating any sense of original significance, these different approaches of viewing and understanding a work’s meaning make a work of art on the one hand open to numerous external susceptibilities of interpretation, and on the other a complete and unique product by the specificity imprinted on it by its maker. Assessing a work of art requires, not necessarily to the same degree, interpretation and performance, resulting in an intricate meeting between the viewer’s personal experience and the artist’s imprinted signifying connotations.

In this sense, a queer analysis of art proposes only one possible different approach which requires a new set of questions in finding meaning behind works. Queering, in a museum context, foresees the questioning of how museums collect. In curatorial practice, it questions the selection of the pieces altogether. In both cases, it makes the viewer wonder which narratives are depicted and which ones are omitted to construct a discourse or stimulate discussion[9].

Subjective perceptions of artworks by the viewer can be seen in parallel to the camp aesthetic. Although it is difficult to pin it down to a specific aesthetic, camp refers to a queer sensibility and sense of humor with its use of the theatrical and kitsch. Its discourse hasn’t always been so out and well integrated into popular culture as it is now with its beginnings reporting to a subversion of the mainstream and queer subjects being both the producers and consumers of this coded language. Camp was about elevating the low culture of the repressed, giving queer individuals opportunity to challenge representations in normative discourses. As dominant culture absorbed the camp aesthetic, a queer sensibility found its way to the core of mass popular entertainment. Although the glitter and diva-icons, as Gordon Hall points out, are essentializing images and direct references to queer, the camp sensibility hasn’t only been present in artistic expressions made by and for queers but extends itself to imagery with not necessarily queer innuendo.

Popular music by David Bowie and Cher – representing androgynous glam-rock and sense of style in the pop/dance music scene -, drag performance with satire and parody and the vogue dance style all make up references to burlesque entertainment and the MGM musical and film scene of the 40’s. Camp embodies this set sumptuosity, elaborate costumes, dazzling dance moves and stars such as Judy Garland – a timeless icon in queer culture. The spectacle element aiming the viewer’s fascination is adopted by camp to engage in dialogue with dominant culture, presenting resistance to normative values and representational systems mainly concerned with sexuality and gender[10]. Androgyny, drag performance and vogueing are praised for the ability to dismantle the gender normative concept while presenting exaggerated forms of both edges of the binary. Theatricality, entertainment and humor are weapons used to show reversed social norms about gender and sexual identity. Drag and camp illustrate and support Judith Butler’s definition of gender as a performance as opposed to a false idea of gender identity based on essence.

Camp is also an open work as its nature is dual, lending its features to products that are not conceived as such by their creators. This sensibility can be either imprinted onto objects when they are consumed by the public – such as Judy Garland’s Dorothee in The Wizard of Oz – or be deliberately created by artists – this being the case of Andy Warhol or drag performers. Camp is thus found in the experience of the viewer and in the object’s traits.

Warhol’s persona adopted the camp extravagant sensibility although contemporary discourses on the artist have often been evasive on the subject of his sexuality, omitting the influence it had in his work and in the queer climate of the 60’s [11]. Surely, a queer reading of Warhol doesn’t seem to be unconvincing if one takes the cover of the Rolling Stones’ Sticky Fingers depicting a crotch in skinny jeans, or the images of drag queens in Ladies and Gentlemen, or even the polaroids in Torsos and Sex Parts of men recruited in gay saunas having sex. Institutional and critical conservatism is rather obvious when works depicting queer content this explicit are not commonly shown and stay hidden in museum archives such as Warhol’s many experimental films – the most explicit being Blow Job showing an act of oral sex between two men and My Hustler with a plot of an intergenerational lust triangle involving three men[12].

Queer speaks of an unstable and precarious position towards dismantling normative constructions of the self[13]. This position is fundamentally a sensibility – not an essence of gender or sexual identity or any kind of essentialism[14] – engaged with the ways of being oneself. The aesthetic of the queer work of art is related to art production in the context of the civil liberation movements of the 70’s, and more prominently to feminist art. This means queer art reclaims experiences that aren’t “historically valued in the white-hetero-masculine system” [15] as a form of attack of political and social structures of gender and sexuality. With its unstable and undefinable nature, queer seeks to destabilize the sense of established natural being, the performance of everyday normative life, queering the status quo instead of reaffirming it[16]. Queer’s refusal to support and perpetuate societal norms and power structures strives for other possibilities to be constructed, which is why queer opens a whole dimension for new perceptions in art[17].

Artworks speak a lot about their makers and what significance they have received by their makers’ specificity. What if they could teach us a lesson about the ways we perceive? Gordon Hall claims they show how to see gender and bodies differently in a non-normative way, which means art could be a valuable resource for thinking about sexuality and gender even if imagery of queer experiences is not depicted[18]. Artworks are usually described as queer when portraying LGBTQI+ individuals, when produced by LGBTQI+ artists or when referencing to their culture by including tangible forms of queer aesthetics. Hall references characteristics that immediately refer the viewer’s mind to queer aesthetics, taking this phenomenon as an essentializing issue: “[…] the glitter problem. Or the leather problem. Or the pink-yarn, 1970s-crafts, iconic-diva, glory-hole, pre-AIDS-sexuality, post-AIDS-sexuality, bodies and body-parts, blood-and-bodily-fluids problem”[19]. This calls forward the question if it’s possible to find queer meaning in non-representation or pure formalism without any kind of overt queer context such as “dicks, vaginas, menstrual blood, references to Jean Genet, cum, anuses, bondage, surgery scars, reclaimed pronouns”[20].

Hall takes the difficult example of minimalist sculpture – as objects with no apparent resonance of gender in their form – in relation to queer content. If it’s possible to point out gender constructs in blank, monochrome and consistent objects it means a queer gaze of physicality and psychological associations can be applied to objects that are not queer in essence even when queer content is not portrayed – as minimalist sculpture appears completely devoid of narrative and symbolism. The only communication being made is through their placement in time and space – it’s the physicality of objects what allows intimate interaction with the viewer’s position and architectural setting.

Without wanting to claim that only queer art exhibitions are targets of controversy and censorship, they are no strangers at all to one another, despite this being an era where supposedly queer people are seen as equal. As expected, anything that disturbs the normative functioning and thinking of society always generates some critical backlash. The negative response, coming either from the public, institutions or patrons, seems stronger when political and religious views are put up against a wall to be challenged and objected.

Warhol’s mural 13 Most Wanted Men (1964) for the World’s Fair depicts prison photos of outlaw men in America. The work caused political controversy and was ultimately erased despite the artist’s already established status. The choice of subject challenged norms of taste in society and in the arts, containing coded language reporting to queer desire, thus being dissed by critics and censored by authorities. The images present the double meaning of most-wanted, as in criminals searched by the police and receptacles of desire. Moreover, this represents a form of outlaw desire if the gaze is male.

Three queer art exhibitions illustrate the sort of censorship that lies deep in the art world nowadays as it did back in 1964. The recent “Hide/Seek: Difference and Desire in American Portraiture” (2010-2011) at the Smithsonian’s National Portrait Gallery was targeted by right-wing political and religious figures demanding control over the choice of works to be displayed. It was demanded the removal of Wojnarowicz’s video Fire In My Belly (1987). This piece, an excellent metaphor of the AIDS crisis, showed a crucifix covered in ants. The pressure was felt as the building was threatened to be closed in spite of the exhibition not being funded by public money. The video ended up being removed but the issue gave rise to a necessary discussion about what art was worthy of public funding and what kind of art was really displayed at public art institutions if not one censored within a controlled constructed discourse[21].

The slogan “silence = death”[22] doesn’t seem so far removed from the reality of nowadays as artworks and artists continue to be erased from sight to protect and not offend others[23]. One of the show’s curators, Jonathan Katz, has spoken about the urgency for “queer political advocacy” taking into consideration that this show had been numerous times rejected to be presented at various museums throughout the US[24].

Public funding of art exhibitions has some history of controversy. Regarding the issue of the AIDS crisis, the exhibition curated by Nan Goldin “Witnesses: Against our Vanishing” (1989), in part funded by public money, was caught up in great scandal created by political forces as well as the public. The exhibition catalogue criticized the lack of government and church funding for the AIDS cause, resulting in the cancellation of the grant given the public pressure to cut back on what kind of art should receive federal funds.

In comparison, “Robert Mapplethorpe: The Perfect Moment” (1990)[25] has also seen a huge proportion of backlash against the homoerotic themed photographs it displayed. The CAC’s director was even legally charged for promoting obscenity in some of the show’s explicit photographs displaying S&M gay sex and child nudity[26]. The show, intended to be a retrospective view on the late openly homosexual artist’s work, ultimately came under the spotlight of the public, resulting in political debates about federal art funding. These debates mainly approached the topic of depiction of gay S&M imagery[27].

The exhibitions, even though different in terms of aim for public audience and location, suffered immense backlash from the public against queer content, resulting in chaos for political forces in managing the issue between funding and explicit content. Both exhibitions from last century, distant in two decades from “Hide/Seek”, show public rage toward queer art funding and is still present nowadays although a dramatic shift has been felt in public opinion with greater acceptance becoming the norm[28].

 

References (APA)

 

Bastos-Stanek, M. (2016). The Contested History of Queer Themes in American Art Exhibitions. Retrieved December 14, 2016, from https://umasshistory.wordpress.com/2016/07/11/the-contested-history-of-queer-themes-in-american-art-exhibitions/

 

Earnest, J. (2013). Contemporary Art and Queer Aesthetics. San Francisco Arts Quarterly. Retrieved December 15, 2016, from http://sfaq.us/2013/10/contemporary-art-and-queer-aesthetics/

 

Eco, U. (1989). The Poetics of the Open Work. In The Open Work (pp. 1-23). Cambridge, MA: Harvard University Press.

 

Hall, G. (2013). Object Lessons: Thinking Gender Variance through Minimalist Sculpture. Art Journal, 72 (4).

 

Hirsch, F. (2011). Hide/Seek Curator Speaks Up at CAA. Art in America. Retrieved December 15, 2016, from http://www.artinamericamagazine.com/news-features/news/caa-jonathan-katz/

 

Jagose, A. (1996). Queer Theory: an introduction. New York: New York University Press.

 

Nguyen, V. T. (2013). Towards a Queer Intersectional Museology (Masters dissertation in Museum Studies). University of Sydney.

 

Prono, L (2007). Encyclopedia of gay and lesbian popular culture. Santa Barbara: Greenwood.

 

Sirkin, H. L. (2016). Why I defended Mapplethorpe’s ‘obscene’ ‘Perfect Moment’. The Washington Post. Retrieved December 15, 2016, from https://www.washingtonpost.com/posteverything/wp/2016/06/10/why-i-defended-mapplethorpes-obscene-perfect-moment/

 

Steorn, P. (2010). Queer in the museum: Methodological reflections on doing queer in museum collections. Lambda Nordica, (3-4), 119-122. Retrieved December 15, 2016, from http://www.lambdanordica.se/wp-content/uploads/2011/11/2010-34-Steorn-Museum.pdf.

 

Street-Porter, J. (2016). The Tate Gallery is wrong to put on a ‘queer’ art exhibition. Retrieved December 05, 2016, from http://www.independent.co.uk/voices/tate-gallery-wrong-put-on-queer-art-exhibition-a6996351.html

 

Tate (2016). Queer British Art 1861–1967 – Exhibition at Tate Britain | Tate. Retrieved December 5, 2016, from http://www.tate.org.uk/whats-on/tate-britain/exhibition/queer-british-art-1861-1967

 

Trescott, J. (2010). After Smithsonian exhibit’s removal, banned ant video still creeps into gallery. The Washington Post. Retrieved December 14, 2016, from http://www.washingtonpost.com/wp-dyn/content/article/2010/12/06/AR2010120607328.html

[1] Tate (2016).

[2] Street-Porter, J. (2016).

[3] Potterf, T. (2004).

[4] Potterf, T. (2004).

[5] Street-Porter, J. (2016).

[6] Nguyen, V. T. (2013).

[7] Hall, G. (2013).

[8] Eco, U. (1989).

[9] Steorn, P. (2010).

[10] Prono, L (2007). P. 52

[11] Prono, L (2007). P. 278.

[12] Prono, L. (2007). Pp. 276-277.

[13] Jagose, A. (1996). Pp. 76-77.

[14] Attribution to each gender of a fixed essence taken as natural, which is determined by biological, physical and psychological traits.

[15] Earnest, J. (2013).

[16] Earnest, J. (2013). Reference to Judith Butler’s theory of performance of gender in which gender is seen as a performance and thus, an exteriorization of identity through behavior and physical appearance. This performance of gender can perpetuate societal constraints that support the gender binary system – as in taking on a role from the binary to reproduce and reaffirm it.

[17] Jagose, A. (1996). P. 76-77.

[18] Hall, G. (2013). Pp. 46-57.

[19] Hall, G. (2013). P. 47.

[20] Hall, G. (2013). P. 47.

[21] Trescott, J. (2010).

[22] Reference to ACT UP’s 1987 activist project that draws a parallel between the governmental indifference toward the AIDS crisis and the Nazi period concerning the oppression the homosexual community has suffered.

[23] Bastos-Stanek, M. (2016).

[24] Hirsch, F. (2011).

[25] Contemporary Arts Center Cincinnati.

[26] Sirkin, H. L. (2016).

[27] Bastos-Stanek, M. (2016).

[28] Bastos-Stanek, M. (2016)

Last chance to present curatorial project for Fabra i Coats, Barcelona. Deadline: May 22, 2014

———-English Version (versión en español / catalá abajo)———-

Call for programming proposals for the 2014-2015 season at Fabra i Coats – Barcelona Contemporary Art Center

Introduction

The Barcelona Contemporary Art Centre is a cultural facility that aims to produce, disseminate and exhibit contemporary art projects from local and international artists. Its sphere of work is the visual arts and it is primarily focused on the transitional space between the circuits of emerging art and firmly established and recognized artistic careers.
The centre began operating in September 2012 in the old Fabra i Coats factory in the district of Sant Andreu, and it shares space with the Art Factory and uses the common services (auditorium, socialization spaces, offices and so on). In the first phase the centre occupies a space of 450 m2 plus 150 m2 located at the entrance to the complex. Common services will be shared with the Art Factory.
The centre was created with the intention of expanding as needs and available funds allow for the restoration and adaptation of the upper floors of the building to be continued. A second phase will thus be completed in 2015, reaching 1,800 m2 to subsequently grow to a maximum of 2,450 m2 of exhibition and activity space.
Since the 2013-2014 season, programs of curatorial projects selected through a public call have been programmed.
For programming the period from September 2014 to August 2015, ICUB has launched the following open call for the submission of projects.

Participants
All persons interested in developing a curatorial project, whether individually or as part of a group, may participate in the call.

Object of the call
The aim of the call is to select a programming proposal for the Barcelona Contemporary Art Centre. This programming must have provisions for the full period from September 2014 to August 2015.
The project must provide:
– A minimum of three exhibitions

– Activities plan

– Publications plan

– Educational project

Funding
The resources allocated to this call will be divided into two separate allotments; 25,000 euros (VAT and other taxes included) in professional fees for the winning person or team and 175,000 euros (VAT and other taxes included) for developing the activities proposed in the project.
This amount includes the fees for participating artists as well as all expenses associated with production, exhibition and any other costs that may arise from the projects proposed. Not included, however, are the costs of security, cleaning and maintenance of the space, hall security and customer service and the other day-to-day operating costs of the centre, which will be covered by other budgetary allocations.
The ICUB promises to spend a maximum of 75,000 euros (VAT and other taxes included) in 2014, taking charge of forecasting revenues and expenses for 2014, and 100,000 euros (VAT and other taxes included), taking charge of forecasting revenues and expenses for 2015, to meet the costs of production, set-up and associated activities.

Selection
A committee will evaluate the projects submitted.
Making up the artistic evaluation committee are:
Daniel Giralt-Miracle
David G. Torres
David Armengol
Martí Manen
Miguel Ángel Sánchez
Bartomeu Marí
Conxita Oliver
Oriol Gual
Llucià Homs
The projects will be evaluated based on:
– The proposal’s quality and suitability for the art centre’s objectives
– Potential for traveling and/or coproduction with other Catalan and international centres
– Balance between local and international artists
– Exhibition program
– Publications plan
– Activities plan
– Educational program
– Web project (this project should be based on the centre’s current website)
– Budgetary viability in terms of the parameters established in this call

Applications
Those interested must submit a dossier containing:
Information about the person or persons participating:
Name and last name(s)
National Identity Document
Date of birth
Address
Telephone numbers
Email address
Brief expository CV (maximum 3,000 characters with spaces)
Synthetic summary of the conceptual framework of the proposal (maximum 8,000 characters with spaces).
Schematic explanation of the project (maximum 8,000 characters with spaces). This explanation must include the list of exhibitions to be held, the participating artists, the publications plan, the use of the web space, the educational program, the activities plan and any other aspect deemed relevant.
Detailed production budget, itemized.
Implementation schedule.
Additional documentation deemed appropriate.
The panel of judges will not consider applications that do not meet these requirements. The committee may hold interviews with project authors should it be considered necessary.

Time limits
Participants must submit the dossiers within a period of one month from the day following the final day of the period allowed for allegations to the General Register of the Institute of Culture of Barcelona (ICUB), La Rambla 99, 4th floor.

Rights and obligations of participants
Participants promise to comply with everything that is agreed upon with ICUB management, especially as regards deadlines for programming activities and budget allocations. All projects must consider the contractual conditions with participating artists such that copyright is protected in accordance with current legislation.
Residents of Spain must provide:
1.1. Tax Clearance Certificate affirming they are not indebted to the administration.
1.2. Current Social Security Certificate affirming that all payments are up-to-date and there are no outstanding debts.
People living outside of Spain for tax purposes must provide:
– Tax residence certificate issued by the tax authorities of the corresponding country.

The submission of applications implies acceptance of the conditions outlined in this document.

Appendix
Strategic objectives of the Barcelona Contemporary Art Centre
The implementation of all of the activities carried out by the Barcelona Contemporary Art Centre must guarantee the following public service obligations, which are considered strategic objectives of the centre:
– To become an art centre dedicated primarily to potentiating the transitional space between the circuits of emerging art and firmly established and recognized artistic careers, establishing a fluid dialogue between different generations.
– To build its activities around risk and experimentation, offering great freedom for discussions on art through quality. To foster the multidisciplinarity of artistic languages and excellence of content.
– To encourage interaction between different social agents and in particular between events driving culture and other economic sectors of the city.
– To facilitate the creation of new audiences and bolster the centre’s relationships with its immediate environment, with educational centres and organizations likely to take part in training activities.
– To help to strengthen and structure quality cultural initiatives reflecting the criteria of coparticipation, coproduction and cofinancing.
– As a specialized operator, to strengthen connections and networking with other local and international agents, institutions and facilities, especially the facilities that form part of the Xarxa Pública de Centres i Espais d’Arts Visuals de Catalunya (Public Network of Visual Arts Centres and Spaces of Catalonia), and with the city’s art galleries and Art Factories.
– To base the centre’s projects and activities on parameters of quality, effectiveness, efficiency and transparency in management.
– To make maximal use of information and communication technologies and social networks to expand potential audiences and interact with them.
– To establish a process for developing projects that enables the centre’s harmonious growth to the desired dimensions in a sustainable way.

Download the call on pdf format

 


———-versión en español (English Version above)———-

Convocatoria para la programación de la temporada 2014-2015 de Fabra i Coats – Centre d’Art Contemporani de Barcelona

Introducción

El Centre d’Art Contemporani de Barcelona es un equipamiento cultural que tiene como objetivo la producción, difusión y exhibición de proyectos artísticos contemporáneos de creadores del contexto local e internacional. Su ámbito de trabajo son las artes visuales y se centra principalmente en el espacio de transición entre los circuitos del arte emergente y las trayectorias artísticas plenamente consolidadas y reconocidas.
El centro empezó su actividad en septiembre de 2012 en el espacio de la antigua fábrica Fabra i Coats, en el barrio de Sant Andreu. El centro comparte espacio con la Fábrica de Creación y utiliza los servicios comunes (auditorio, espacios de socialización, oficinas…). En la primera fase el centro ocupa un espacio de 450 m2 más 150 m2 situados en la entrada del complejo. Los servicios comunes se compartirán con la Fábrica de Creación.
El centro nació con la voluntad de expandirse a medida que las necesidades y la disponibilidad presupuestaria permitan continuar la restauración y adecuación de las plantas superiores del mismo edificio. Así, en el año 2015 se completará una segunda fase en la que se alcanzarán los 1.800 m2 para llegar, posteriormente, a un máximo de 2.450 m2 de espacio expositivo y actividad.
Desde la temporada 2013-2014 se programa por ciclos de proyectos comisariales seleccionados mediante una convocatoria pública.
Para la programación del periodo de septiembre de 2014 a agosto de 2015 se pone en marcha la siguiente convocatoria abierta para la presentación de proyectos.

Participantes
Se pueden presentar a la convocatoria todas las personas que estén interesadas en desarrollar un proyecto de comisariado, a título individual o bien agrupadas en colectivos.

Objeto de la convocatoria
El objetivo de la convocatoria consiste en seleccionar un proyecto de programación para el Centre d’Art Contemporani de Barcelona. Esta programación tendrá que comprender todo el periodo de septiembre de 2014 a agosto de 2015.
El proyecto deberá incluir:
– Un mínimo de tres exposiciones

– Plan de actividades

– Plan de publicaciones

– Proyecto educativo

Dotación
Los recursos destinados a esta convocatoria se repartirán en dos partidas diferentes: 25.000 euros (IVA y otros impuestos incluidos) en concepto de honorarios profesionales para la persona o equipo ganadores y 175.000 euros (IVA y otros impuestos incluidos) para el desarrollo de las actividades propuestas en el proyecto.
Esta cantidad incluye los honorarios de los artistas participantes, así como todos los gastos asociados a la producción, exhibición y cualquier otro gasto que puedan generar los proyectos propuestos. Sin embargo, no quedan incluidos los gastos de vigilancia, limpieza y mantenimiento del espacio, vigilancia de la sala y atención al público, así como el resto de gastos de funcionamiento corriente del centro, que quedarán cubiertos por otras partidas presupuestarias.
El ICUB se compromete a realizar un gasto máximo de 75.000 euros (IVA y otros impuestos incluidos) en el año 2014, con cargo al estado de previsión de ingresos y gastos de 2014, y 100.000 euros (IVA y otros impuestos incluidos) en el año 2015, con cargo al estado de previsión de ingresos y gastos de 2015, para hacer frente a los gastos de producción, montaje y actividades asociadas.

Selección
Un comité evaluará los proyectos presentados.
El comité de valoración artística estará formado por:
Daniel Giralt-Miracle
David G. Torres
David Armengol
Martí Manen
Miguel Ángel Sánchez
Bartomeu Marí
Conxita Oliver
Oriol Gual
Llucià Homs

Los proyectos serán evaluados en función de los siguientes aspectos:
– Calidad y adecuación de la propuesta a los objetivos del centro de arte
– Posibilidades de itinerancia y/o coproducción con otros centros del panorama catalán e internacional
– Equilibrio entre artistas locales e internacionales
– Programa de exposiciones
– Plan de publicaciones
– Plan de actividades
– Programa educativo
– Proyecto web (este proyecto deberá tener como base el actual espacio web del centro)
– Viabilidad presupuestaria en función de los parámetros establecidos en esta convocatoria

Solicitudes
Las personas interesadas deberán presentar un dosier que contenga:
Datos de la persona o personas participantes:
Nombre y apellidos
DNI
Fecha de nacimiento
Dirección
Teléfonos
Dirección electrónica
Breve currículum comentado (máximo 3.000 caracteres contando espacios)
Exposición sintética del marco conceptual de la propuesta (máximo 8.000 caracteres contando espacios).
Explicación esquemática del proyecto (máximo 8.000 caracteres contando espacios). Este esquema debe incluir la lista de exposiciones que se realizarán, los artistas participantes, el plan de publicaciones, la utilización del espacio web, el programa educativo, el plan de actividades, así como cualquier otro aspecto que se considere relevante.
Presupuesto detallado de producción, desglosado en partidas.
Calendario de realización.
Documentación adicional que se considere oportuna.
El jurado no tendrá en cuenta las solicitudes que no cumplan estos requisitos. La comisión podrá convocar entrevistas con los autores del proyecto si lo considera necesario.

Plazos
Las personas participantes deberán entregar los dosieres, en el plazo máximo de un mes a contar desde el día siguiente a la finalización del periodo de alegaciones, al registro general del Institut de Cultura de Barcelona, La Rambla, 99, 4º piso.

Derechos y obligaciones de las personas participantes
Las personas participantes se comprometerán a cumplir todo lo que se pacte con la dirección del ICUB, especialmente con relación a los plazos de programación de las actividades y dotaciones presupuestarias. En todos los proyectos se deberán tener en cuenta las condiciones contractuales con los artistas participantes, de modo que los derechos de autor queden protegidos de acuerdo con la legislación vigente.
Las personas residentes en España deberán aportar:
1. Certificado de Hacienda (con carácter positivo) que acredite que no se mantienen deudas con la Administración.
2. Certificado de la Seguridad Social actualizado que acredite que se está al corriente de los pagos y no se mantienen deudas pendientes.
Las personas residentes fuera de España a efectos fiscales deberán aportar:
– Certificado de residencia fiscal expedido por las autoridades fiscales del país correspondiente.

El envío de solicitudes supone la aceptación de las bases que aquí han quedado definidas.

Anexo
Objetivos estratégicos del Centre d’Art Contemporani de Barcelona
El despliegue del conjunto de la actividad llevada a cabo por el Centre d’Art Contemporani de Barcelona debe garantizar las obligaciones de servicio público siguientes, que son consideradas como objetivos estratégicos del centro:
Llegar a ser un centro de arte dedicado a potenciar, principalmente, el espacio de transición entre los circuitos del arte emergente y las trayectorias artísticas plenamente consolidadas y reconocidas, estableciendo un diálogo fluido entre las distintas generaciones.

Generar su actividad basándose en el riesgo y la experimentación, ofreciendo desde la calidad una gran libertad en los discursos artísticos. Fomentar la multidisciplinariedad de los lenguajes artísticos y la excelencia en los contenidos.

Fomentar la interacción con los diferentes agentes sociales y, muy especialmente, con los eventos motores de la cultura y otros sectores económicos de la ciudad.

Propiciar la creación de nuevos públicos y asegurar las relaciones del centro con el contexto inmediato, con los centros educativos y los colectivos susceptibles de participar en actividades de formación.

Contribuir a la consolidación y vertebración de iniciativas culturales de calidad desde criterios de coparticipación, coproducción y cofinanciación.

Como operador especializado, potenciar la conexión y el trabajo en red con otros agentes, instituciones y equipamientos de ámbito local, nacional e internacional, sobre todo con los equipamientos que forman parte de la Red Pública de Centros y Espacios de Artes Visuales de Catalunya, así como con las galerías de arte de la ciudad y con las Fábricas de Creación.

Basar el proyecto y las actividades del centro en parámetros de calidad, de eficacia y de transparencia en la gestión.

Maximizar el aprovechamiento de las TIC y las redes sociales para incrementar el público potencial e interactuar con él.

Establecer un proceso de desarrollo del proyecto que permita un crecimiento armónico del centro hasta conseguir el dimensionamiento deseable de forma sostenible.

Descargar las bases en formato pdf


———-versió en catalá (English Version above. Versión en español arriba)———-

Convocatòria per a la programació de la temporada 2014-2015 de Fabra i Coats – Centre D’art Contemporani de Barcelona

Introducció
El Centre d’Art Contemporani de Barcelona és un equipament cultural que té com a objectiu la producció, difusió i exhibició de projectes artístics contemporanis de creadors del context local i internacional. El seu àmbit de treball són les arts visuals i se centra principalment en l’espai de transició entre els circuits de l’art emergent i les trajectòries artístiques plenament consolidades i reconegudes.
El centre va començar la seva activitat el setembre del 2012 en l’espai de l’antiga fàbrica Fabra i Coats, al barri de Sant Andreu. El centre comparteix espai amb la Fàbrica de Creació i n’utilitza els serveis comuns (auditori, espais de socialització, oficines…). En la primera fase el centre ocupa un espai de 450 m2 més 150 m2 situats a l’entrada del complex. Els serveis comuns es compartiran amb la Fàbrica de Creació.
El centre va néixer amb la voluntat d’expandir-se a mesura que les necessitats i la disponibilitat pressupostària permetin continuar la restauració i adequació de les plantes superiors del mateix edifici. Així, l’any 2015 es completarà una segona fase en què s’assoliran els 1.800 m2 per arribar, posteriorment, a un màxim de 2.450 m2 d’espai expositiu i d’activitat.
Des de la temporada 2013-2014 es programa per cicles de projectes comissarials seleccionats mitjançant una convocatòria pública.
Per a la programació del període de setembre de 2014 a agost de 2015 es posa en marxa la següent convocatòria oberta per a la presentació de projectes.

Participants
Es poden presentar a la convocatòria totes les persones que estiguin interessades a desenvolupar un projecte de comissariat, a títol individual o bé agrupades en col·lectius.

Objecte de la convocatòria
L’objectiu de la convocatòria consisteix a seleccionar un projecte de programació per al Centre d’Art Contemporani de Barcelona. Aquesta programació haurà d’incloure tot el període de setembre de 2014 a agost de 2015.
El projecte haurà de preveure:
– Un mínim de tres exposicions

– Pla d’activitats

– Pla de publicacions

– Projecte educatiu

Dotació
Els recursos destinats a aquesta convocatòria es repartiran en dues partides diferents: 25.000 euros (IVA i altres impostos inclosos) en concepte d’honoraris professionals per a la persona o equip guanyadors i 175.000 euros (IVA i altres impostos inclosos) per al desenvolupament de les activitats proposades en el projecte.
Aquesta quantitat inclou els honoraris dels artistes participants, així com totes les despeses associades a la producció, l’exhibició i qualsevol altra despesa que puguin generar els projectes proposats. No hi queden incloses, però, les despeses de vigilància, neteja i manteniment de l’espai, vigilància de sala i atenció al públic, així com les altres despeses de funcionament corrent del centre, que quedaran cobertes per altres partides pressupostàries.
L’ICUB es compromet a una despesa màxima de 75.000 euros (IVA i altres impostos inclosos) l’any 2014, amb càrrec a l’estat de previsió d’ingressos i despeses de 2014, i 100.000 euros (IVA i altres impostos inclosos) l’any 2015, amb càrrec a l’estat de previsió d’ingressos i despeses de 2015, per fer front a les despeses de producció, muntatge i activitats associades.

Selecció
Un comitè avaluarà els projectes presentats.
El comitè de valoració artística estarà format per:
Daniel Giralt-Miracle
David G. Torres
David Armengol
Martí Manen
Miguel Ángel Sánchez
Bartomeu Marí
Conxita Oliver
Oriol Gual
Llucià Homs

Els projectes seran avaluats en funció de:
– Qualitat i adequació de la proposta als objectius del centre d’art
– Possibilitats d’itinerància i/o coproducció amb altres centres del panorama català i internacional
– Equilibri entre artistes locals i internacionals
– Programa d’exposicions
– Pla de publicacions
– Pla d’activitats
– Programa educatiu
– Projecte web (aquest projecte haurà de tenir com a base l’actual espai web del centre)
– Viabilitat pressupostaria en funció dels paràmetres establerts en aquesta convocatòria

Sol·licituds
Les persones interessades hauran de presentar un dossier que contingui:
Dades de la persona o persones participants:
Nom i cognoms
DNI
Data de naixement
Adreça
Telèfons
Adreça electrònica
Breu currículum comentat (màxim 3.000 caràcters comptant espais)
Exposició sintètica del marc conceptual de la proposta (màxim 8.000 caràcters comptant espais).
Explicació esquemàtica del projecte (màxim 8.000 caràcters comptant espais). Aquest esquema ha d’incloure la llista d’exposicions a realitzar, els artistes participants, el pla de publicacions, la utilització de l’espai web, el programa educatiu, el pla d’activitats, així com qualsevol altre aspecte que es consideri rellevant.
Pressupost detallat de producció, desglossat en partides.
Calendari de realització.
Documentació addicional que es consideri oportuna.

El jurat no tindrà en compte les sol·licituds que no compleixin aquests requisits. La comissió podrà convocar entrevistes amb els autors del projecte si ho considera necessari.

Terminis
Les persones participants hauran d’entregar els dossiers, en el termini màxim d’un mes a comptar des de l’endemà de la finalització del període d’al·legacions, al registre general de l’Institut de Cultura de Barcelona, la Rambla, 99, 4t pis.

Drets i obligacions de les persones participants
Les persones participants es comprometran a complir tot el que es pacti amb la direcció de l’ICUB, especialment pel que fa a terminis de programació de les activitats i dotacions pressupostàries. En tots els projectes s’hauran de tenir en compte les condicions contractuals amb els artistes participants, de manera que els drets d’autor quedin protegits d’acord amb la legislació vigent.
Les persones residents a l’Estat espanyol hauran d’aportar:
1. Certificat d’Hisenda (amb caràcter positiu) que acrediti que no es tenen deutes amb l’Administració.
2. Certificat de la Seguretat Social actualitzat que acrediti que s’està al corrent dels pagaments i no es tenen deutes pendents.
Les persones residents fora de l’Estat espanyol a efectes fiscals hauran d’aportar:
– Certificat de residència fiscal expedit per les autoritats fiscals del país corresponent.

La tramesa de sol·licituds suposa l’acceptació de les bases que aquí han quedat definides.

Annex
Objectius estratègics del Centre d’Art Contemporani de Barcelona

El desplegament del conjunt de l’activitat duta a terme pel Centre d’Art Contemporani de Barcelona ha de garantir les obligacions de servei públic següents, que són considerades com a objectius estratègics del centre:
Esdevenir un centre d’art dedicat a potenciar, principalment, l’espai de transició entre els circuits de l’art emergent i les trajectòries artístiques plenament consolidades i reconegudes, tot establint un diàleg fluid entre les diverses generacions.

Generar la seva activitat basant-se en el risc i l’experimentació, oferint des de la qualitat una gran llibertat en els discursos artístics. Fomentar la multidisciplinarietat dels llenguatges artístics i l’excel·lència en els continguts.

Fomentar la interacció amb els diferents agents socials i, molt especialment, amb esdeveniments motors de la cultura i altres sectors econòmics de la ciutat.

Propiciar la creació de nous públics i assegurar les relacions del centre amb el context immediat, amb els centres educatius i amb els col·lectius susceptibles de participar en activitats de formació.

Contribuir a la consolidació i vertebració d’iniciatives culturals de qualitat des de criteris de coparticipació, coproducció i cofinançament.

Com a operador especialitzat, potenciar la connexió i el treball en xarxa amb altres agents, institucions i equipaments d’àmbit local, nacional i internacional, sobretot amb els equipaments que formen part de la Xarxa Pública de Centres i Espais d’Arts Visuals de Catalunya, així com amb les galeries d’art de la ciutat i amb les Fàbriques de Creació.

Basar el projecte i les activitats del centre en paràmetres de qualitat, d’eficàcia i de transparència en la gestió.

Maximitzar l’aprofitament de les TIC i les xarxes socials per incrementar el públic potencial i interactua-hi.

Establir un procés de desenvolupament del projecte que permeti un creixement harmònic del centre fins a assolir el dimensionament desitjable d’una manera sostenible.

Descàrrega les bases en pdf

The Fine Art of Being a Curator

The Fine Art of Being a Curator

Repost from an article in the NYT by Published: July 18, 2012

Over the last decade, as the contemporary art world has grown to planetary size — more galleries, more fairs, more art-selling Web sites, bigger museums, new biennials almost by the month — it has sometimes seemed as if a new kind of cultural figure has been born as well: the international curator, constantly in flight to somewhere.

The phenomenon is not wholly new. Roaming European curators like Harald Szeemann and Germano Celant set the terms in the 1960s. But the art world’s transformation has transformed the curatorial field, and this week you needed go no further than a few places in Manhattan to sample its increasingly global sweep. One afternoon in a meeting room near Madison Square Park a young Australian curator who specializes in aboriginal art was sitting next to a Yale-trained painter-art-professor-curator from Tennessee, who sat across a table from fellow curators from London, Beijing, Mexico City, Madrid (by way of Brazil) and Berlin (though working in Albania). In previous months curators from 20 other countries, many of them far from contemporary art’s beaten paths — Sri Lanka, Latvia, Nigeria, Bulgaria — had been in the city for the same reason.

Each of the curators had paid $1,900 — and in some cases more, for airfare and lodging — to come to New York for a 10-day training and networking program recently established by Independent Curators International, which has been known through most of its three decades for helping turn curators’ ideas into traveling exhibitions that are rented by established museums.

But over the last three years this nonprofit organization, based in modest offices overlooking lower Broadway, has reinvented itself, and its profile has begun to rise along with the profile of the profession.

While not exactly lucrative — the most recent snapshot by the Bureau of Labor Statistics puts the estimated mean salary of a curator, broadly defined, in the United States at $53,540 — the profession has grown rapidly in cachet. The word itself has seeped into the language, a little too deeply. (“Curate your Facebook profile like you curate your life,” a social media blog counseled recently.) And while the term “independent curator” is misleading — curators are usually attached to institutions or programs, if only temporarily — the example of itinerant curators who have become art-world celebrities in recent years, like Okwui Enwezor, Hans-Ulrich Obrist and Neville Wakefield, has had an effect.

“This whole phenomenon is really a post-millennium thing,” said Kate Fowle, a longtime British curator who took over as the executive director of Independent Curators in 2009 after working for a year as the curator of a new art center in Beijing. “It’s a profession growing at a very, very fast rate.”

Although precise numbers are hard to come by, Ms. Fowle said that an indication of the field’s size worldwide was that in the two and a half years since her organization started a training program in 2010, 672 applicants from more than 62 countries — “many more than we ever expected,” she said — have vied for what has turned out to be about 150 spots in the program, chosen by a jury. Two sessions are held each year in New York, each with room for only about 14 participants. And the popularity of the program quickly led Independent Curators to begin collaborations with other groups to start parallel training sessions elsewhere: in Philadelphia, Mumbai, Beijing and southeast Brazil, at the privately financed contemporary art complex known as Inhotim.

In New York this week the latest participants, ranging in age from early 20s to early 50s, spent time with some of the most prominent professionals of the city’s museums and nonprofit spaces: Nancy Spector, the chief curator at the Guggenheim; Scott Rothkopf, from the Whitney; Laura Hoptman from the Museum of Modern Art; Matthew Higgs from White Columns. The subjects and discussions — from the aesthetic subtleties of plinths and sandpaper tape to ideas about organizing exhibitions against one’s own taste — were as expansive and amorphous as the job description.

Ms. Spector spoke about the difficulties of “grappling with the authority” of the Guggenheim’s architecture (“I sometimes think that I can’t install in a square room anymore”), but also, more extensively, about the dangers of the “helicopter model of international curating,” which too often leads to superficial understanding of cultures and their art — and to bad shows, she said.

Mr. Rothkopf, who was headed to another curators’ conference in Boston the next day, extolled the virtues — those he joked might seem almost “neocon” in an accelerating art world — of working closely with museum collections and with artists over long periods of time to create exhibitions “that shape an argument.”

“I want to have some voice as a curator,” he said, “not just as a kind of movie producer.”

An unofficial theme of the gathering was a desire among many curators to find ways to to define themselves against the juggernaut of the commercial art world while still being able to pay the bills.

“It’s very hard for people doing this in China to find the right kind of place, that doesn’t feel like just a part of the market,” said Su Wei, an independent critic and curator from Beijing. Meaghan Kent, who worked for Chelsea galleries for many years and recently started a nonprofit program, site95, that organizes shows in temporary urban spaces, said that many curators she knows are as creative about their livelihoods as they are in their work with art and artists.

“There are a lot of people out there who are artist-curator-bartender-whatevers, and they just put it all together to make it work,” she said. “They want to be able to have the freedom to make things up as they go.”

Emilia Galatis, a curator from Perth, Australia, who spent part of last year in the desert meeting aboriginal artists, said that visiting New York and talking to curators from around the world underscored for her how far off the radar of contemporary art aboriginal art remains, and how narrow the focus of the curatorial field can be despite its size.

“It’s really hard even to talk precisely about global curating when the world is still so diverse,” she said.

But Mr. Su said that the more he traveled as a curator, the less diverse the art world was coming to seem. “I was at another curators conference just before I came here, in Guangzhou, and all the things we were discussing there weren’t much different from what we’re discussing here today.”

Reposted from http://www.nytimes.com/2012/07/19/arts/design/as-the-art-world-grows-so-does-the-curators-field.html?_r=2&ref=design
A version of this article appeared in print on July 19, 2012, on page C1 of the New York edition with the headline: The Fine Art Of Being A Curator.

Joven Programa de comisariado (Young Curators’ Programm). Deadline: Dec 30, 2011

This is a post for young curators in the north of Spain. The information is only available in Spanish, even if the call does not specify (as far as we can see) that the call is reserved to Spanish applicants…

————————————Spanish version

El Joven Programa de Comisariado del MAS, inicialmente contaría con la selección de una a tres propuestas anuales a desarrollar durante el primer semestre de 2012 y, en general, durante el primer semestre de cada año. Los interesados pueden presentar sus proyectos expositivos hasta el 30 de diciembre de 2011, acompañándolos con un dossier en el que se justifique y detalle tanto el contenido como la partida presupuestaria del proyecto en su totalidad -tanto técnico como presupuestario-. Los informes presentados serán estudiados por tres profesionales, teniendo los comisarios elegidos tres meses para la ejecución del proyecto a partir del momento en que se les haya comunicado.

Programa Joven Comisariado 2012

  • Tipo de evento: Premios y Concursos
  • Fecha inicio de presentación: 29 Noviembre de 2011
  • Fecha fin de presentación: 30 Diciembre de 2011
  • Más información sobre el Premio/Concurso:
    Bases
  • Organiza y/o se celebra:
    • – Espacio MeBAS – Museo de Arte Moderno y Contemporáneo de Santander y Cantabria (MAS)
    • ver más información
  • Dotación:
    De uno a tres proyectos posibles.
    La partida presupuestaria para el desarrollo completo de cada proyecto, en su totalidad, no será superior a 3.000 Euros (se valorará también la posible financiación externa proyectada, en todo o en parte).
  • Ubicación actual : Rubio, 6
    39001 Santander
    Cantabria
  • museo@ayto-santander.es

—— BASES ——

Museo de Arte Moderno y Contemporáneo de Santander y Cantabria

MAS Museo de Arte Moderno y Contemporáneo de Santander y Cantabria.

Programa Joven Comisariado del MAS 2012 / Bases

1. El MAS ha creado el Programa Joven Comisariado 2012, pudiendo ser financiado en todo o en parte por fundaciones, instituciones y empresas externas.
2. El Programa Joven Comisariado 2012 consiste en la realización y presentación de proyectos de exposiciones temporales de jóvenes artistas por jóvenes comisarios, a desarrollar en el EspacioMeBAS (Planta 1 del MAS) en el primer semestre de cada año (de uno a tres proyectos posibles).
3. El MAS dirigirá tanto el Programa Joven Comisariado 2012, a donde recalarán los proyectos presentados, como los proyectos aprobados para su realización.
4. Plazo límite de presentación de proyectos: 30 de diciembre de 2011.
5. La partida presupuestaria para el desarrollo completo de cada proyecto, en su totalidad, no será superior a 3.000 Euros (se valorará también la posible financiación externa proyectada, en todo o en parte).
6. Cada comisario solamente podrá presentar un único proyecto.
7. El MAS podrá apoyar la producción del proyecto y/o producción de obra del mismo si técnicamente es factible (se valorará la posible financiación externa que se plantee); en estos casos, una de las obras de la exposición -acordada entre el MAS y el artista- podrá pasar a formar parte de los fondos de la institución.
8. El trabajo editorial (desplegable de 550×160 mm. plegado a 110×160 mm.) con una tirada de 1.500 ejemplares así como la imagen corporativa del espacio serán los utilizados en el EspacioMeBAS, también diseñados por el artista y/o comisario (contemplándose asimismo, por ejemplo, la invitación en formato americano de tirada 2.800 ejemplares).
9. Los dossieres presentados deben incluir el desarrollo detallado del proyecto, su concepto y definición, planteamiento general y de detalle, etc., así como todas y cada una de las partidas presupuestarias inherentes a un proyecto expositivo; a solicitud de quien lo precise, el MAS facilitará planos de la sala así como otros datos de interés para la preparación y/o desarrollo del proyecto (museo@ayto-santander.es).
10. Los proyectos serán evaluados por una comisión de profesionales que tendrán en cuenta su interés, contenido, calidad artística, desarrollo, presupuesto, etc., comisión que elegirá él o los proyectos a desarrollar y elevará la propuesta al MAS, reservándose la comisión y/o MAS- la posibilidad de dejarlo desierto en razón de contenidos, calidad, oportunidad, realización y presupuesto.
11. Los proyectos serán enviados por correo postal y/o electrónico -siempre que no supere los 7 MB- a las siguientes direcciones:

MAS Museo de Arte Moderno y Contemporáneo de Santander y Cantabria. Departamento de Exposiciones Temporales del MAS. C/ Rubio, 6. 399001 SANTANDER – CANTABRIA (España).

museo@ayto-santander.es