7-th Summer Seminars 2013

The Institutional and Ideological Operation of Transnational Art Events

This edition of the Seminars’ Program is co-organized and supported by
Eastern European Performing Arts Platform.

The curatorial practice in today’s understanding has evolved within the discipline of visual arts throughout the twentieth century. Thus far it has expanded from exhibition making practices to incorporate design of art educational initiatives and organization of archives and libraries. But curating has also expanded to previously unreached disciplinary domains to the extent that in 2000s one can speak of curating poetry, music and performing arts as a whole. The roots of these expansions can be sought not simply in the ever-increasing pressure to synchronize creative industries with the development of information technologies which result in the demand for proliferation of administrative and managerial mediation between art and its audiences. One could claim that the expansion of curatorial work to include other spheres of creative practice is also due to a performativity embedded in curatorial work since the curator constantly deals with institutions, audiences and artists and mediates between them. Thus, the curator works within and (re)produces certain social and cultural constructs while often resisting those constructs and proposing new modes of relationality. Ultimately, curating is a constitutive practice that participates in the construction of artistic and receptive subjects. The curator neither fully identifies with the creative practice of the artist, nor with the publics. Instead, she occupies a discrete, but shifting place between the artist and the audience while performing the tasks of mediation, translation and representation with tools and methods that she implicitly or explicitly employs for the re-constitutions of subjectivities. Given the growing examples of curating performative practices internationally, the 7th edition of the Summer Seminars for Art Curators in 2013 invites applicants to join the organizers in exploring the double notion of performativity, on the example of curatorial practices: curating as a constitutive practice that deals with desires, identities, subjectivities as well as curating performance art—a practice that has emerged and institutionalized in the sphere of multidisciplinary art only recently. We would like to investigate the intersections of the two modes of performativity and some of the possible emancipatory implications of such intersections. The Summer Seminars invites art theoreticians, artists and curators of various artistic disciplines to discuss different performative practices both inside and outside of the boundaries of art institutions. The program combines lectures with seminar discussions, workshop sessions and performative events.