Call for applications >> Educating.Curating.Managing Master Program 2016-18 Vienna

Call for applications >>educating.curating.managing  /ecm/ 2016-18
Master Program for Exhibition Theory & Practice|
Vienna| Universität für Angewandte Kunst Wien, October 2016 – June 2018
deadline: March 3rd 2016

/ecm/ is a postgraduate master program concerned with core competences in the expanded field of museums and exhibitions. The goal of the two-year university course is to provide the scientific fundamentals and professionalization of cultural work. An intensive engagement with theoretical positions goes together with the development of practical competences in the visualisation and realisation of projects in institutions as well as in the independent scene. The training provides the participants with the tools for work methodologies relating to cultural activity. It invites to experiment in a practice based research context. Because of its comprehensive orientation the post-diploma course of studies is preparation for undertaking challenging tasks in the curatorial field.
/ecm-Directors>>Martina Griesser, Christine Haupt-Stummer, Renate Höllwart, Beatrice Jaschke, Monika Sommer, Nora Sternfeld, Luisa Ziaja
The course is held in German and English, a minimum of B2 level of both languages are requested.
Applications until March 3rd 2016: ecm@uni-ak.ac.at

contacts:

Universität für Angewandte Kunst Wien
/ecm Masterlehrgang
Oskar-Kokoschka Platz 2
1010 Vienna
www.ecm.ac.at
www.angewandte.at

# 5contempoLAB | SUPER[M]ART[KET] | Art Management Round Table

# 5contempoLAB | SUPER[M]ART[KET] 

Art Management Round Table

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19 October 2015 | 18:00 to 20:00 pm

Bulgaria, Varna 

location: Graffit Gallery | 65 Bul. Knyaz Boris I 

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The fifth art management laboratory  - contempoLAB in 2015 will be held as a round table on the problems and trends of good presentation of the artist and it is dedicated to the tools to build a successful career in local and international markets.

#5contempoLAB | SUPER[M]ART[KET] is a product of collaboration between the Raya Georgieva Foundation, The Association of Varna Artists, Graffit Gallery, Bulart  Gallery and Stefan Stoyanov Gallery (Bulgaria – USA). The speakers are leading international experts, gallerists, curators, art dealers and museum professionals from Bulgaria, Austria, Turkey and Croatia, members of the international jury for the project of the Association of Varna artists - SUPER[M]ART[KET] , which will be presented to the audience in Varna , November 2015 and in Sofia, 2016. In the basis of the SUPER[M]ART[KET] project is inserted the  idea of creating a kind of simulacrum of the global art market where active participants are included unprejudiced. The simulacrum is formed by the selection of works from those artists who have accepted the invitation, which was through an open call. The exhibition of selected works will create mini-art market model according to the criteria of the expert jury. The 2015 edition of contempoLAB  /the educational platform created under the frame of the CONTEMPO festival since 2010/ is in the context of this research and it was programmed as a result of the study of the attitudes of local artistic communities and the critical need for knowledge about successful presentationat the global art stages.

#5contempoLAB|SUPER[M]ART[KET] is designed both for artists early in their career and for established ones who want to develop their presentation skills, for gallerists, curators, art dealers, cultural operators and art students. During discussions best practices will be examined in the relationship artist - curator / gallerist / dealer – collector: the possibilities  and the tools for emerging artists to participate in global art  forums , the survival strategies in the gallery practices, the museum as a brand and others.

 SPEAKERS AND SUBJECTS

 §  How to position an emerging artist on the world art forums?

BASAK SENOVA (TURKEY) – curator. Editorial correspondent for ibraaz.org; co-founding member of NOMAD, as well as the organizer of "ctrl_alt_del" and "Upgrade!Istanbul". Senova was the curator of the Pavilion of Turkey at the 53rd Venice Biennale. She curated Zorlu Center Collection (2011-2012). She co-curated the UNCOVERED project (Cyprus) and the 2nd Biennial of Contemporary Art, D-0 ARK Underground (Bosnia and Herzegovina). In 2014, she acted as the Art Gallery Chair of (ACM) SIGGRAPH 2014 (Vancouver); the curator of the Helsinki Photography Biennial 2014 and the Jerusalem Show. In 2015, she curated the Pavilion of Republic of Macedonia at the 56th Venice Biennale and recently appointed as the curator of 4th Biennial Land Art Mongolia 360°.

§  What is the curator’s role in the successful carrier of the artist

BRANKO FRANCESCHI (CROATIA)  - curator. The director of the Museum of Fine Arts in Split, Croatia; the director of the Virtual Museum of Avant-garde Art and president of the Institute for the Research of Avant-garde (2010 – 2014); the executive director of the Museum of Modern and Contemporary Art in Rijeka, Croatia (2004 -2008); the program director at the Miroslav Kraljevic Gallery, Zagreb (1987 -2004). He was the curator of the Pavilion of the Republic of Croatia at the 55th International Art Exhibition – La Biennale di Venezia (2013); co-curator  the ARK D-0 Biennial in Konjic, Bosnia and Herzegovina; curator for the Croatian pavilion at 26th Sao Paulo Biennial (2004), 2nd International Biennial in Prague (2005), 52th International Art Exhibition – La Biennale di Venezia (2007), 11th International Architecture Exhibition , Venice  (2008); the member of the curatorial team of the International Biennial of Young Artists, Bucharest (2006, 2012).

 §  The museum as a brand

NADEZHDA DZHAKOVA (BULGARIA) Art historian, curator. Since 2012 she is the Chief curator of the Sofia Arsenal – Museum of Contemporary Art (SAMCA) in Bulgaria.

 §What is the role of the art dealer/gallerist in the successful carrier of the artist  

     STEFAN STOYANOV (BULGARIA- USA) – art dealer, gallery owner. He runs  Stefan Stoyanov gallery at New York ( successor of Lux gallery in Manhattan , 2002). During 55 Biennial in Venice (2013) at the Cuba`s Pavilion he has presented the Cuban dissident artist Maria-Magdalena Campos Pons. The Stoyanov gallery is focused under art created by women and under research of ethical problems into the present society. He has several awards in New York and many exhibitions, curated by him has been listed by Whitney Museum of American Art and MOMA

§  What is the working model in the relationship between artist- private gallery – collectors

HANS KNOLL (AUSTRIA) - gallery owner, curator, . He runs Knoll gallery  in Vienna since 1985 and Knoll gallery in Budapest since 1989. He is a member of the Association of Austrian Galleries. He is professor for cultural management of the Cultural Studies Institute, Vienna, at the Vienna Music University, the Institute for Cultural Management and the Webster University in Viennaq focused under gallery work. Member of Art Moscow – international art fair since its establishment in 1996. He leads the project Eastern European Collectors - a research about collecting in former communist counties. He was awarded with Golden Decoration of Honour of the Republic of Austria as a pioneer of cultural exchange after 1989.

 §  Methods and techniques to attract the attention of curators and gallerists

DORA DONCHEVA - gallerist owner and curator based between Varna and Brussels. Communications Director at the International Festival of Contemporary Art- Product, Varna ( 2006 - 2008 ), co-curator the International Biennial of Visual Arts August in Art (2000 – 2003), Curator at CONTEMPO - the International Festival of Contemporary Art since 2009; owner of Bulart gallery  since 1996; Editor of Art News Bulletin –  e- magazine for international art news, since 2002. 

§Good practices in public funding of projects in the field of culture

DESISLAVA GEORGIEVA – expert in public administration, presently work as a head of "Festivals and projects" in Culture department, Municipality of Varna.

§ Characteristics of the Bulgarian art market

 PETRA DIMITROVA – manager of Graffit gallery since 2011; director of Vertigo – international contemporary dance and alternative performance arts festival.

 CONTEMPOLAB is an educational art management platform for young professionals, artists, gallerists, curators and cultural operators. The platform was created as part of the structure of the festival CONTEMPO, organized by the Raya Georgieva Foundation.

#5contempoLAB|SUPER[M]ART[KET] is a fifth edition of contempoLAB, organized by collaboration between Raya Georgieba Foundation , The  Association of Varna Artists, Graffit Gallery, Bulart Gallery and Stefan Stoyanov Gallery ( BG/USA) . The event is funded by the Fund Kultura of the Municipality of Varna, M TEL, construction company Comfort and private sponsors.

RAYA GEORGIEVA FOUNDATION (RGF) was created in  Varna, Bulgaria in 2009 in a honor of the artist Raya Georgieva (1978-2009) with a main goals to keep the memory of the talent and creativity of its patron; to support young artists, to create a stages for dialogue and creative experimentations by festivals, events, free platforms and educational streams. www.contempovarna.org

contacs:

Raya Georgieva Foundation | +359 887 244 882| www.contempovarna.org 

The Association of Varna Artists | + 359 988 366 992 | www.sbh-varna.com

Graffit Gallery | +359 888 556 393 | www.graffitgallery.com

Pierre Bismuth @Kunsthalle Wien Museumsquartier

Pierre Bismuth

Der Kurator, der Anwalt und der Psychoanalytiker (The Curator, the Lawyer and the Psychoanalyst)

4/2 – 22/3 2015  @Kunsthalle Wien Museumsquartier 

 

Curator: Luca Lo Pinto

 

Press conference: Tuesday, February 3, 2015, 10 am

Opening: Tuesday, February 3, 2015, 7 pm

 

"I just don’t like art that tries to take you somewhere else. I have a problem with art

that aims at providing entertainment and dreams. People don’t need art to dream.

Everyone is dreaming already. Everyone is already creative. The artist doesn’t have

the exclusivity of being creative in society."  Pierre Bismuth

 

 Pierre Bismuth, Following the Right Hand of Sigmund Freud, 2009, 

Courtesy: Christine König Galerie, Wien, Jan Mot, Brussels/Mexiko City and the artist

 

Der Kurator, der Anwalt und der Psychoanalytiker is an extensive solo exhibition by the French, Brussels based artist Pierre Bismuth. It aims to present the artist’s complex oeuvre, which spans all media and which approaches conceptual techniques in a way both experimental and humorous. The exhibition will present about 35 works created between 1988 and 2014 alongside a new piece produced by Kunsthalle Wien for the show. Turning the act of selecting into a conceptual gesture, the works of art in the exhibition will not be chosen by the artist himself, but by three people with a different background each: a curator (Luca Lo Pinto), a psychoanalyst (Angel Enciso), and a lawyer (Laurent Caretto). Bismuth asked each of them to select a number of works and to write a short text explaining their choice. These texts will function as captions for the works on display. With this revised process, the artist aims to question the role of the artist and the curator as well as the framework provided by the exhibition and thus the common curatorial scenario as such. Pierre Bismuth considers his artistic practice a tool for examining our way of looking at reality. Most of his works aim, both in a serious and playful way, at questioning   pre-established rules of  perception and make the viewer aware of hidden or unnoticed elements of reality. Bismuth is interested in altering regulating sign systems and inserting uncertainty in situations that seem defined. As he once said: “I’m not interested in the meaning of life but in how life creates meaning.” In this sense, his work reacts to impulses from daily routine and creates ideas out of boredom. Many of Bismuth’s works take images, objects or artefacts from popular culture as their point of departure, alter their data and present them in a way that does not allow for easy reading as their original information is corrupted. Hence, they look familiar and at the same time distinct from the already known; accessible, yet complex in their meaning. Bismuth’s exhibition at Kunsthalle Wien takes a

similar approach.

 Pierre Bismuth, Most Wanted Men – Dan Flavin, 2006,

 Courtesy the artist and Jan Mot, Brussels/Mexico City, MARY BOONE GALLERY, NEW YORK

Using the whole exhibition as a medium, Pierre Bismuth will extend his conceptual gesture also to other elements related to the exhibition, including publicity and publications. Adopting the poster campaign for the exhibition, for example, he will display three new pieces from his ongoing text-based Performances series, which describe scenarios hard to distinguish from ordinary activities of passers-by, at various public spaces of Vienna.

The catalogue will work as another extension of the exhibition. Loosely inspired by the idea of a catalogue raisonné, it contains images of every single work produced by Bismuth in his career so far. A booklet featuring a conversation between Luca Lo Pinto and the artist, an essay by Dessislava Dimova and the texts by the curator, the lawyer and the psychoanalyst, accompanies it.

 

 

 Pierre Bismuth, Where is Rocky II – Trailer, 2013, 

Courtesy the artist and Jan Mot, Brussels / Mexico City

 

Pierre Bismuth (*1963) lives and works in Brussels. His work has been shown

extensively in galleries (Jan Mot, Brussels; Christine König, Vienna; Lisson Gallery,

London; Team Gallery, New York; Mary Boone, New York; Yvon Lambert, Paris) and

public institutions (Centre Pompidou, Paris; Palais de Tokyo, Paris; New Museum,

New York; Castello di Rivoli; Casino Luxemburg; Villa Arson, Nice; ICA London;

Kunsthalle Basel; Witte de With, Rotterdam and many others). In 2004 Bismuth won

the Academy Award for best screenplay for Michel Gondry’s Eternal Sunshine of a Spotless Mind. He is currently working on his first feature film called Where is Rocky II?

 

practical info:

Kunsthalle Wien GmbH

Museumsplatz 1

1070 Vienna, Austria

www.kunsthallewien.at

facebook.com/KunsthalleWien

twitter.com/KunsthalleWien

instagram/KunsthalleWien

blog.kunsthallewien.at

The Future of Memory @ Kunsthalle, Vienna

The Future of Memory

An Exhibition on the Infinity of the Present Time

4/2 – 29/3 2015

Press conference: Tuesday, February 3, 2015, 10 am

Opening: Tuesday, February 3, 2015,7 pm

Digital communication and virtual interlacing shape our world today. Social interactions are tied to smartphones, tablets and other electronic devices. An omnipresence of the digital in our daily lives leads to a constant production andregular – even involuntary - consumption of multimedia outputs.These conditions have a significant effect on the way we share knowledge,

experiences and traditions, as well as an individual and collective memory. How

does this affect our current culture of communication? Which influences define how

our present will go down in history?

The Future of Memory explores these issues.Remembering the past, experiencing the present and imagining the future all meld to become part of a seemingly equivalent imagery. Differences become indistinct and transform into a never-ending present. The question of how cultural heritage can emerge under these circumstances spans over the exhibition. The selected works resort to certain narratives, breaking away from accustomed ways of perception by critically challenging and subverting constructions of reality.

Leon Kahane, for example, named his series of photographs FRONTEX (2009), after a private security company. Frontex deals with illegal immigrants at the borders of the European Union and is thus placed in a position between both political and economic interests. Kahane‘s photographs of the company’s headquarters differ from images of refugee flows as portrayed in the media and offer an alternative view on political decision-making processes.

Julius von Bismarck defines his work Unfall am Mittelpunkt Deutschlands (2013) (engl. Accident at the centre of Germany) as a fictitious history. In the federal state of Thuringia, passers-by reported a car crash to the police who then recorded the incident. Later on, the accident was uncovered as an artistic project, with the artist claiming responsibility. The artwork documents a staged incident, which was not identified as such due to our habits of perception. The artist leaves it to us to construct a „false history“ by appealing to acquired associations stored in our common (visual) memory. One of the many videos featured in the show is Aleksandra Domanovic’s Turbo Sculpture(2010-2013). Presented as a photographic documentary it depicts an identity crisis of the successor states to former Yugoslavia, where political memorials had been replaced with monumental sculptures of Western pop icons.

Through its aesthetics and content, the video confronts the absurdities and realities of life today. How will our day and age go down in history? Moreover, what does the act of remembering look like in the digital age?

The Future of Memory continues the concept of the 55th October Salon in Belgrade (September 20 – November 2, 2014) curated by Vanessa Joan Müller and Nicolaus Schafhausen. Entitled Disappearing Things , this exhibition investigated the role of

both collective and individual remembrance in the digital age.

Artists (a.o.): Julius von Bismarck, Igor Bošnjak, Antoine Catala, Julian Charrière,

Keren Cytter, Edith Dekyndt, Simon Denny, Aleksandra Domanović, Dani

Gal, Florian Hecker, Daniel Keller, Leon Kahane, Hanne Lippard, Deimantas

Narkevičius, Katja Novitskova, Yuri Pattison, Jon Rafman, Adriana Ramić, Mandla

Reuter, Antoine Renard, Meggy Rustamova, Augustas Serapinas, Michael Staniak,

Philipp Timischl, Amalia Ulman, Ignacio Uriarte, Dragana Žarevac.

Film Program: Goran Petrovic

Curator: Nicolaus Schafhausen

Curatorial Assistant: Marie Egger

Accompanying the exhibition will be an e-book with essays by Michael Connor and Clint Burnham and multimedia content.

Research & Editorial Assistant: Emilie Lauriola

contact:

 Kunsthalle Wien GmbH

Museumsplatz 1

1070 Vienna, Austria

www.kunsthallewien.at

facebook.com/KunsthalleWien

twitter.com/KunsthalleWien

instagram/KunsthalleWien

blog.kunsthallewien.at