CTE
Curating the Ephemeral: Practices of Engagement and Display in Contemporary Art
| Coordinatore | ROEHAMPTON UNIVERSITY LBG
Organization address
address: ROEHAMPTON LANE contact info |
| Nazionalità Coordinatore | United Kingdom [UK] |
| Totale costo | 392˙423 € |
| EC contributo | 392˙423 € |
| Programma | FP7-PEOPLE
Specific programme "People" implementing the Seventh Framework Programme of the European Community for research, technological development and demonstration activities (2007 to 2013) |
| Code Call | FP7-PEOPLE-2012-IOF |
| Funding Scheme | MC-IOF |
| Anno di inizio | 2014 |
| Periodo (anno-mese-giorno) | 2014-01-01 - 2016-12-31 |
Partecipanti
| # | ||||
|---|---|---|---|---|
| 1 |
ROEHAMPTON UNIVERSITY LBG
Organization address
address: ROEHAMPTON LANE contact info |
UK (LONDON) | coordinator | 392˙423.00 |
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Obiettivo del progetto (Objective)
'A training-through-research project whose aim is to substantially enhance and complement the experienced researcher’s established profile as a respected writer with specialisms in theatre, performance and art theory, by creating a strong profile in curatorial practice (and strategy) within the visual arts sector. The project stages a sustained investigation of diverse curatorial approaches within and outside international art institutions, under the expert supervision of Carol Becker (Professor and Dean, School of the Arts, Columbia University, NYC). Becker is renowned for her work on radical art practices, art institutions, globalization and the politics of contemporary cultural production. CTE takes place in the context of a proliferation of contemporary art practices that challenge the objecthood, permanence and material status of the artwork. It examines recent tendencies toward socially engaged, processual and relational artworks; the re-valuation of dance and performance art within museums; and the conditions of display, reception and archival presence now given to such work by art’s institutions and arbiters. The project will move through the close examination and realization of curatorial tactics in participating major international art institutions in America and Europe as well as the observation and analysis of work by numerous independent curators. Consolidating and articulating the curatorial knowledges acquired through sustained cross-cultural and cross-sectoral training experiences, I will produce a landmark publication alongside public-facing outreach events within participating institutions. The international dimension of this research will benefit European art and performance cultures and institutions, by transferring knowledge of historically marginalized European work, and by the attainment of a new curatorial profile that returns a rich resource of skills, connections, strategies and grounded analyses for the curation of the ephemeral.'
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