About Curating Practice

This info can be read in full at the following source: http://www.contemporaryartsreview.com/?cat=13

How do you create a Biennial pavilion? by Robert Fleck (Austria)

In the anecdotes and stories shared by artists relating to their participation in the Venice Biennial, their respective preparatory trips to Venice hold a special position. Typically, the preparatory trip usually takes place about eight to ten months prior to the Biennial – assuming that the nomination process in the respective country allows the artist(s) and the commissioner any such lead time. That said, this has long been the practice in Austria as it has in other countries with important national pavilions at the Biennial. Many of the 35 or so nations who showcase their own entries in Venice with their own pavilion do not nominate the artists or commissioners until much later in the day.


Curators: Best Practice in Project Management by Noel Kelly (Ireland)
In recent years the definition of the role of the curator has undergone both a dramatic change, and continues still to be refined and challenged. With this change there is also the associated re-definition of the relationship between artist and curator, thereby implying a direct impact on the relationship between artist and audience. In this text we will look at some broad definitions of curator, take a very specific position on curatorial best practice, and look at the potential pitfalls that may lie on the way for the inexperienced artist or curator.

THE LAST EAST EUROPEAN SHOW: DEFINING MODES OF MOVEMENT THROUGH A GLOBAL ART SYSTEM by Marko Stamenkovic

.....What makes this project different in comparison to others of the similar nature, dealing with the fundamental reason behind the interest in this region’s cultural production, is a self-addressing reflection on how it is positioned within the contemporary production conditions. This is a concept involving the radical shift of positions not only in art production but also in art reception. It is all the more significant for re-thinking the status of contemporary curatorship, because it introduced an explicit theoretical and productive curatorial model, which could serve as a platform for future projects and exhibitions, but also as a good example of international curatorial co-operation for the region in general. This approach might have been provoked by strict policy demands which determine the existence, development and programming of cultural institutions in general, and influence the ways in which contemporary art is understood in the government reform priorities. The proposed course of analysis is necessary for an adequate treatment of contemporary art and contemporary art collections primarily because of the regulatory changes that need to be introduced and implemented for the benefit of the proper understanding and preservation of both modern and contemporary art from former Eastern Europe. How this curatorial model evolved and developed in the very condition of new political and cultural context?.....