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Papers by Charlotte Præstegaard Schwartz

Nordisk Museologi. The Journal Nordic Museology, 2018

This article presents a case study of the assembled events of The Partisan Café and The Museum of... more This article presents a case study of the assembled events of The Partisan Café and The Museum of Burning Questions, curated by the transnational group freethought as part of their contribution to the Bergen Assembly 2016. It is argued that the assemblage forms an experiment to materialize present theories of radical democracy and the radical art institution, respectively, and take the form of a para-institutional artivism. On this ground, and drawing on the concept of the assemblage, it is discussed what the outcome and learning of the experiment might be. The events played simultaneously in the city and on social platforms such as Facebook, mixlr and vimeo and together with released material on the internet from freethought these resources provide the empirical base of the case study. The authors participated in the opening week of September 2016 and the analyses are supported by on site observation.

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Nordisk Kulturpolitisk tidsskrift, 2016

In this article we address the participatory agenda defined as outreach in Danish national cultur... more In this article we address the participatory agenda defined as outreach in Danish national cultural policies, tracing specificities to other Nordic and EU cultural policies as well (Bell & Oakley 2015). The article investigates the discursive link that these policies establish between participation, democracy and transformation, and argue that a range of paradoxes emerge once the agenda is translated at local cultural policy levels or by different institutions and adopted into daily practice. The thesis is that the agenda is a configuration of the “culture complex” as outlined by Tony Bennett (2013), which is to be understood as an “assemblage” of cultural apparatuses under the national policies’ reframing of “Bildung” as “participation”. We argue that that this complex has to be challenged in order for the participatory agenda to take a more – “radical” – democratic direction. Grounded in ideas of a “radical democracy” (Mouffe, 2014) and the “radical institution” (Bishop, 2013), respectively, we focus on key terms in the participatory agenda such as “access”, “agency” and “ownership”, and pursue a conceptual intervention in terms of a “post-critical”, “anticipatory” analysis and practice (Rogoff & Schneider, 2008). The intervention addresses three cases, illustrating three different cultural settings: a) non-profit, “free” art spaces b) the (art) museum, c) the so-called culture regions.

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Nordisk Museology. The Journal of Nordic Museology, 2016

This project description presents a curatorial practice that is part of a post.doc. investigating... more This project description presents a curatorial practice that is part
of a post.doc. investigating the contemporary cultural and political focus on participatory agendas. The curatorial practice takes a critical stand towards this focus, and suggests exhibition formats and educational strategies that address participation as critical reflection. The research unfolds in two exhibitions dealing with some of the notable tendencies within contemporary museological and curatorial studies, where museum and exhibition spaces are not considered as spaces of showcasing or conservation of art, but on the contrary are perceived as
active spaces of production. Referring to Doreen Massey’s seminal work For Space – first published in 2005 – art spaces are thought of as a product of interrelations and recognised as always being under construction. In the research project institutional critique from the 1960s and 1970s avant-gardes is used as an analytical approach and as a method of spatial and political criticism and articulation that can be
applied not only to the art world, but to spaces and institutions in general, which is a point made by Simon Sheikh. The two exhibitions are not to be considered as institutional critique, but as critical exchanges with and about contemporary art. The exhibitions are made in collaboration with two non-commercial art spaces in Copenhagen and will be on show in the spring of 2017.

Bookmarks Related papers MentionsView impact

Nordisk Museologi. The Journal Nordic Museology, 2018

This article presents a case study of the assembled events of The Partisan Café and The Museum of... more This article presents a case study of the assembled events of The Partisan Café and The Museum of Burning Questions, curated by the transnational group freethought as part of their contribution to the Bergen Assembly 2016. It is argued that the assemblage forms an experiment to materialize present theories of radical democracy and the radical art institution, respectively, and take the form of a para-institutional artivism. On this ground, and drawing on the concept of the assemblage, it is discussed what the outcome and learning of the experiment might be. The events played simultaneously in the city and on social platforms such as Facebook, mixlr and vimeo and together with released material on the internet from freethought these resources provide the empirical base of the case study. The authors participated in the opening week of September 2016 and the analyses are supported by on site observation.

Bookmarks Related papers MentionsView impact

Nordisk Kulturpolitisk tidsskrift, 2016

In this article we address the participatory agenda defined as outreach in Danish national cultur... more In this article we address the participatory agenda defined as outreach in Danish national cultural policies, tracing specificities to other Nordic and EU cultural policies as well (Bell & Oakley 2015). The article investigates the discursive link that these policies establish between participation, democracy and transformation, and argue that a range of paradoxes emerge once the agenda is translated at local cultural policy levels or by different institutions and adopted into daily practice. The thesis is that the agenda is a configuration of the “culture complex” as outlined by Tony Bennett (2013), which is to be understood as an “assemblage” of cultural apparatuses under the national policies’ reframing of “Bildung” as “participation”. We argue that that this complex has to be challenged in order for the participatory agenda to take a more – “radical” – democratic direction. Grounded in ideas of a “radical democracy” (Mouffe, 2014) and the “radical institution” (Bishop, 2013), respectively, we focus on key terms in the participatory agenda such as “access”, “agency” and “ownership”, and pursue a conceptual intervention in terms of a “post-critical”, “anticipatory” analysis and practice (Rogoff & Schneider, 2008). The intervention addresses three cases, illustrating three different cultural settings: a) non-profit, “free” art spaces b) the (art) museum, c) the so-called culture regions.

Bookmarks Related papers MentionsView impact

Nordisk Museology. The Journal of Nordic Museology, 2016

This project description presents a curatorial practice that is part of a post.doc. investigating... more This project description presents a curatorial practice that is part
of a post.doc. investigating the contemporary cultural and political focus on participatory agendas. The curatorial practice takes a critical stand towards this focus, and suggests exhibition formats and educational strategies that address participation as critical reflection. The research unfolds in two exhibitions dealing with some of the notable tendencies within contemporary museological and curatorial studies, where museum and exhibition spaces are not considered as spaces of showcasing or conservation of art, but on the contrary are perceived as
active spaces of production. Referring to Doreen Massey’s seminal work For Space – first published in 2005 – art spaces are thought of as a product of interrelations and recognised as always being under construction. In the research project institutional critique from the 1960s and 1970s avant-gardes is used as an analytical approach and as a method of spatial and political criticism and articulation that can be
applied not only to the art world, but to spaces and institutions in general, which is a point made by Simon Sheikh. The two exhibitions are not to be considered as institutional critique, but as critical exchanges with and about contemporary art. The exhibitions are made in collaboration with two non-commercial art spaces in Copenhagen and will be on show in the spring of 2017.

Bookmarks Related papers MentionsView impact