On Authorship in the Art Institution (original) (raw)

2013

"This collection of interviews formulates a discussion on authorship in contemporary arts production and curation. Artur Zmijewski discusses his curation of the 7th Berlin Biennial, Forget Fear (2012), which set out to investigate the role of art and its effectiveness within contemporary politics. Zmijewski reflects on the controversy associated with the biennial, as well as deciding to including his own work in the exhibition, Berek (1999). Raqs Media Collective, discuss joint-authorship and working across disciplines as both artists and curators. With particular emphasis on their latest project, Sarai: a program initiated in 2000, as part of the Centre for the Study of Developing Societies in Delhi, India. They present a range of models for successful collaboration with participants and how authorship can be shared. Marion von Osten reflects on her practice as both an artist and as a curator, and what can be learned from both practices; defining herself as an “initiator-curator”. After working with several influential German curators, such as Kathrin Rhomberg and Beatrice von Bismarck; von Osten reflects on the process of collaboration and the question of “equal” authorship. Artist-curator Gavin Wade discusses his approach to curating and art making and how the two disciplines can intersect with one another. Wade discusses his 5 Acts of Art [4] where he proposes that art is exhibition, that art is not exhibited but that art exhibits, that exhibition is a fundamental function of being human, and the fundamental process of art. The collective Fucking Good Art discuss their collaborative approach to art making and how their practice intersects with curating and research. Their recent publication, Italian Conversations: Art in the age of Berlusconi (2011) offers a glimpse into Italy’s contemporary art scene and pays tribute to a tradition of artists publications that emerged during the 1970s. Curator, Valerie Smith discusses her approach to curating Sonsbeek 93 (1993), and how her process of engagement was influenced by other models at the time. Smith discusses her role as a producer – in constant dialogue with artists – to create an entire concept with complete authorial control. The curator Mary Jane Jacob engages in a discussion about authorship, curatorial practice and the history and future of public art. Jacob considers her role in the site-specific exhibition Culture in Action (1995) and her development of community-based projects. Both Jacob and Smith paved the way for socially engaged art work, their exhibitions in the 1990s framed the discussion of art’s renewed interest in the social during this period [5]. Kristina Lee Podesva reflects on authorships’ possible disappearance in the art-pedagogical field, by looking specifically at her colourschool (2006/7) project within her artistic and curatorial practice; in relation to historical, societal, political, economical and cultural contexts. Long-standing collaborators, Ute Meta Bauer & Yvonne P. Doderer engage in a dialogue about audience – specifically how the public sees the outcome before the curator or artist – and what it means to work as a women in the global, (often) male dominated art world. The artist and initiator of the Immigrant Movement International, Tania Bruguera, reflects on her work with immigrants and how her work is viewed in the contemporary art world. As an advocate of political work, Bruguera talks frankly about some of her early work and contribution to Cuba’s art education, by founding Arte de Conducta (2002-2009) and her responsible approach to art making. Finally, Marc James Léger’s essay, ‘Homo Academicus Curatorius: Millet Matrix’ as Intercultural Paradigm, considers the curator-as-analyst by examining the collaborative exchanges between two Montreal-based artists: Rosika Desnoyers and David Tomas. Dorothee Richter’s essay, Artists and Curators as Authors – Competitors, Collaborators, or Team workers? discusses artistic and curatorial authorship, from a historical position, in the context of Harald Szeemann’s curatorship of Documenta 5; as well as using the case studies of Fluxus and the Curating Degree Zero Archive."