Parallel models of curating - International Colloquium

The Clark Art Institute and Moderna galerija / Museum of Modern Art plus Museum of Contemporary Art Metelkova (MG+MSUM)

Saturday, 3 November and Sunday, 4 November 2012
Muzej sodobne umetnosti Metelkova / Museum of Contemporary Art Metelkova (+MSUM), Maistrova 3

International colloquium, organized in collaboration by the Clark Art Institute, USA and the Moderna galerija plus Museum of Contemporary Art Metelkova, Ljubljana, will focus on various topical issues of current curatorial practice. The participants are: Nancy Adajania, Zdenka Badovinac, Natasha Becker, Cosmin Costinas, Ekaterina Degot, Christine Eyene, Alenka Gregorič, Inti Guerrero,Ranjit Hoskote, Maria Lind, Tevž Logar, Andre Mesquita, Bojana Piškur, Sarah Rifky, Anton Vidokle, Joanna Warsza, WHW, Beti Žerovc. On the first day, the colloquium will be open to the interested public which can also take an active part in it.

Public events:
Friday, 2 November 2012, at 7 p.m., Slovenian Cinematheque (Miklošičeva 38)
2084 (a science fiction show) _ Episode 1
Screening of a film by Pelin Tan & Anton Vidokle, 2012

2084 is a series of episodes by sociologist Pelin Tan and artist Anton Vidokle. The first episode has been commissioned by the Or Gallery, Vancouver, on the occasion of the Institutions by Artists project, with the support of the BC Arts Council's Innovations program.

It's 2084. Money has been abolished and people exchange information products as tokens of exchange. States have become ungovernable and borders have been redrawn by powerful individuals. Art has fully colonized life and every aspect of daily existence has become aesthetic. What used to be museums have now become data centers. Being is perpetual self-design. No one has a profession. There is no more work. A group of people meet in a city that was once called Berlin, and there they discuss the possibilities for independent cultural production?

Saturday 3 November

10:00 - 10:30 Welcome and Introductions
Zdenka Badovinac (MG+MSUM), Bojana Piškur (MG+MSUM)

10:30 - 12:00 Presentations: LIMITATIONS, NON-COMMON 2 Sessions

LIMITATIONS (or "captures"): the limitations of the conditions, that is, economic, political, geopolitical conditions, and the impact of the current crisis on curators and curating.
Presentations by: Cosmin Costinas, Ekaterina Degot, Alenka Gregorič, Maria Lind, Anton Vidokle, WHW, Beti Žerovc.

12:00 - 12:15 Discussion moderated by Zdenka Badovinac.

12:30 - 13:45 Presentations: ALTERNATIVES, COMMON

ALTERNATIVES (or "machines"): new ways of curating, producing new subjectivities, new forms of production, new networks, etc.
Presentations by: Nancy Adajania, Tevž Logar, Andre Mesquita, Joanna Warsza.

13:45 - 14:00 Discussion moderated by Andreja Hribernik

15:00 - 16:30 Presentations: IMAGINATION

IMAGINATION (or "becomings"): what escapes the capture, what is outside the frame, always in-becoming.
Presentations by: Ranjit Hoskote, Christine Eyene, Inti Guerrero, Bojana Piškur, Sarah Rifky.

16:30 - 17:30 Discussion moderated by Igor Španjol, closing remarks moderated by Natasha Becker.

Sunday, 4 November 2012, at 11 a.m., Museum of Contemporary Art Metelkova, Maistrova 3

Public conversation and presentations by colloquium participants moderated by Natasha Becker. The Melancholy Art by Michael Ann Holly, will be read by Natasha Becker.
Michael Ann Holly is a Starr Director of Research and Academic Program at the Sterling and Francine Clark Art Institute.
With every word art historians write or every image they put on exhibition, the rhythm between recovery and loss is always at play. We find something, but we also lose something (or actually many things). Melancholy is our constant companion. No matter how tangled, detailed, and well-researched the web of either words or images we weave around an original work of art, something about it will always resist capture. Its material autonomy - its existence in our physical world - ensures that the pictorial will forever escape, even defy, either textual or digital definition. What is it that forbids museum curators and art historians to acknowledge the poetry of loss, the compelling affects that motivate our studies? Why can't we encourage the past to resist actively our attempts to master it?