Curator Carolyn Christov-Bakargiev explores the idea of the postwar in an exhibition of two hundred artists spanning four thousand years of work.
Writer and independent curator Raul Zamudio talks about curatorial projects in galleries and museum around the world, sheds light on the controversies surrounding shows that were vandalized in South Korea and shut down in Shanghai, and invites attendees to submit artworks for a show at 3rd Ward.
In 2008, Maarten Vanden Eynde was shocked to discover that there is a “floating landfill,” about the size of the continental United States, made up of tiny plastic particles about 1,000 miles west of California and 1,000 miles north of Hawaii.
Manifesta 9, the European Biennial of Contemporary Art, opens June 2 in Genk, Belgium and runs through September 30th. Beginning in the early 1990s, the biennial was created to bring Europe back together through art after the end of the Cold War. This year’s curatorial theme is The Deep of the Modern, inspired by the area’s history as a major coal mining region.
The Academy’s Annual was always intended to be a reflection of contemporary American visual culture. I would say that because the show is both self-selected and selected by artists/architects (i.e. not a curator or curatorial team) it is in many ways more democratic than an exhibition chosen with a particular curatorial agenda in mind. It is not bound by a specific ideology.
The arrangement of the show had a lot to do with the demands and opportunities presented by the building – which is a crazy combination of intimate spaces, impossibly high ceilings, curved walls, etc. We made an effort not just to group the similar together, but to expand ideas through juxtaposition.
I was interested in the old avant-garde idea of the creativity of the masses and how to present work that was not done by professional artists. Amateurism and regionalism became terms we spoke a lot about. Both signal in my understanding a form of resistance to the monoculture of consumption in the art world at this point in time.
The term biennial may have lost its original meaning on a lot of fronts, but people still want to see a snapshot of the current artistic climate. Biennials are less connected by thesis or theme and more so by time. The viewers themselves make the connections and conversations with the works.