Workshops

About

Four workshops will explore how innovative curatorial approaches to histories and practices of post-1960s contemporary art can contribute to the continuation of artists’ archives within institutional collections.

We will discuss a variety of curatorial approaches to restore, reactivate and articulate the ‘unruly’ material identity of contemporary art and the political/social agency of artists which are often oppositional to the systems embedded in institutional archives.

The workshops are initiated by Dr Judit Bodor and Adam Lockhart and co-convened with practitioners and researchers Prof. Heike Roms (University of Exeter), Patricia Falcao (Tate), Dr Hanna B. Hölling (University of the Arts London and Bern University of the Arts) and Dr Roddy Hunter (The Glasgow School of Art),. Guest contributors include Kevin Atherton (DJCAD), Professor Elaine Shemilt (DJCAD), Luke Fowler, Julie-Ann Delaney (Edinburgh College of Art), Prof. Andre Stitt (University of Cardiff), Benjamin Sebastian and Joseph Morgan Schofield (]performance s p a c e[), Ruth Catlow and Marc Garrett (Furtherfield), Theresa Kneppers (South Bank University) and Artemis Gryllaki.

The workshop will interest researchers and practitioners engaging with alternative approaches to curating and committed to ensuring processual, multimodal, and socially and culturally engaged artistic practices are not omitted from canons of art history but are critical of normative modes and principles of curatorial practice.

Each workshop will last for 4 hours and include presentations, group discussions and group tasks. Participants will be expected to look at/read some relevant material sent to them in preparation for the workshops.

The workshops are free but places are limited. To register please follow the link.

The aims of the workshops

  • To develop an interdisciplinary environment for co-research bringing together artists, curators, archivists, conservators and publics who care for contemporary art archives 
  • To engage in discussions about possible modes and curatorial practice that are more equitable in terms of collecting, preserving and presenting practices and artworks that are unruly and therefore often get marginalised in mainstream histories and collections.
  • To identify and analyse curators opportunities in realising ‘living archives’ as sites of creative processes and as ‘dynamic’ resources for public interaction, education and research
  • To explore case studies of current practice in this area of research
  • To scope opportunities for follow up projects and a future interdisciplinary and international research network
  • #1 Speaking Performance: Oral history as a curatorial tool for reactivating performance and media art

    Co-convened with Heike Roms, Professor in Theatre and Performance at the University of Exeter, and with contribution from artists Elaine Shemilt and Kevin Atherton, this workshop will explore how oral history conversations and artists’ interviews can be used as curatorial tools with which to re-activate artworks, especially those of multimedia performance and new media art. The two artists are part of a pioneering generation in the UK who experimented with time-based media from the early nineteen-seventies and whose works are now part of the REWIND collection at University of Dundee.

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  • #2 Reactivating Media Installations within Collections

    Date: 28 October 2021, 2-6 pm, Zoom About this workshop How do collections, curators, conservators and artists attempt to deal with the unruly aspects of re-exhibiting and collecting media artworks? The challenges faced are diverse, from understanding the parameters for displaying a work, to transferring media from analog to digital formats, to sustaining or sensitively

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  • #3 Curating As Expanded Conservation

    Date: 18 November 2021, 2-6 pm, Zoom About this workshop How do curation and conservation intersect when it comes to the presentation of post-1960s time-based artworks emerging from processes of what Lucy Lippard described as ‘the dematerialisation of the art object’? While in the case of works based on performance and installation each act of

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  • #4 Resisting Recuperation: Articulating the unruly politics of artists’ archives through open-source practices

    How can open-source peer-to-peer archival and curatorial practices articulate the unruly politics of artists’ archives? With much focus on conservation challenges of the so-called ‘dematerialisation’ of contemporary art practice, there is arguably less consideration of how archiving and curating can articulate, in practice, artists’ critical and radical politics in circumventing and critiquing institutional discourses and structures. Current debates about omissions and distortions in constructing art histories and their subsequent influence on present and future art practice add further urgency. How can we address those omissions and distortions while mitigating against potential institutional recuperation or dilution of unruly politics through proprietary interfaces and practices? What new approaches to addressing this tension emerge in the context of post-digital, post-custodial open-source curatorial solutions? How can we develop archival and curatorial approaches to artists’ archives to articulate the work’s unruly politics and material identity?

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