Cultural Management

2021/2022

Учебный год

ENG

Обучение ведется на английском языке

4

Кредиты

Кто читает:

Департамент филологии

Статус:

Курс по выбору

Когда читается:

2-й курс, 2 модуль

Преподаватель

Шабанов Андрей Евгеньевич

Course Syllabus

Abstract

Curating is one of the most recent professions to emerge within the modern art system. A curator’s principal medium is the art exhibition, which enables him or her to engage creatively and recognisably in various public discourses on art and culture; to make arguments; to represent trends or highlight or connect particular developments; to promote a specific agenda; and, to make intellectual claims and professional stakes in the field. Stemming from the museum world, curating as a profession took shape in contemporary art in Western Europe during the socially turbulent late-1960s. This course considers how the curatorial profession emerged and has evolved over the last fifty years, including its social, institutional, artistic, and economic foundations and implications. It explores how this professional practice presently reproduces and (critically) theorizes itself through educational institutions, specialised periodicals, and public forums. The course begins with a historical and theoretical introduction to the emergence and modernisation of an art exhibition as a social practice within the larger development of the modern art system in the West and Russia. Each seminar includes a historical/theoretical section, during which students will discuss texts (articles, chapters, reviews and the like) on the subject, provided in advance by the course tutor. In addition, Seminars 2–5 will incorporate examination of significant examples of different types of curatorial exhibitions (‘Case-studies’). Each student will need to decide in advance whether he or she will contribute to the discussion on the side of the curator or the critic of the exhibition in question, and will need to prepare his or her presentation accordingly. In preparing presentations, students will be required to employ catalogues, promotional materials, readers, conference papers, interviews, and critical reviews related to each exhibition in question.

Learning Objectives

• This provides a stimulating framework to examine the evolution of curatorial exhibitions within and between three major institutional contexts: (1) a gallery-based or site-specific space; (2) a regular international exhibition; and (3) the museum. Each of these contexts has its own history, genetics, poetics, ideology, and examples of groundbreaking, paradigmatic, and representative curatorial exhibitions will be discussed in the format of case studies during corresponding seminars.

Expected Learning Outcomes

• Combining history, theory, and practice, the course will investigate what is innovative in curatorial practice and whether it needs to be innovative; to what extent can it be trained; and what are present-day criteria, ethics, and added value of the curatorial profession in relation to artistic, scholarly, and social developments

Course Contents

• Whose exhibition?
• Curating the contemporary
• Curating (transcending) the old
• Curating art +
• Curating Russian
• Final remarks

Assessment Elements

• Active participation
• Participation in each case-study talk/presentation
• Participation in the final discussion on curatorial ethics

Interim Assessment

• 2021/2022 2nd module
  0.1 * Participation in the final discussion on curatorial ethics + 0.4 * Active participation + 0.5 * Participation in each case-study talk/presentation

Bibliography

Recommended Core Bibliography

• Anthony Gardner, & Charles Green. (2016). Biennials, Triennials, and Documenta : The Exhibitions That Created Contemporary Art (Vol. 1). Wiley-Blackwell.
• Bruce W. Ferguson, Reesa Greenberg, & Sandy Nairne. (1996). Thinking About Exhibitions. Routledge.
• Laurent JEANPIERRE. (2017). Magiciens De La Terre.
• Trahais, F. (n.d.). Jens Hoffmann, Life in your head - When Attitudes Became Form Become Attitudes (A Restoration – A Remake – A Rejuvenation – A Rebellion). OpenAIRE.

Recommended Additional Bibliography

• Ancel, P., Bawin, J., Bordeaux, M.-C., Camart, C., Dupuis, R., Fournié, F., Fraser, M., Glicenstein, J., Lemieux, A., Mairesse, F., Martin, J.-H., Pommaret, C., Rampillon, C., & Szeeman, H. (2018). L’artiste et le musée.
• J. Pedro Lorente. (2018). Cathedrals of Urban Modernity : Creation of the First Museums of Contemporary Art. Routledge.
• Margolin, J., Witztum, E., & Lerner, V. (2017). Genius, Creativity and Madness. Nova Science Publishers, Inc.
• Trahais, F. (2014). Show Time: The 50 Most Influential Exhibitions of Contemporary Art. Critique d’art.