Workshop

Workshop online: rethinking exhibition models of the Venice Biennale in relation to the history of the curatorial practices

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Deadline for applying: 30.11.2022

This workshop online provides an immersive and active understanding of curatorial practice and its developments in the last decades. Through the work of some of the most remarkable curators, the students will develop an understanding of how curating works by looking back at its history and by examining certain case studies. The analysis of specific editions of the Venice Art Biennale will give us the possibility to look to the predecessors and the influences of specific curators on their work. But it is also an opportunity to explore the ways in which the curatorial practices are changing and examine increasingly diverse approaches to exhibition-making.

The objectives of the workshop:

To gain familiarity with different types of models of curatorial practices and evaluate the essential qualities of a strong curator through understanding the historical and contemporary role of the curator in relation to past and recent exhibition models.

After each session a discussion will be hold in order to exchange different opinions and views on the approach of the singular curatorial practice. Rethinking specific curatorial models, by analyzing their origins and their subsequent developments is one of the key elements of the workshop.The mission is to create a critical ability in order to discover the proper curatorial model.

Practical exercise: in the last session every participants will have to present an exhibition project by applying one of the models identified during the workshop.

THE PROGRAM

First week: 06 - 08.12.22 at 6pm - 8pm

Brief introduction of the program.

First issue: The world is turning global - a post-colonial approach to the exhibition making. Jean Hubert Martin curates in 1989 Les magician de la Terre in Paris, four years later the concept of nomadism and multiculturalism is the main idea of the Achille Bonito Oliva's Venice Biennale in 1993. Further developments are identified in some recent exhibitions which are reflecting critically on the colonial past. Case study: the curatorial approach of Charles Esche at the Van Abbe museum in Eindhoven and the exhibition organized in 2018 at the Hamburger Bahnhof in Berlin: Hello World.

Open discussion

Second week 13 - 15.12.22 at 6pm - 8pm

The curator as an interpreter of the art history by creating new narration and visions through the display of the exhibition.

1995 at the Venice Biennale, Jean Clair curates an edition called: Identity and Alterity: Figures of Body 1895 - 1995. Instead of exploring the history of this century’s avant-gardes, Clair interrogates another, alternative history, one he perceives as ignored and overshadowed in the Modern canon’s conventionally accepted plan. In 2013 Massimiliano Gioni at the Venice Biennale curated The Encyclopedia Palace. The exhibition structured like a temporary museum that initiates an inquiry into the many ways in which images have been used to organize knowledge and shape our experience.

In 2015 a show at Punta della Dogana in Venice curated by the artist Dahn Vo, called Slip of the Tongue. The show was the result of a narration of his personal mythologies, featured with art history masters and contemporary art works.

Open discussion

Third week 19 - 21.05.22 at 6pm - 8pm

The curator questioning his time: The visionary curator Harald Szeemann, who launched at the Venice Biennale in 1980 the “Aperto” section for young artists  and in the 1999 Biennale replaced it with “d’Apertutto”, a strolling, horizontal exhibition, a succession of events in exhibition spaces. An art exhibition which lied primarily in the quality of the critical and cultural proposals and raised many questions. How do art forms react to the prevailing globalization of languages? To the process of economic, financial, commercial and technological integration? Harald Szeemann is the curator  who has always been able to criticize and question his time. Documenta 5 in 1972 is a perfect example of his curatorial attitude as much as  the two editions of the Biennale (In 2001: Plateau of Humankind. The Visual Arts Biennale as a platform of humanity.)

The exhibition as a collaboration of a team of curators. In 2002, Documenta 11 in Kassel, curated, by Okwui Enwezor was structured in five platforms which aimed and described the present location of culture and its interfaces with other complex, global knowledge systems. Okwui Enwezor created a team of 6 curators from different geographical area. One year later at the Venice Art Biennale 2003 was presented: The dictatorship of the viewer. A collaboration between a group of world leading curators under the direction of Francesco Bonami. Ten different exhibitions were representing a mapping of the contemporary art from all over the world.

The collaborative model is the bases also of the exhibition Hello World where a more structured concept is connecting each different curatorial section.

22.12.22 at 6pm - 8pm

The last day is devoted to the work prepared by each participant and to discussion.The practical exercise aims to create a critical capacity of identifying the models presented and analyzed during the lectures in contemporary art exhibitions. Each participant will present an examples of exhibitions or will structure a new project which is related to the models discussed.The program aims to give the opportunity to create, according to his/her own artistic statement, an exhibition defined by a strong critical and innovative content.

The fee per course is 590 euro. In case you choose to take part to more then one course, a discount of 100 euro will be applied to the fee of the next courses. 

Our Online Delivery Method

Online Study Luctures effectively run over the week – Tuesday, Wednesday and Thursday from 6pm to 8pm CET – maintaining our usual tours’ focused, intensive and immersive experience.

Live Seminars - Each lecture is two hours long at the end of each lecture we will have a half an hour for questions and discussions. Your tutor will hold live seminars with you and Google.meet discussions are accessed via a web-link which we will email to you. These sessions enable you to ‘meet’ your tutor and fellow students. To participate you will only need an internet enabled device; you do not need a Google.meet account. If you have questions that you were not able to raise in the discussions, you will also be able to communicate with your tutor by email.

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Duration: 
06.12 - 18.12.22
Date: 
Tuesday, December 6, 2022 to Sunday, December 18, 2022
Price: 
590
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San Marco 3073

Selling Art with Reels: A New Era of Social Media

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Join the VAA’s for a hands-on workshop about the ins and outs of Instagram Reels.  

Social media is the backbone of online presence for visual artists. A strong social media presence helps artists connect with buyers and collectors. The current era of social media algorithms rewards users who take advantage of Instagram’s Reels feature. 

In this workshop the VAA will be joined by Jessie Pettit to discuss how to create Instagram Reels.  

We will be covering:  

Why Social Media Presence is Important  

How to Get Started with Reels  

How to Create Reels 

Jessie has years of experience in professional film industry, both in front of and behind the camera. Through years of studying and hands-on practice, she has gained skills in producing, directing, cinematography, and filming technique.  

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Duration: 
45 minutes
Date: 
Thursday, November 24, 2022

Host & Provider:

East Course x Luca Lo Pinto

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Registration deadline: 20 November 2022

Easttopics Course dates: 26-27 November 2022 

Location: Budapest, Hungary

Course fee: 50 EUR

Early bird fee: 35 EUR until 23 October 2022

Regular fee: 50 EUR from 24 October 2022

Application process: https://forms.gle/QFoXnHR2JaXY9mxDA

The East Course curatorial course invites emerging curators to work together with professionals in order to gain new skills and perspectives on curating. East Course consists of intense sessions comprising lectures and workshops. The program gives an opportunity to hear the freshest and most powerful voices of the art world and the stories, strategies and goals that inspire them. It expands on trajectories, methodologies and ideas specific to “museum,” rarely addressed, perhaps even neglected within academic and experimental curatorial programs which usually focus on the public and non-profit spheres of contemporary art. 

About Luca Lo Pinto:

Born in 1981, Luca Lo Pinto is the Art Director of MACRO – Museo d’Arte Contemporanea in Rome. From 2014 to 2019 he acted as curator of Kunsthalle Wien. He is co-founder of the NERO magazine and publishing house. He has organised a series of one-man shows with artists such as Simone Forti, Nathalie du Pasquier, Jason Dodge, Tony Cokes, Camille Henrot, Olaf Nicolai, Pierre Bismuth, Babette Mangolte, Lawrence Weiner, Gelatin & Liam Gillick, Charlemagne Palestine and collective exhibitions entitled Time is Thirsty, Publishing as an artistic toolbox 1989-2017, More Than Just Words, Individual Stories, and Function Follows Vision, Vision Follows Reality. His other curatorial projects include Luca Vitone – Io, Luca (PAC); XVI Quadriennale d’Arte (Palazzo delle Esposizioni); Le Regole del gioco (Fondazione Achille Castiglioni); Trapped in the Closet (FRAC Champagne Ardenne); Antigrazioso (Palais de Tokyo); AnderSennoSogno (Museo H.C. Andersen); D’après Giorgio (Fondazione Giorgio De Chirico); and Conversation Pieces (Museo Praz). His written work has been published in numerous catalogues and international periodicals. He has also edited publications with various artists, including Emilio Prini, Alexandre Singh, Mario Diacono and Mario Garcia Torres. In 2012 he edited the publication Documenta 1955-2012.

Museum forgotten by memory /// Lecture

Today, institutions are more and more embedded in the fabric of the culture industry while the museum should be a space where the meaning of things is constantly negotiated.

How to aspire to undermine the cornerstones and principles of the museum? Institutions should be not seen as spaces where to display art objects but as contested spaces that can activate an ongoing process of self-questioning. Imagination is a powerful tool to offer new possibilities of exhibition making by withdrawing from the apparatus of reality.

Structure of the course:

Through this two-day programme, you will investigate different modes of curatorial practice and build your knowledge and skills by engaging in workshops, presentations, case-studies and discussions with curator Luca lo Pinto in person.

The workshops aim to:

identify practices that try to trigger an impulse in local artistic and cultural life in contexts affected by global institutions and events;

highlight how the relationship between these different approaches to art can be problematic, productive or just parallel;

identify common strategies for developing generative practices directly related to these type of contextual situations.

Day#1 MORNING SESSION 10:00-12:00

Lecture and case-study

Day#1 AFTERNOON SESSION 14:00-16:00

Workshop

Day#2 MORNING SESSION 10:00-12:00

Lecture and case-study

Day#2 AFTERNOON SESSION 14:00-16:00

Workshop

Course benefits

You will:

enhance your professional confidence after discovering further nuances and making bolder decisions in your practice;

further develop your understanding of how to manage and edit the different elements composing the creation of a self-led contemporary art project;

acquire new techniques and methodological tools to put into practice;

experience critical, creative and insightful thinking;

interact and network with peers from different backgrounds;

receive an Easttopics Certificate of Attendance assessing that you completed the course.

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Duration: 
2 days
Date: 
Saturday, November 26, 2022 to Sunday, November 27, 2022
Price: 
50 EUR

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Meet Your Mentor: Drop-In Session with Karen van Hoey-Smith

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The Visual Artists Association offers an exclusive Mentorship Programme that’s carefully curated to provide you with the tools to sell more art.

We offer professional expertise on all aspects of your Art Career, including: Career Coaching, Critical Feedback, Marketing Insights, Pricing, Selling, and exhibiting, as well as much more.

Our Mentorship Programme has a variety of lengths to choose from. When you book onto our programme, we will assess your current business and your individual talents. From there, our Mentor will use their extensive experience working in the Art Industry and with other artists to give you the clarity and direction you’ve been looking for.

Take the next step toward more sales. If you are interested in a tailored programme to push your art business to the next level, we will be hosting a drop-in session to meet Karen van Hoey-Smith, our Artist Mentor.

Limited Spaces Available.

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45 min
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Wednesday, October 19, 2022 to Friday, October 28, 2022
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0
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https://www.eventbrite.co.uk/e/444042291447

Two individual grants in summer 2023. For postgraduates in Fine Arts and Printmaking, under thirty.

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A two-week electro-etching workshop/residency grants in the island of Gran Canaria, Spain. June and August 2023

Description of residency program

The Electro-etching workshop-residency introduces the artist to an alternative technique of intaglio etching, using a completely non-toxic electrical process. It offers one of the healthiest and most fascinating methods for etching copper, zinc, and iron plates. Among its many other advantages, the electro-etching process does not generate toxic gases, nor does it generate metalic residue that acumulates in the grooves and stops the etching. The mordant does not become exhausted by successive bites and it does not undercut the metal under the varnish. It completely eliminates the harmful spray from rosin or asphalt for aquatints.

The electro-etching residency is held at the workshop and residence of the artist Alfonso Crujera, a master printmaker and specialist in the varied techniques of etching with electrolysis.

The residence is a traditional coastal farmhouse, lovingly restored by the artist. From the naturally lit studio, the residence and the balconies, you can enjoy the magnificent panorama of the sea and surrounding farmland. The area has a very pleasant and moderate subtropical climate all year round, with average temperatures ranging between 12-28ºC. In this natural environment, perfect for reflection and creativity, the artist has transformed the workshop into a workspace that is free from toxic emissions and respectful toward the environment.

The resident artists will be introduced to the fascinating process of electro-etching copper or zinc plates instead of using traditional acids. They will have access to the master’s direct, personal assistance and will get the opportunity to develop upon their current knowledge of non-toxic etching using electricity and applying these techniques to their own work. The artist will also learn how to assemble an electro-etching unit themselves, so they will be able to continue electro-etching in their own studios back home.The workshop is available to the resident artists round the clock.

Grant explanation

Two individual grants for two artists under thirty, Fine Arts graduates between 2017 and 2022 with Experience in intaglio printmaking.

The grant consists of free accommodation for two weeks and the trip to and from the airport to the residence at the beginning and end of the stay. This represents a saving for the artist of €625.

Those selected must pay their travel fares to Gran Canaria, their meals, and profesinal advice in electro-etching.

Workshop and profesional advice: €1,320.

Note: the price does not include papers and plates, which should bring them by the artists.

Health Insurance is obligatory.

Accommodation

There is a separate apartment with single room with private bathroom and shower. You have a kitchen for cooking and free access to Internet with a complete art library.  

Duration: 
Two weeks
Date: 
Thursday, June 1, 2023 to Tuesday, August 1, 2023
Price: 
€1,320

Host & Provider:

Address: 

San Felipe, 90. Santa María de Guía. Las Palmas. (Gran Canaria Island) Spain.

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Application Information

To apply for the grant artists should send an e-mail to electro@crujera.com including the Registration Form filled , copy of his/her graduation certificate, a CV and a brief biography, five pictures of prints and a statement of why he/she wants to attend the Electro-etching workshop (200 words maximum).

Application deadline

• December 20th, 2022

CYANOTYPES | ALTERNATIVE PROCESSES | ONE DAY WORKSHOP

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CYANOTYPES | ALTERNATIVE PROCESSES | ONE DAY WORKSHOP

 

Create unique blue print images!

 

This one-day alternative process workshop introduces the wonders and possibilities of printing your negatives or creating silhouette collages on blue colored Cyanotypes using many paper types and fabric.  Cyanotypes can be printed onto any 2D surface and use UV light to create a print. Use your imagination to open up a world of creative possibilities in this traditional alternative photographic process workshop.

 

Students will learn coating and drying techniques on various surfaces. We will also discuss the preparation of a variety of surfaces including paper and cloth. Students will then prepare, coat and dry their projects.  Then students will create Cyanotype prints on readied substrates. After printing we will explore finishing options for this unique process. 

 

CLASS REQUIREMENTS: **Optional** - Large format Digital or traditional negatives ready for printing, or items for collaged photogram Cyanotype contact prints, Darkroom experience is not necessary to participate.

CLASS SIZE: This class has a minimum of 4 participants and has a maximum of 6 participants.

WHAT TO BRING: Students may bring their favorite large format BW or Digital negatives if they have them (not required).  We will provide a variety of materials for students to choose from for their project including paper, and fabric. We will also provide cyanotype chemistry, and necessary equipment. We encourage students to bring items that you might like use in the silhouette contact print i.e. feathers, flowers, leaves, fabric, cutout shapes, things that can be pressed underneath glass for a contact print. For this workshop we recommend porous surfaces such as paper, and fabric that do not need special pre-treatment. Glass, metal, and, ceramics are not recommended for this introductory workshop.

 

DATES & TIMES: Class Times: 11:00AM to 3:00PM. Class Dates:  Sunday, October 23RD, 2022.

 

COST: This 1 day workshop has a registration fee of $125 (includes $30 material fees). Please register via the online form below. Lunch will be provided. Students with dietary restrictions are asked to bring their own. Artist Members save 10% off all workshops.  Use your workshop member code at purchase for discount. 

ABOUT THE INSTRUCTOR: Sarah Weiss is a Saint Paul based photographer and educator.  Sarah earned her MFA at Rochester Institute of Technology in NY.  Sarah has many years of experience working in alternative photographic processes.  Sarah has shown her artwork locally within the twin cities and regionally for the past 9 years.

QUESTIONS? For more information contact or call 612-345-5571.

 

CLASS WITHDRAWAL/CANCELLATION/REFUND POLICY: Payment in full is required at the time of registration. If the class is full we will put you on a contact list for the next scheduled class. Notice of withdrawal must be made two weeks in advance. There is no penalty to transfer to the next scheduled class. A 50% refund can be issued at this time if that is your preference. There are no refunds for notice given less than two weeks before the class though transfers may be made up to one week in advance. There are no refunds for no shows.

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Duration: 
5 Hours
Date: 
Saturday, October 1, 2022
Price: 
$125
Qualification: 
Darkroom experience is not necessary to participate.
Address: 

Praxis Gallery & Photo Center 

2637 27th Ave. S.
(NW Corner of Ivy Arts Parking Lot) Minneapolis, MN 55406. 

Contact: 

info@praxisphotocenter.org

https://www.praxisphotocenter.org/workshops

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