“What do curators care for?”
Sunday August 28 at 5 pm at the Grand Plateau
Guest curators of the Immaterial Salon 2022
Art-o-rama invites C-E-A – French association of exhibition curators to a dedicated space within the fair, for a presentation of its online curatorial platform SIX YEARS, whose research interests revolve around the dematerialization of an artwork. The SIX YEARS booth will present, through documentary resources, the questions surrounding the dematerialization of an artwork that have shaped this online curatorial project.
SIX YEARS members Arlène Berceliot Courtin and Francesca Zappia will lead a talk about the new directions of the program “What do curators care for?” at the Grand Plateau on Sunday August 28, at 5 pm.
Arlène Berceliot Courtin, Karin Schlageter, and Francesca Zappia are the guest curators of the Immaterial Salon 2022
What do curators care for?
Over the last ten years, curating has been the object of an epistemological shift which scholars have named the “curatorial” (Martinon, 2013). This defines a set of practices that go beyond curating-as-exhibition-making to embrace various other formats that are collaborative, open-ended and processual – research or archival projects, “educational” forms such as talks and workshops, or curating in the digital space. Therefore, the “curatorial” has become an expanded practice that produces fresh knowledge and alternative meanings.
In the same way that Conceptual art strategies of dematerialization of artworks could not totally bypass the question of their commodification, artists working with digital technologies are reviving the question of the economic, as well as the symbolic, focus on knowledge.
SIX YEARS’ current program draws on the question: “What do curators care for?” to prompt a critical reflection about practices and principles of “care ethics”. Joan Tronto (2009) highlights how “care ethics” is based on a system of interrelationships, empathies, mutual responsibilities and communications. Besides, Claire Bishop (2012) points out that since the emergence of the Web 2.0, in 2002, art, notably socially engaged art, has appropriated “a language of platforms, collaborations, activated spectators, and ‘prosumers’ [= informed consumers] who co-produce content (rather than passively consume information designed for them).”
SIX YEARS’ “What do curators care for?” aims to explore how the practice of “care” can be used as a tool for analysis or provocation. How can we apprehend “care ethics”, within the frame of the “curatorial” while using the interrelational potentialities of the digital realm?
Arlène Berceliot Courtin
Arlène Berceliot Courtin is a curator, researcher and independent author. At the crossroads of visual studies and feminist studies, her field of research and experimentation focuses on the history of feminisms in France and their under the cultural label of French Feminism in the United States. After a ten years of experience in the management of internationally renowned contemporary art galleries art galleries, she co-founded in 2018 the curator-run-space furiosa, dedicated to research in art and curating. In 2022, she was awarded a research grant by the the CNAP and the Villa Albertine – Research Program of the French Embassy in the Embassy in the United States. In 2019, she is a laureate of the Sur Mesure programme of the programme of the French Institute for which she is initiating a first research in the United States the interrelation between the objectivity of the new novel and postmodern dance. Since 2011, she has been collaborating with cultural venues and institutions including the Centre National de la Danse, the Institut National d’Histoire de l’Art, galerie Air de Paris, the Galerie des Galeries, Art-o-rama, the Bureau des Arts Plastiques and Gallery Weekend in Berlin and Manifesta in Marseille.
Karin Schlageter (*1988, FR-CH) is an independent curator .She graduated from the Master’s degree “Arts et Langages” at EHESS in 2011. In 2013-2014, she was in residence at Le Pavillon Neuflize OBC at the Palais de Tokyo in Paris. In parallel to her curatorial activity, she has worked in several contemporary art galleries, including: Mehdi Chouakri, Berlin, Samy Abraham, Paris, and Bugada & Cargnel, Paris. From 2017 to 2019, she collaborates regularly with the CACC – Centre d’art contemporain Chanot, Clamart (92). She was a member of the editorial board of the French journal of cultural studies Poli-politique de l’image from 2010 to 2018. In 2019 she was the interim director of comtemporary art centre Les Capucins in Embrun (05). Recently, she received a research grant in art theory from Cnap and a six-month residency at the Cité Internationale des Arts in Paris (2020-2021). In 2022, she will be a resident at the Villa Kujoyama, Kyoto.
Francesca Zappia is an independent curator based in Glasgow. Her research focuses on the transmission of memory and the fabrication of new knowledge. Central to her practice is the online platform past-forward.net focuses on the Internet as a place of memory and a new system of knowledge, while putting in place collaborative practices inspired by open source. Focusing on the “spatialisation of research”, its work is materialised in the use of different formats: exhibitions, publications, online platforms, discursive forms. Francesca is a laureate of the Cnap curatorial grant, in the framework of which she published “Les Flâneuses. Copies, quotations, appropriations in the collections of the Centre national des arts plastiques”. Among her other projects: The Curator’s Workshop (CCA|Centre for Contemporary Arts, Glasgow, 2020), L’intrigue se cherche dans le dénouement de son nœud (la compagnie, lieu de création, Marseille, 2018), Raoul Reynolds: A Retrospective (Scotland Street School Museum, Glasgow; La Friche la Belle de Mai, Marseille, 2016) and East End Transmissions (The Pipe Factory, Glasgow, 2014). Francesca has also worked as an exhibition officer and and archivist for the FRAC Ile-de-France, the François Pinault Foundation, the Cnap), the Fonds municipal d’art contemporain de la Ville de Paris, and Vidéomuseum.