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Blissful Dialogues at ISEA08 in Singapore [forthcoming]
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Blissful Dialogues at ISEA08 in Singapore [forthcoming]

28.07.2008
> transcript   > images  


Speakers:>  Amanda McDonald Crowley & Deborah Lawler-Dormer & Fumio Nanjo & Geoff Cox & Joasia Krysa & Joyce Fan & Kathy Rae Huffman & Kerstin Mey & Nina Czegledy & Tien Wei Woon

BLISSFUL DIALOGUES: Common Ground for Curators

New media art often crosses boundaries between art forms and disciplines, but sometimes does not cross the boundaries into contemporary art in general. With the current art interest in relational art and social networks, these social events aim to share curatorial knowledge across the boundaries. A series of dialogues between curators of new media art, and curators of contemporary art, aim to tease out areas of common ground and compare useful experience and methods.

The context for the public dialogues will be an informal social setting involving a very nice cup of tea, and the chance for further discussion by the audience.

The themes for dialogues will include the common interest in: collaborative curation; contemporary art and new media; Location, internationalism and festivals.



Collaborative Curating.

28th July 4-6pm. National Museum of Singapore


Contemporary artists often work in collaborative groups, and blur the boundaries between artist and curator. Curators have followed this lead by curating in small teams or larger groups. Beyond this model, there is the further possibility that the audience can begin to take on curatorial roles in selecting and arranging artworks, such as Furtherfields Do It With Others, and TAGGallery. How are curators using artists models most usefully? Who is really collaborating with who? Are curators making a platform for others to make art or curate? Is there such a thing as truly collaborative curating?



Dialogue between:

Woon Tien Wei p-10.

p-10 is an independent curatorial team with a project space. Woon Tien Wei is one of the curatorial team and an artist who works and lives in Singapore. He studied at Goldsmith's College, London. He was the President of The Artists Village (2001), co-director of The Danger Museum (since 1998) and a founding member of a net art collective tsunamii.net (2001).

http://www.p-10.org

Nina Czegledy.

Nina Czegledy is an independent media artist, curator and writer. She has programmed and curated over twenty international media art/video programs and touring exhibitions that were presented in 28 countries. Together with Iliyana Nedkova she has organized the Crossing Over, a workshop/media residency project which has been realized in Sofia (1996 and 1997), Novi Sad (1998), Ljubljana (1999), Colombus, Ohio (2000) and Liverpool (2001). Czegledy is also a board member of ISEA, Images Festival, and Interaccess Electronic Media arts Centre.



Invited respondent(s): Joasia Krysa and Geoff Cox

Joasia Krysa (PL/UK) is a curator, founder of KURATOR, as well as lecturer/researcher at the AZTEC (Art Science Technology Consortium at the University of Plymouth (UK). She edited Curating Immateriality (Autonomedia, New York 2006). Recent curatorial projects include openKURATOR; exhibition After The Net curated for Observatori 2008 (9th Festival Internacional de Investigacin Artstica de Valencia).

Geoff Cox (UK) is Associate Curator of Online Projects at Arnolfini, Bristol (UK). He is Lecturer in Art and Technology at the University of Plymouth (UK). His research interest concerns software culture and is expressed in various projects such as the co-curated touring exhibition Generator (2002/03). http://www.kurator.org/wiki/main/read/About



Is new media art just one of the contemporary arts?

29th July 4-6pm. National Museum of Singapore


Steve Dietz has said that collecting new media art is just like collecting anything else, only different. Is curating new media art then simply one of the contemporary arts? Is the difference not in the artwork but in, as Christiane Paul has said, the curatorial modes of working?



Dialogue between:

Joyce Fan is a curator at Singapore Art Museum, and started her museum career in 1993 at the then National Museum Art Gallery. She has a Masters in Art History from the Pratt Institute, New York. Her research interest is on Southeast Asian art and she recently curated Post-Doi Moi: Vietnamese Art After 1990. She was also the convenor of the Symposium on Modern and Contemporary Vietnamese Art. Her past exhibitions include Cubism in Asia and Art of Our Time that features works from the permanent collection. She is also the curator for the Art Around series that presents site specific works in the museum premises.

Kathy Rae Huffman Director of Visual Arts at Cornerhouse -- Manchester's centre for contemporary art, media and cinema. Previously, she was as the director of Hull Time Based Arts, and Associate Professor of Electronic Art, and director of EMAC at Rensselaer Polytechnic Institute. She was a member of HILUS Intermediale Projekt Forschung, Vienna (1995-1998), and was curator/producer of the Contemporary Arts Television Fund, a project that joined WGBH TV (Boston's public television station) & The Institute of Contemporary Art Boston (1984-1991). She was Curator at the Long Beach Museum of Art, and director of its regional media art centre, with a collection that focused on the history of Southern California media art, from 1979-1983.



Invited respondent: Deborah Lawler-Dormer

Director of Auckland's newly relaunched MIC Toi Rerehiko Media and Interdisciplinary Arts Centre, formerly known as the Moving Image Centre.



Location and the Festival

30th July 4-6pm. FOOD03 (p-10s caf)


International festivals have a keen sense of both the economics of where they are, and the need for international publicity and scope (its often a tension between these). Festivals have been argued to be particularly suitable for fast-moving new or specialist artforms, and for exploring process and discourse, and therefore particulary suitable for new media art is this the case? Concerning location (one of the themes of ISEA) and internationalism, do the connective characteristics of new media make this any different? If festivals curate discourse (or dialogues!) then what kind of discourse works well?



Dialogue between:

Fumio Nanjo is Artistic Director of Singapore Biennale, and the Director of the Mori Art Museum. Also an art critic and a lecturer at Keio University in Tokyo, Nanjo has organised numerous exhibitions in his roles at the Japan Foundation (1978-1986), and ICA Nagoya (1986-1990). He was the commissioner of the Japan Pavilion at the 47th Venice Biennale (1997) and the 1st Taipei Biennale (1998), co-curator of the 3rd Asia-Pacific Triennial of Contemporary Art (1999), and a member of the selection committee for the Sydney Biennale (2000).

Amanda McDonald Crowley, Executive Director at Eyebeam New York, and executive producer for ISEA2004 held in the Nordic/ Baltic region. She was artsworker in residency at Sarai New Media Initiative in Delhi, a consultant to the New Media Arts Board of the Australia Council, and Associate Director, Adelaide Festival 2002. From 1995 to 2000 she was Director of the Australian Network for Art and Technology (ANAT) http://www.eyebeam.org



Invited respondent: Kerstin Mey is a Professor at the Faculty of Arts, University of Ulster, host of ISEA 2009 in Northern Ireland. She has PhD in Art Theory/Aesthetics from Humboldt University of Berlin and a PG Dip in European Cultural Policy and Administration from the University of Warwick. Her curatorial activities include Bodies of Substance: Margaret Hunter, Azade Koker, Ping Qiu, Talbot Rice Gallery, University of Edinburgh, February/March 2002 and Gakerie M, Berlin, April 2003.

 

 
Keywords:

  media art
  time
  space
  software
  audience
  video
  wiki
  press
  festivals
  lag
  touring
  internationalism
  networks

People:

  Kathy Rae Huffman
  Christiane Paul
  Iliyana Nedkova
  Nina Czegledy
  Steve Dietz
  Tien Wei Woon
  Joasia Krysa
  Geoff Cox
  Joyce Fan
  Deborah Lawler-Dormer
  Fumio Nanjo
  Amanda McDonald Crowley
  Kerstin Mey