FORUM ART ALWAYS HAS ITS CONSEQUENCES
Hordaland Art Centre is proud to present a day of presentation and development of new thoughts on how to look at and research exhibition practices, a one day seminar + round table with the four curators Branka Ćurčić, Dóra Hegyi, Magdalena Ziółkowska and Jelena Vesić Friday March 4th 10.00 - 16.30.
Between 2008 and 2010 Art Always Has Its Consequences was a collaborative platform organized by new media centre_kuda.org (Novi Sad, Serbia), tranzit.hu (Budapest, Hungary), Museum Sztuki (Łodź, Poland) and What, How & for Whom/WHW (Zagreb, Croatia).
The project explored practices through which art reaches its audience and their significance for broader relations between art and society, focusing on four thematic strands: the history of exhibitions, artists’ texts, conceptual design, typography and institutional archives.
The title, taken from a text by artist Mladem Stilinović entitled Footwriting (1984), suggest investigation in terms of the consequences for art in relation to reality, but also in terms of intrinsic artistic procedures by which art always ‘limits’ itself to being art.
This seminar will revisit a few aspects of the project in relation to the practices of exhibition and institutional archives particularly in four lectures titled “Researching the Past, (While) Looking Into the Future” by Branka Ćurčić (editor, new media centre_kuda.org, Novi Sad), “Parallel Chronologies - Invisible History of Exhitions” by Dóra Hegyi (director, tranzit.hu, Budapest), “Voicing the archive - TENDER MUSEUM by Marysia Lewandowska” by Magdalena Ziółkowska (curator, Museum Sztuki, Łodź) and “ Politics of historicisation and canons of contemporaneity: The Case of Political Practices of (post-) Yugoslav Art: Retrospective 01” by Jelena Vesić (curator and editor, Prelom Kolektiv, Belgrade).
The afternoon will be spent in discussion based on key questions developed by the speakers.
You are invited to take part in the seminar and round table, and we hope you will commit to the whole day. The programme is free and lunch is included for all.
10.00 – 10.10 – registration and coffee
10.10-10.30 – introduction /Anne Szefer Karlsen
10.30-11.15 – “Politics of historicisation and canons of contemporaneity: The Case of Political Practices of (post-) Yugoslav Art: Retrospective 01” by Jelena Vesić
Based on the standpoints and positions of the assumed local exhibition project Political Practices of (post-) Yugoslav Art: Retrospective 01 Vesić will make a general analysis of the context of production of the “contemporary”, as well as its institutions, practices and discourses.
11.15-11.25 – Short break
11.25-12.05 – “Researching the Past, (While) Looking Into the Future” by Branka Ćurčić
Based on the two research and exhibition projects “The Continuous Art Class – Novi Sad Neo Avant-garde of the 1960s and 1970s” and “ID: Ideology of design”, discussions of economic and cultural reform, consequences of re-structuring social and political life and effects of state cultural policies on cultural production surface. “For what point is there a discussion about East European debates on communism if not to look for a renewal of the left theoretical tradition?” – Ovidiu Tichindeleanu
12.05-12.30 – Qs
12.30-13.00 – “Parallel Chronologies - Invisible History of Exhitions” by Dóra Hegyi
By establishing a chronology of art events and exhibitions it has become possible to see important societal changes through them. One particular question was how an exhibition becomes an event, and what can happen at an exhibition, so a main focus became actionist and performative practices. The selection was based on what public role the art played in its time, what connection it had with international trends and how the events defined the relation between art and the public.
13.00-14.00 – Lunch
14.00-14.30 – “Voicing the archive - TENDER MUSEUM by Marysia Lewandowska” by Magdalena Ziółkowska
The exhibition project Tendermuseum by Marysia Lewandowska, based on the archives of Museum Stuki, raises questions of visibility-invisibility, the economy of the gift as well as other discussions through a “her-story” methodology.
14.30-14.45 – Qs
14.45-15.00 – Break
15.00-16.30 – Round table
Branka Ćurčić is program editor in the New Media Center_kuda.org in Novi Sad, Serbia (www.kuda.org). She is the editor of publishing department of the Center - kuda.read. It is focusing on examining critical approaches towards new media culture, technologies, new cultural relations, contemporary artistic practice and the social realm. She takes part in co-curating the exhibitions, in writing and in organizing different scope of public events.
Dóra Hegyi, art historian, curator. Curator in the Ludwig Museum Budapest between 1996 and 2003, since 2005 director of tranzit.hu. In this framework started the Free School for Art Theory and Practice, and research/ publication activity. Organizer of exhibitions, in 2008 curator of Periferic 8 Biennial, in 2010 as member of tranzit.org, curator of Manifesta 8.
Jelena Vesić is art historian, independent curator, art critic and editor of Prelom – journal for images and politics. Her work is mostly dedicated to the politics of representation in art and visual culture. Her curatorial practice often experiments with frameworks, methodologies, contextual and collaborative aspects of presentation of art.
Magdalena Ziolkowska has worked in the Department of Modern Art in Muzeum Sztuki since January 2008. She has an MA in Art History from Warsaw University and is a graduate of the Curatorial Training Programme at de Appel arts centre, Amsterdam. She is currently a PhD graduate at the School of Social Research and Institute of Art History (University of Warsaw) where the focus of her research is the idea of Museum of Current Art (1966) by Jerzy Ludwinski. Since June 2006 she has been a guest curator at Van Abbemuseum in Eindhoven.