This issue of ONCURATING.org brings together a collection of interviews and two essays from artists, curators, theorists and artist-curators, relating to the topic of authorship in contemporary art. Since the 1990s the position of the curator as a producer of ideas and an author has been debated amongst artists and scholars. How this relates to new working paradigms and existing power relations in contemporary art is reflected on, from a range of international critical perspectives. Continuing the topics raised at the symposium, "Why artists curate", organized by the Kunstbüro der Kunststiftung Baden-Württemberg in cooperation with Columbus Art Foundation in July 2011. With essays by Marc James Léger and Dorothee Richter, and interviews with Artur Zmijewski, Kristina Lee Podesva, Mary Jane Jacob, Raqs Media Collective, Valerie Smith, Gavin Wade, "F**king Good Art", Ute Meta Bauer & Yvonne Doderer, Tania Bruguera and Marion von Osten. Interviews conducted by Michael Birchall & Nkule Mabaso, Charlotte Barnes, Annemarie Brand & Monika Molnár, John Canciani & Jacqueline Falk, Sheena Greene, Anne Koskiluoma & Anna Krystyna Trzaska, Chloé Nicolet-Dit-Félix & Gülru Vardar, Ashraf Osman & Daniela N. Fuentes, Sophia Ribeiro, Tanja Trampe & Monika Molnár. Edited by Michael Birchall. With contributions by Marc James Leger and Dorothee Richter, and interviews with Artur Zmijewski, Kristina Lee Podesva, Mary Jane Jacob, Raqs Media Collective, Valerie Smith, Gavin Wade, "F**king Good Art", Ute Meta Bauer & Yvonne Doderer, Tania Bruguera and Marion von Osten.

OnCurating Issue 19: On Artistic and Curatorial Authorship

Arts & Photography

Richter, Dorothee

Biotop 3000

History & Criticism

CreateSpace Independent Publishing Platform

<p>This issue of OnCurating consists of a variety of texts and interviews, which were developed out of interviews from participants connected to the Postgraduate programme in Curating (www.curating.org). Many of the authors and interviewees gave lectures and participated in the programme over the last four years, adding to the dialogue in the postgraduate programme, as well as other curators in the field. In the spirit of slowing down, in sometimes rather a hastily discourse, we would like to present them to a broad public, which engages with our main topics: politics of display, politics of site and politics of transfer and translation, topics which refer clearly to the research institution where the Postgraduate Programme in Curating is situated: the Institute Cultural Studies in the Arts at the Zurich University of the Arts. We see the curatorial discourse not primarily as a philosophical discourse with some practical outcomes. We are always interested in the power relations and politics, which structure the field. As curators and as researchers we have chosen the attitude that practice and theory are intertwined profoundly, and both materialisations have the ability to do things with art and with words, to intervene, to highlight. Imprint Issue 22 Publisher Dorothee Richter Co-Publisher Michael Birchall Editors Nkule Mabaso and Dorothee Richter Contributors Dorothee Richter Marco Scotini Paul O Neill Elena Filipovic Monan Slome and Joshua Simon Anke Hoffmann and Yvonne Volkart Mirjam Varadinis Rainer Ganahl Rene Block Rein Wolfs Anton Vidokle Sasa Nabergoj Interviews conducted by Garance Massart-Blum and Milena Brendle-John Katharina Schendl and Ingela Johansson Nkule Mabaso Lindsey Sharman Sylvia Ruttimann and Karin Seinsoth Jill Keiser Melanie and Jeannine Herrmann Garance Massart-Blum and Amber Hickey Graphic Design Biotop 3000 Supported by Postgraduate Programme in Curating, Institute Cultural Studies, Department Cultural Analysis, Zurich Universityof the Arts www.curating.org</p>

Oncurating Issue 22: Politics of Display

Mabaso, Nkule

Curators and their partners are working in a contested field, in which the meanings of institutions, their power structures and modes of participation can be debated and reshaped. The number and diversity of high-profile major museum exhibitions in the twenty-first century that have been devoted to the themes of feminist and women’s art has attracted an unprecedented critical attention to the practice of feminist curation. The diversity of the ways in which feminism has been represented in curatorial projects—from Womanhouse (1972) to Gender Battle (2007)—is explored here most fully in the essays by Amelia Jones and Hilary Robinson, which identify the range of these projects and the various ways in which exhibitions have articulated feminist perspectives.

OnCurating Issue 29: Curating in Feminist Thought

OnCurating Issue 33: documenta. Curating the History of the Present On the occasion of documenta’s 14th edition, this special issue scrutinizes the ways in which the Kassel-based periodic exhibition has been contributing to curating the history of the present since its inception in 1955. From diverse perspectives, the authors engage with questions of how documenta’s iterations played a significant role not only in the making of a history of contemporary art but also in the canon of the relatively young field of curatorial and exhibition studies. Focusing on documenta’s engagement with artistic and broader cultural developments, as well as its implication in shifting socioeconomic and geopolitical contexts, the texts assembled in this issue touch upon documenta’s continuous dedication to instituting and reconfiguring the contemporary throughout its history. Its characteristic dedication to contemporaneity and institutional temporariness have continuously challenged researchers to reflect and revise their methodologies and epistemological foundations. Due to documenta’s specific character as a recurring large-scale exhibition with a relatively stable framework that has to be reinterpreted anew every five years, documenta’s potentials for mediating ideologies and power structures, notions of authorship and agency, as well as relations between the local and the global have furthermore fueled negotiations of the relationship of art and politics from the outset. The texts in this issue call attention to how it not only scripted paradigmatic models of subjectivity but also gradually widened its scope from a Eurocentric vision to a more worldly frame of reference, provoking reflections on its role in the globalization of the arts and its entanglement in (neo)colonial and (neo)liberal power relations in capitalism at large.

OnCurating Issue 33: The documenta Issue

Buurman, Nanne

<p>The symposium “Revisiting Black Mountain College: Cross-Disciplinary Experiments and Their Potential for Democratization (in Times of Post-Democracy)” asked these questions in relation to anti-democratic tendencies in many countries worldwide. How can education still hold up democratic values, while at the same time presumably measuring its success by careers in the market? The symposium—from 25–27 May 2018—was organized by Prof Dr Dorothee Richter in conjunction with the exhibition and event programme “Revisiting Black Mountain” (documented under https://blog.zhdk.ch/revisit) initiated by the Zurich University of the Arts (especially through the now retired Head of the Department of Performing Arts and Film, Hartmut Wickert and the Head of the Department of Cultural Analysis, Christoph Weckerle) under the direction of the “Kollegium Kuration” (Bitten Stetter, Brandon Farnsworth, Dorothee Richter, Jochen Kiefer, Martin Jaeggi, Paolo Bianchi), with the aim of opening up projects from different disciplines, of artistic and research-based practices in equal measure, and the idea that it should be open to the participation of all groups at the university—students, researchers, and lecturers.This issue brings together contributions from participants of the conference Susanne Kennedy, Steven Henry Madoff, Raqs Media Collective, and Jeanne van Heeswijk with lecturers of the ZHdK Brandon Farnsworth, Annemarie Bucher, Daniel Späti, and Cornelia Sollfrank and adds further contributions by Andres Janser, Jochen Kiefer, Olga von Schubert, Caroline Adler, Boris Buden, Lucy Bayley, Sascia Bailer, Simon Fleury, Gilly Karjevsky, Asli Uludag, and Mieke Matzke.The interview by Ronald Kolb with Bitten Stetter, Brandon Farnsworth, Dorothee Richter, Jochen Kiefer, Martin Jaeggi, and Paolo Bianchi—all professors or lecturers at the Zurich University of the Arts—provides an internal perspective of today’s curriculum-based universities in relation to an education model like Black Mountain College—which can be seen as the opposite.</p>

OnCurating Issue 43: Revisiting Black Mountain: Cross-Disciplinary Experiments and Their Potential for Democratization

Madoff, Steven Henry

Matzke, Mieke (Annemarie)

Collective, Raqs Media

von Schubert, Olga

van Heeswijk, Jeanne

Sollfrank, Cornelia

Kennedy, Susanne

Kiefer, Jochen

Independently published

See the best price to sell, buy, or rent books by Richter, Dorothee. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Richter, Dorothee