Tag Archives: Carolyn Christov-Bakargiev

LUCY COTTER — RECLAIMING ARTISTIC RESEARCH

Join writer and curator Lucy Cotter at the SVA launch of her new edited volume RECLAIMING ARTISTIC RESEARCH*—commissioned by 17, Institute for Critical Studies, Mexico City, and out now from Hatje Cantz.

It is not just one of the issues, it is the issue of current art schools and their politics: artistic research. But what is artistic research really about and what does it mean for contemporary art? All too often, weight is given to the academic aspect and the artistic part is overshadowed. The more interesting question is how art knows: how artistic thinking develops through artistic processes and takes shape in artworks.

In twenty conversations with leading artistsLawrence Abu Hamdan , Katayon Arian, Carolyn Christov-Bakargiev, Sher Doruff, Em’kal Eyongakpa, Ryan Gander, Liam Gillick, Natasha Ginwala, Sky Hopinka, Manuela Infante, Euridice Zaituna Kala, Grada Kilomba, Sarat Maharaj, Emma Moore, Rabih Mroué, Christian Nyampeta, Yuri Pattison, Falke Pisano, Sarah Rifky, Samson Young, and Katarina ZdjelarCotter maps out an epistemology of artistic creation today. She manifests a type of research that is dynamically engaged with other fields, but thinks beyond concepts into bodily and material knowledge that exceeds language, revolutionizing our perception of art from the ground up.*

RECLAIMING ARTISTIC RESEARCH—BOOK LAUNCH WITH LUCY COTTER AND GUESTS

Thursday, October 24, at 7 pm.

School of Visual Arts, MA Curatorial Practice

132 West 21st Street, 10th floor, New York City.

From top: Katarina ZdjelarShoum, 2009, Tent, Rotterdam, installation view; Em’kal Eyongakpa, Breathe II, 2013, Sharjah Art Foundation; Lucy Cotter, editor, Reclaiming Artistic Research, Hatje Cantz; Euridice Zaituna Kala, Measure the Valley, 2018, Résidences Internationales d’Artistes MAGCP; Sky Hopinka, film still. Images courtesy and © the artists, photographers, venues, and publishers.

CAROLYN CHRISTOV-BAKARGIEV

“I don’t believe curatorial or artistic practice is immediately a political act. I’m interested in how knowledge is constructed—to observe art on the micro level of a single artwork and see how it’s negotiated in the world. At the same time, everything we do, including art, is political, one way or another…

“Some [art fairs] are based on a naïve idea that if you get a large audience you can achieve more of a cultural impact… I think that in international exhibitions, more depth is needed—these exhibitions are usually researched and prepared too quickly for that depth to be achieved…

“I’m intentionally moving attention away from the auteur-curator… The group exhibition is in crisis because of too much attention paid to curatorial practice… I believe in intuition. Thinking about process is overly self-conscious, and analyzing everything contributed to the failure of post-modernism…

“In this age where everything is revealed, the only interesting sphere is what is invisible.”

— from Carolee Thea, interview with the curator Carolyn Christov-Bakargiev, in On Curating: Interviews with Ten International Curators, ed. Thea and Thomas Micchelli (New York: D.A.P., 2007), 68–79.

See Christov-Bakargiev on Documenta 14: news.artnet.com/christov-bakargiev-on-documenta-14

caroleethea.com

Carolyn Christov-Bakargiev.

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