This timely publication fills a significant gap in literature on the role curator, the art and science of curating, and the historical arc of the field from the 17th century to the present. Accessible and engaging chapters cover diverse, contemporary methods of curation, its origin and history, current and emerging approaches within the profession, and more. Part of the Blackwell Companion series, this much-needed book provides up-to-date information and valuable insights on the field of curatorial studies and curation in the visual arts. From Wiley: DESCRIPTION The definitive reference text on curation both inside and outside the museum A Companion to Curation is the first collection of its kind, assembling the knowledge and experience of prominent curators, artists, art historians, scholars, and theorists in one comprehensive volume. The author further suggests that a less hegemonic, if not disbursed curatorial methodology of recent emergence signals a turn away from dated “auteur-curator” models of exhibition making, even entailing a new, anarchic curatorial practice issuing from an Asian South that currently finds itself barreling toward an increasingly post-global, post-colonial, and ultimately decolonial condition. one that regards the biennial as “text” over material “spectacle,” the author argues for greater appreciation of the embedded and structural nature of curatorial practice in narratives issuing from various institution histories, exhibition histories, and art histories (whether regional or global in nature). Employing what is described as a discursive criti-curatorial methodology, i.e. The author raises the importance of thi practice to contend with new decolonial spaces of variously conceptual and material dimension. The 11,000+ word essay focuses on the emergence of three contemporaneous biennials in Thailand in 2018 as an instructive case study in order to explore the artistic, social, and political trajectories of “contemporary curatorial practice” in the region. D’Souza, Nora Sternfeld, Fatoş Üstek, Katerina Valdivia Bruch, Mirjam Varadinis, Raluca Voinea, Wilson Yeung Chun Wai, Bart Wissink, Beat Wyss, Xinming Xia, Nathalie ZonnenbergĬhapter in Bradford Buckley and John Conomos, eds., A COMPANION TO CURATION (Wiley-Blackwell, January 2020). Patel, Delia Popa, Farid Rakun, Raqs Media Collective, Dorothee Richter, Roma Jam Session art Kollektiv, Miriam La Rosa, Mona Schubert, Henk Slager, Robert E. Flores, Natasha Ginwala, Eva González-Sancho Bodero, Resmi Görüş, Martin Guinard, Bregtje van der Haak, Catalina Imizcoz, Răzvan Ion, Andrés Jaque, Melody Du Jingyi, Anni Kangas, Daniel Knorr, Omar Kholeif, Ronald Kolb, Panos Kompatsiaris, Yacouba Konaté, Daniela Labra, Ilse Lafer, Ippolito Pestellini Laparelli, Bruno Latour, Teobaldo Lagos Preller, Eva Lin, Yung Ma, Anna Manubens, Sarat Maharaj, Oliver Marchart, Federica Martini, Vittoria Martini, Lara van Meeteren, Louli Michaelidou, Christian Morgner, Gerardo Mosquera, Bonaventure Soh Bejeng Ndikung, Rafal Niemojewski, Ksenija Orelj, Anita Orzes, Shwetal A. Contributors Agustina Andreoletti, Rasheed Araeen, Defne Ayas, Marco Baravalle, Alessia Basilicata, Julia Bethwaite, Amy Bruce, Sabeth Buchmann, Vasyl Cherepanyn, Sven Christian, Ana Paula Cohen, Giulia Colletti, Catherine David, Ekaterina Degot, Diana Dulgheru, Per Gunnar Eeg-Tverbakk, Okwui Enwezor, Brandon Farnsworth, Rime Fetnan, Patrick D. With a mix of over sixty new contributions and reprints of important articles for the biennale discourse this issue is like a biennale: too much to experience at once. With this edition of the journal, we wanted to include a variety of cases and research areas, not ordered along a historical trajectory, but rather, ordered by theme. With all their underlying deficiencies (canonical, hegemonic, colonialist, hot money-funded, politically influenced, hierarchical), biennials tend to establish international discourse, at best, rooted in local cultural specificities and contexts. Biennials are each in their own way a complex constellation of different economical and geopolitical, and representational cultural aspects within its own power relations.
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