Mobile Academy Berlin, Blackmarket for useful knowledge and non-knowledge No 10: "Who Will Have Been to Blame”, Wiener Festwochen, 2008, Vienna, Austria. Image: Stefan Beer.
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In this lecture Nina Möntmann examines recent exhibitions that serve as examples of her take on the curatorial as a transdisciplinary method to activate and intervene into real-life contexts. These projects, organized by a diverse range of collectives, curators, architects or theater makers, mobilize domestic, urban and political zones in order to encourage participation in systemic social transformation. Here the notion of curatorial mediation is extended to the production of public discourse around specific topics, such as black market economies or artistic censorship. The central task for curating today, then, involves intersecting with conflicts in various social and economic sectors and integrating them into processes of construction. By researching and acting beyond the margins of the conventional cultural field, curators can critically investigate pressing concerns and seek out new methodologies to effect social change.
This event is part of Curating the social: Meet me at the empty centre, a residency examining the curator’s role in facilitating social practice in contemporary art, foregrounding the ethical questions of their involvement. It is developed by PRAKSIS in partnership with Norsk Kuratorforening (The Norwegian Association of Curators) and curator and writer, Natasha Marie Llorens.
This event has been arranged with the support of KORO (Public Art Norway).
Möntmann is an art historian, curator and writer. She has been Professor of Art Theory and the History of Ideas at the Royal Institute of Art in Stockholm, and curator at NIFCA, the Nordic Institute for Contemporary Art in Helsinki. Recent exhibitions include: Fluidity (Kunstverein in Hamburg 2016); Harun Farocki: A New Product (Deichtorhallen Hamburg, 2012); If we can't get it together. Artists rethinking the (mal)functions of community (The Power Plant, Toronto, 2008); The Jerusalem Show: Jerusalem Syndrome (co-curated with Jack Persekian), 2009; the Armenian Pavillion for the 52nd Venice Biennial.
Recent publications include Kunst als Sozialer Raum, (Cologne, König Books, 2002 / 2017); and the edited volumes Brave New Work. A Reader on Harun Farocki’s film ‚A New Product’, engl./dt. (Cologne, Verlag der Buchhandlung Walther König, 2014); Scandalous. A Reader on Art & Ethics (Berlin, Sternberg Press, 2013); New Communities (Toronto, Public Books/The Power Plant, 2009) and Art and Its Institutions (London, Black Dog Publishing, 2006).
Nina Möntmann diskuterer kuratering som en tverrfaglig metode for å aktivere og gripe inn i virkelige hendelser og kontekster. Konflikter, som har oppstått i ulike sosiale og økonomiske sammenhenger, diskuteres som potensielle utgangspunkt for å konstruere nye metoder som kan bidra til samfunnsendring.
Arrangementet gjennomføres med støtte fra KORO (Public Art Norway).
Arrangementet er en del av Curating the social: Meet me at the empty centre, et residency som undersøker kuratorens rolle i forbindelse med sosial praksis og de etiske spørsmålene denne typen prosjekter innebærer. Dette månedslange oppholdet i Oslo ledes av Natasha Marie Llorens, og er et samarbeid mellom PRAKSIS og Norsk Kuratorening.
Nina Möntmann er kunsthistoriker, kurator og skribent. I 2013 var hun redaktør for boken Scandalous: A Reader on Art and Ethics (Berlin: Sternberg Press, 2013) som tar for seg etiske problemstillinger knyttet til kunst som berører virkelige hendelser. Et knippe forfattere fra ulike fagfelt diskuterer bl.a. moralske dilemmaer i arbeidet med relasjonelle kunstprosjekter og representasjon av vold og ydmykelser i den visuelle kulturen. Når blir provokasjon som kunstnerisk virkemiddel kynisk og fornærmende? Finnes "god og/eller hensiktsmessig sensur"? Er etiske betraktninger mer presserende i forbindelse med deltakende kunstprosjekter?
