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His independent publication, CCTV , surveys current practice in Johannesburg and elsewhere, borrowing from the aesthetics of the Medu Art Ensemble Newsletters Rangoato is the key compiler of 56 Years to the Treason Trial , an educational supplement publication that uses inter-generational, interdisciplinary dialogue as a tool for education, published by Keleketla in The field of curating is relatively new and loosely defined within the South African context.

Toward a Curatorial Turn in Education | SpringerLink

With fewer local art galleries and museums than in the West, it is no surprise that contemporary curators in South Africa are few and far between. It is only in the past five years that curating programmes have been introduced at local tertiary institutions. In this presentation I explore the role of the curator as disseminator of information within a South African context, and the function that language serves to facilitate and at times regulate engagement and access to art. It is imperative to look at what constitutes an art audience and how South African publics engage and consumes culture, in order to understand the curatorial field and the extent of its development in the country.

This presentation explores the ways in which curatorial practice is being remoulded through engagement with the wider public realm. It is interested in interventions where the curation of processes, relationships and interactions between artists and publics — as opposed to artistic outcomes — is increasingly foregrounded. It has also been a practice profoundly involved in the generation and assignment of symbolic and financial value to particular works and artists, in which the figure of the curator frequently emerges as a powerful and mythologised actor. The presentation will examine ways in which the metaphor of the gallery has been interpolated into the public realm in South African public art practice.

The presentation will seek to tease out some of the possible implications of these practices for understanding how the role and functions of the curator are being recast, particularly in relation to the quasi-educational role of the curator as a mediator of content. It will additionally consider the extent to which the figure of the curator continues to have meaningful purchase in our context, or not.

He has also been an occasional lecturer at the Wits School of Arts. His creative work has involved extended engagement with the intersection of people and place. I propose to discuss two exhibitions I have curated. The exhibition was conceptualised as a response to the xenophobic violence of May , and attempted to bring together a younger generation of South African artists to think through and question notions of group identity and belonging.

The show was not a critical success, but made visible the work of several younger artists in the museum space, and also began a series of further collaborations between myself and these artists. The second version of the show formed part of the larger exhibition From Pierneef to Gugulective , curated by Riason Naidoo. I had titled the project 23 Kilograms , presenting less an exhibition than a situation in which four artists — Zen Marie, Donna Kukama, Francis Burger and Siemon Allen — would produce new work in response to the luggage limit allowed for international travel.

I reflect on the complexities of the role of the curator in relation to the museum within South Africa, and the position of the South African curator working in the Western, European context. Bettina Malcomess works across disciplines as a writer, lecturer, curator and artist. Her practice is defined by inter-disciplinarity and collaboration. She is a member of the collective, Doing it for Daddy, selected as one of the winners of the Spier Contemporary Art Award She has done several collaborative projects in inner city Johannesburg, including setting up the Keleketla!

Malcomess works in performance under the name Anne Historical.

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Her work engages with public space and site-specificity, both within and outside of art structures. Since Malcomess has been producing the Millennium Bar, a temporary structure consisting of modular units re-configured at different sites, and consisting of fragments collected from demolition sites and scrap yards.

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She has most recently published Not No Place — Johannesburg, Fragments of Spaces and Times , a book on Johannesburg in collaboration with Dorothee Kreutzfeldt, with whom Malcomess also works collaboratively under the name deadheat. Distance always lends us a better eye for labelling the crux of a moment, being immersed in it; we are more likely to believe something exciting is going on and less able to see the moments lasting impact on events which follow.

Here are a few questions I would like to address: Is it sufficient for curation as a professional focus only to be offered at a post-graduate level and what is the value of this? Could the educational focus on grooming arts students in the narrow field of only making art objects, in deference to other related professions, be considered as a metaphor that may be creatively applied by a student to related fields such as curation, theoretical discourse, art criticism or even advertising?

If we accept that there is a current emphasis on curatorial education, how does this change public understanding and perceptions? If we are to consider this moment an educational turn and construct this in a lasting way, it is not merely at the institutional level that we need to be emphasising curatorial practice. Audience recognition of the role of a curator needs development that recognises curatorial practice as an equally valuable creative output and not as an accompanying role or second prize to being an artist. She has worked as a freelance web and print media specialist, arts journalist, and lectured at the Wits School of Art and Vega School of Brand Communication.

She has exhibited and performed as part of the main programme at the Standard Bank National Art Festival.

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Curate Africa is a major project of photography and curation, encompassing the whole of Africa. It makes use of new technology to allow new approaches to how we think about Africa and sets out to mark a departure from histories of representation concerned with African people, places and realities. The project takes place in a different kind of gallery, in several phases, and pushes us to think about questions of space, curation, the archive and the cartography of the continent. Curate Africa urges us to make new connections, both temporally and spatially.

The first phase of the project has a single theme: play.

Expanding Exhibitions: Innovative Approaches to Curating

We are interested in historical and contemporary images of play, with the point of entry being a list of synonyms, including leisure, flirtation, ease, freedom, performance, opportunity, and pause and rejoice. It is particularly the notion of freedom that grabs our interest, as we search for those moments, captured by the lens, often unexpected, that argue for a re- and self-representation of the continent. Her work around archives and curation seeks to shift frames from aesthetics to restorative justice, opening up questions around representation, freedom, trauma and memory in the aftermath of oppression.

Her projects include working with clothing and textile workers in South Africa, as well as an exhibition on the photographs of Edward Curtis and Alfred Duggan-Cronin.


She has recently returned from a guest lectureship at the Rhode Island School of Design. I will take an in-depth look at the strategy and thinking behind the show, and some of the challenges too. I will also explore the relationships between works across different eras, genres and media, as well as touch on the diverse response to the show in the media and by the public.

He co-curated a retrospective exhibition on veteran artist Peter Clarke b. In , he curated From Pierneef to Gugulective , an extensive exhibition of almost artworks, that showcased a century of South African art shown at the SANG. Between he curated several exhibitions on the work of veteran photographer Ranjith Kally b. If only he had a desalination plant. Museum culture can be a bit like this — all the culture in the world without the means and desire to process it. There is no shortage of production continentally, but there is a dearth of processing.

And this dearth of processing has meant there is excess room for exploiting a commodity market. The museum is the space par excellence for the creation of the latter day commodity. After a generation of form following function, form now taking precedence does call for a new look at cultural production. The return of the museum, and by extension the gallery space, to a place of learning, is related to the mode that art is taking.

The auto-ethnographic relies on definition and explanation, and the museum has to meet this demand. This is not to argue that art through the ages has not relied on narrative for understanding, just that a self-reflective state as the present is poignant in its dominance. Looking at the art market, the exploitation of this excess is inevitable. The Global North is interested in Southern Cultural production for the very fact of its local neglect.

Creating a market governable from the North is not a bad idea if you are from the North. I am going to look at how unused excess within the museum has allowed for the emergence of a particularised educational turn. His work media includes multiples, music, websites, writing and audience participation. His work creates debate, instead of representing preconceived concerns defined by specific social, cultural and political cant. This short-term training program offers curators the chance to develop their exhibitions ideas and make connections to professionals in the field, providing the opportunity to forge new international networks through peer-group education.

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This presentation will introduce the ideas behind the program and the type of international networks that are possible through it. Prior to this he was the Senior Director at the Project in New York, where he worked on developing the careers of a roster of 21 artists, as well as the Director of MC, in Los Angeles, a gallery dedicated to the production and presentation of new solo projects by internationally established artists. In he co-founded ART of Los Angeles, a non-profit organization that incorporated gallery-based exhibitions, panel discussions and screenings.

Entitled Critical Curating , the workshops focused on contemporary curatorial discourse and addressed the pluralities of curatorial practice today. As part of the training, the participants conceptualized and presented curatorial proposals for comment, and where possible they also interacted with local curators from South Africa.

To this effect, looking at the alleged or actual divide between the global South and the global North, this presentation looks at the rather Euro-American standpoint of the field of curatorial studies programmes. Whether in South Africa or elsewhere, the majority of cultural producers and academics who have established curatorial training courses during the last decade s never enrolled in a curatorial course themselves.

The lecture will be held in English. The group exhibition-form has become the primary site for curatorial experimentation and, as such, represents a relatively new discursive space around artistic practice. Paul O'Neill will look back at some of his exhibitions, and describe how cumulative and expanding exhibition-forms can constitute an investigation into how the curatorial role is made manifest through cohesive and co-operative exhibition-making structures applied during all stages of the exhibition production.

In doing so it will explore certain concepts of the discursive, the durational and the educational turns in contemporary curating. The workshop will explore how different group exhibition-forms have investigated how the curatorial is made manifest, through cohesive and co-operative exhibition-making structures applied through close involvement of all those involved, where multiple actors and agencies are at work during different stages of exhibition production.

It will begin by exploring how exhibitions create certain social and spatial relations for the viewer, and how the an understanding of the exhibition-as-medium, and the exhibition-as-form, and their different durational dimensions are being contested. This workshop will continue to address the on-going 'discursive turn' in contemporary curating to the more recent 'educational turn' in a way that seeks a critical reconstruction of 'the exhibition' and 'the school' in curating and discursive practices.

Key terms to be explored will be the curatorial, collaboration, duration, participation, ritual, citizenship, sociality, relationality, publicness, attentiveness, and the discursive. What was a School? Some of the key issues will be orientated around concepts of participation, ritual, citizenship, sociality, relationality, and the discursive. The presentation will be followed by discussion.

However, the workgroups will be encouraged to replace these questions with another agenda, if these questions do not match their interests.

an annual colloquium on curating

The experience of school. Each participant will be asked to talk about their experience of exhibition viewership and their experience of schooling, and how their experience was structured, organized, displayed. Particular attention will be focused on the question of self-discipline and the experience of norms of behavior and how these are encountered in the situation of schooling and the situation of exhibition. The broad goal of this discussion will be to identify the how exhibition and schooling are similar and are different in terms of the shaping of our behaviors and our subjectivities.