Share on FacebookTweet about this on TwitterShare on Google+Email this to someonePrint this page

Talks

Curating in Feminist Thought: Amelia Jones

Feminist Subjects versus Feminist Effects: The Curating of Feminist Art
(or is it the Feminist Curating of Art?)

Symposium Curating in Feminist Thought

Friday 6th of May 2016,  Migros Museum
Saturday 7th of May 2016, Zurich University of the Arts

See all contributions here: https://vimeo.com/album/4426824

 

Amelia Jones is the Robert A. Day Professor in Art and Design and Vice-Dean of Critical Studies at the Roski School of Art and Design at University of Southern California; she has also taught at University of California, Riverside, University of Manchester (UK), and McGill University (Canada). A curator as well as a theorist and historian of art and performance, her recent publications include Perform Repeat Record: Live Art in History (2012), co-edited with Adrian Heathfield, a single authored book Seeing Differently: A History and Theory of Identification and the Visual Arts (2012), the edited volume Sexuality (2014), and, co-edited with Erin Silver, Otherwise: Imagining Queer Feminist Art Histories (2015). Her exhibition Material Traces: Time and the Gesture in Contemporary Art took place in 2013 in Montreal, as did the event Trans-Montréal (Performance Studies International, 2015) and Live Artists Live took place at USC (2016); both of the latter included performances and lectures.

––––––––
Concept by Elke Krasny, Lara Perry, Dorothee Richter
With contributions by Amelia Jones, Maura Reilly, Helena Reckitt,
Sigrid Schade, Dorothee Richter, Lara Perry, Elke Krasny,
Hilary Robinson, Stella Rollig, Lina Džuverović and Irene Revell,
Laura Castagnini, Susanne Clausen, Michaela Melian, Nkule Mabaso

Videoprogramme with works by Martina Mullaney, Szuper Gallery,
Plan C, Liv Wynter, Louise Fitzgerald, PUNK IS DADA

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. “To think of institutions in terms of production (of work and discourse and political practice and solidarity) instead of representation would be, to my mind, a first feminist step”. With this provocation the curator Ruth Noack invited us in 2013 to rethink the nature of feminist critique of the museum, the gallery, the exhibition space. Is access to the representational space of the museum a meaningful or adequate tool for feminism? Can such occupations mobilize sufficient means to reform the social function of exhibition? In recent years the role of the curator has increasingly become identified with “the new economic conditions that require new contexts of collaboration and interaction” (Olga Fernandez), conditions which are identified with celebrity and authority as well as precarity and casualization. What is the gendered nature of the power relations, effects, inconsistencies and contradictions of curating in the present? And how can feminism help us to rethink the role of the curator?