Talks

Curating in Feminist Thought: Nkule Mabaso

Feminist Urgencies in Collaborative Artistic/Curatorial Practise in SouthAfrica

Symposium Curating in Feminist Thought
Friday 6th of May 2016 at Migros Museum
Saturday 7th of May 2016 at Zurich University of the Arts

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

Nkule Mabaso, 1988, graduated with a Fine Arts degree from the University of Cape Town and received a Masters in Curating at the Zurich University of the Arts. She has worked as Assistant Editor of the journal
OnCurating.org and founded the Newcastle Creative Network in Kwazulu Natal. As an artist she has shown work in Denmark, Switzerland, South Africa, Germany and Zimbabwe. She has curated shows and organized public talks in Switzerland, Malawi, Tanzania and South Africa. Currently a PHD Candidate at the Rhodes University, South Africa, and curator of the Michaelis Galleries at the Michaelis School of Fine Art  at the University of Cape Town.

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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?