XV. Curating the Most Beautiful Kunsthalle in the World

29 Novembre 2011

Celine Condorelli and Jens Hoffmann<br />
Photo: Jacopo Fiorancio Dirk Snauwaert<br />
Photo: Jacopo Fiorancio Bruce Altshuler<br />
Photo: Jacopo Fiorancio Maria Lind<br />
Photo: Jacopo Fiorancio Dirk Snauwaert<br />
Photo: Jacopo Fiorancio Filipa Ramos and Maria Lind<br />
Photo: Jacopo Fiorancio Teresa Gleadowe, Christian Rattemeyer and Bruce Altshuler<br />
Photo: Jacopo Fiorancio Teresa Gleadowe, Christian Rattemeyer and Bruce Altshuler<br />
Photo: Jacopo Fiorancio Teresa Gleadowe, Christian Rattemeyer and Bruce Altshuler<br />
Photo: Jacopo Fiorancio Raimundas Malasauskas and Jens Hoffmann<br />
Photo: Jacopo Fiorancio Christian Rattemeyer and Bruce Altshuler<br />
Photo: Jacopo Fiorancio Teresa Gleadowe, Christian Rattemeyer and Bruce Altshuler<br />
Photo: Jacopo Fiorancio Raimundas Malasauskas<br />
Photo: Jacopo Fiorancio Raimundas Malasauskas and Jens Hoffmann<br />
Photo: Jacopo Fiorancio Dirk Snauwaert<br />
Photo: Jacopo Fiorancio Jens Hoffmann<br />
Photo: Jacopo Fiorancio

The fifteenth encounter of The most beautiful Kunsthalle in the world takes the shape of a workshop dedicated to probably the most complex and controversial problem of the exhibiting practices of contemporary art, as it will analyze the history, role, and physiognomy of the curator.
For this, the Antonio Ratti Foundation invited nine amongst the most prestigious researchers, thinkers, and curators to discuss three specific aspects of the question in cause: the historicity of the figure of the curator: the origin and transformations of her/his role and function during the second half of the Twentieth century;
The format of the exhibition, or better that of the exhibitions, as we need to think in plural to cross the whole range that goes from the monographic to the thematic show, to the diverse manifestations of the international large exhibitions;
- the plurality of the institutions and the role of the curator within them, from the museum, where the problems of the permanent collection cross those of the exhibition practices; to the contemporary art centres, art galleries and the periodical manifestations that spread on the shadow of the Venetian Biennale.


10am
Introduction: Marco De Michelis/Filipa Ramos
Keynote Speaker: Maria Lind

11am - 1pm
1. The canon
Teresa Gleadowe
Bruce Altshuler
Christian Rattemeyer

2:30 - 4.30pm
2. The exhibition
Jens Hoffmann
Celine Condorelli
Raimundas Malašauskas

5 - 7pm
3. The institutions
Chus Martínez
Dirk Snauwaert





Nikolaus Hirsch

Maria Lind
Prior to assuming her duties at Tensta Konsthall 1 January, 2011, Maria Lind was director of the Masters Programme at the Center for Curatorial Studies at Bard College in New York (2008-2010). She was head of Iaspis in Stockholm in 2005-2007 and head of Kunstverein Munchen in 2002-2004. From 1997 to 2001 she was a curator at Modern Museet and in 1998 a cocurator of Manifesta 2, Europe’s art biennale. Responsible for Moderna Museet Projekt, Lind worked with artists on a series of twenty-nine commissions that took place in a temporary project space, or within or beyond the Museum in Stockholm. There she also curated “What if: Art on the Verge of Architecture and Design,” filtered by Liam Gillick. Lind has contributed widely to magazines including Index (where she was on the editorial board), and to numerous catalogues and other publications. She is co-editor of the recent booksCurating with Light Luggage and Collected Newsletter (Revolver Archiv für aktuelle Kunst), Taking the Matter into Common Hands: Collaborative Practices in Contemporary Art (Blackdog Publishing), as well as the reportEuropean Cultural Policies 2015. She has been teaching and lecturing at different art schools since the early 1990s, including the University Colleges of Fine Art in Umeå and Stockholm, the Royal College of Art and Goldsmiths College in London, Bard Center for Curatorial Studies in Annandale-on-Hudson, the Emily Carr Institute of Art in Vancouver, and the Academy of Fine Arts in Oslo and Munich. Maria Lind was educated at Stockholm University and at the Whitney Museum’s Independent Study Program in New York. Since the beginning of the 1990s she has been working as an art critic and her book, Selected Maria Lind Writing, was recently published by Sternberg Press (Berlin). In 2009 she received the Walter Hopps Award for Curatorial Achievement.

Information Sheet Maria Lind.pdf

Nikolaus Hirsch

Teresa Gleadowe
Teresa Gleadowe è curatrice, editor e scrittrice. Inizia la sua carriera negli anni Settanta a Nottingham, prima come assistente per il Festival di Nottingham, poi come co-.fondatrice della rivista Platforms. Dal 1978 al 1989 lavora per il  Visual Arts Departments del British Council sia come Curatrice che come Assistant Director responsabile della collezione e delle mostre.
Dal 1989 al 1992 riveste il ruolo di Head of Information presso la Tate Gallery.
Nel 1992 fonda il “Curating Contemporary Art programme” presso il Royal College of Art di Londra e lo dirige fino al 2006.
Negli ultimi due anni ha insegnato presso il CCA (California  College of the Arts) di San Francisco, il De Appel di Amsterdam e, presso il London Consortium MA film Curating.
Inoltre, negli ultimi anni, ha partecipato a conferenze a Varsavia, Banff e Amsterdam e, nel 2009 ha curato una mostra presso il Chelsea Space, dal titolo: “ Dematerialised: Jack Wendler Gallery 1971 to 1974”.
Ha svolto anche attività di consulenza per la Ikon Gallery a Birmingham e per la White Chapel Art Gallery.
Ha, inoltre, promosso e sostenuto la Falmouth Convention che, si è tenuta a Falmouth nel maggio nel 2010, anche grazie alla collaborazione e all’impegno dell’University College di Falmouth, ProjectBase, Tate St Ives e Arts Council England.
Attualmente scrive per “Art Monthly” ed è Editor e Research Consultant per la nuova serie di libri “Exhibitions Histories” pubblicati da Afterall.

Information Sheet Teresa Gleadowe.pdf

Nikolaus Hirsch

Bruce Altshuler
Attualmente direttore del Program in Museum Studies presso la New York University, Bruce Altshuler ha da alcuni anni concentrato i suoi interessi di studioso nell’ambito della storia delle esibizioni e nell’analisi delle modalità di gestione dei musei.
Dopo aver conseguito un dottorato di ricerca in filosofia all’Università di Harvard, negli anni ‘80 viene introdotto nel mondo dell’arte contemporanea come direttore associato della Zabriskie Gallery di New York. Sono questi gli anni in cui Altshuler consolida la propria attività di conoscitore della storia dell’arte del ‘900, qualità che lo conduce dapprima a diventare membro del consiglio di amministrazione della Isamu Noguchi Foundation ed in seguito direttore dello stesso museo, fino al 1998.
Oltre ad aver ricoperto la carica di direttore degli Studies for the Graduate Programs e la vice presidenza di Christie’s Education per la sede di New York, è stato membro del comitato direttivo dell’International Association of Art Critics/United States Section.
Durante la sua decennale attività ha concentrato inizialmente i suoi interessi sia su alcuni movimenti delle avanguardie storiche sia sull’arte americana del dopoguerra, per arrivare infine a dedicare la sua maggiore attenzione a tematiche museologiche e curatoriali.
Di particolare rilievo le sue ricerche sulle esibizioni che hanno fatto la storia dell’arte del ‘900. Il volume pubblicato da Phaidon nel 2008 Salon to Biennial: Exhibitions That Made Art History, Volume 1: 1863­–1959 è il punto di inizio di una storia che arriverà fino ai nodi cruciali dei giorni nostri. Di qualche anno precedente il suo testo Colletting the New: Museums and Contemporary art (Princeton University press, 2006) concretizza invece l’attenzione sull’impegno e le sfide che devono affrontare i musei per acquisire e preservare l’arte contemporanea.
Queste problematiche sono state inoltre brevemente approfondite in alcuni saggi inclusi all’interno di riviste specializzate (fra le altre Manifesta Journal, Tate Etc.).

Information Sheet Bruce Altshuler.pdf

Nikolaus Hirsch

Christian Rattemeyer
Dopo aver concluso gli studi all’Università di Berlino e alla Columbia University, dottorato in Storia dell’Arte, Christian Rattemeyer  è stato curatore per Artists Space a New York (2003-2007); editore della comunicazione per l’evento Documenta 11 a Kassel; fondatore e co-direttore di OSMOS, un progetto per uno spazio indipendente per l’arte a Berlino.
In seguito ha collaborato con le riviste Parkett, Texte zur Kunst, Artforum e Art Papers, ed ha inoltre curato festivals cinematografici e di architettura a Berlino, Los Angeles, Londra e New York.
Rattemayer  ha insegnato in numerose università e scuole d’Arte tra le quali l’MFA Program e il centro per gli studi curatoriali Bard College.
Attualmente  è curatore al dipartimento Disegni presso il Museum of Modern Art di New York, oltre ad essere membro della facoltà della Parsons School of Design di New York.
Al MoMA, Rattemeyer ha curato nel 2007 l’ esposizione “Lines, Grids, Stains, Words” e nel 2009 “Compass in Hand: Selections from The Judith Rothschild Foundation Contemporary Drawings Collection” : l’evento è stato definito la più grande mostra di disegni dell’intera storia del Museum of Modern Art.
Nel 2011 ha curato le mostre “I Am Still Alive: Politics and Everyday Life in Contemporary Drawing”e “Projects 95: Runa Islam”, mentre per il 2012 è prevista l'esposizione “Alighiero Boetti: Game Plan” in collaborazione con i musei Reina Sofia e Tate Modern.
Attento scrittore di arte moderna, Rattemayer ha pubblicato il libro “Exhibiting the New Art: ‘Op Losse Schroeven’ and ’When Attitudes Become Form’ 1969”.
Il libro si pone l’obiettivo di indagare l’innovativo panorama artistico degli ultimi anni ’60 attraverso le due esposizioni 'Op Losse Schroeven' and 'When Attitudes Become Form' dei curatori Wim Beeren and Harald Szeemann rispettivamente allo Stedelijk Museum di Amsterdam e alla Kunsthalle di Berna.

Information Sheet Christian Rattemeyer.pdf

Nikolaus Hirsch

Jens Hoffmann
Jens Hoffmann (*Costa Rica, 1974) is the Director of the Wattis Institute for Contemporary Arts at the California College of the Arts in San Francisco.
From 2003 to 2007 he was the Director of Exhibitions at the Institute of Contemporary Arts in London. He has curated over three dozen exhibitions internationally since the late 1990s. Most recently he was co-curator of the 2nd San Juan Triennial, Puerto Rico, 2009 and is currently co-curating, with Harrell Fletcher, the People's Biennial, to be held in 2010 at five US museums, organized by Independent Curators International in New York.
In 2009 Hoffmann founded The Exhibitionist: A Journal for Exhibition Making. He was nominated by the Menil Collection in Houston for the Walter Hopps Award for Curatorial Achievement in 2008. Hoffmann is currently the curator, with Adriano Pedrosa, of the 12th International Istanbul Biennial in 2011.
Emerging, unusually, from a training in theatre rather than art history or curatorial studies, Hoffmann has used his directorial knowledge in particular to articulate his unique approach to curating. Of key importance for all of his exhibitions is the actual staging of the experience—ranging from the design of the space and installation, the conceptualization of the catalogue and related programming, to the attention paid to the performance of the work itself. The ‘stage-set’ or rather the exhibition space, site, or geographical location is itself an important factor in the development of his ideas which respond to both time and place. Hoffmann takes into account both the larger historical and socio-political context in which an exhibition takes place as well as the relevant curatorial or art historical relationships pertaining to a project. Using the ideas and strategies of artists, in particular conceptual art, and applying this approach to a curatorial idea of the author is a defining characteristic of Hoffmann’s work and results in a highly unique practice and personalized exhibition history reflective of a creative development not dissimilar to that of an artist.
He is a lecturer at the Curatorial Practice Program of the California College of the Arts in San Francisco, a guest professor at the Nova Academia di Bella Arti in Milan and an adjunct faculty member of the Curatorial Studies Program of Goldsmiths College, University of London.
Hoffmann was trained as a theater director and studied Stage Directing, Dramaturgy and Cultural Sociology at the Ernst Busch School for Performing Arts in Berlin. He holds an MA in Theater from DasArts – School for Advanced Research in Theatre and Dance Studies at the Amsterdamse Hogeschool voor de Kunsten, Amsterdam.
He has written more than 150 articles on art and curatorial practice for art magazines and museum publications over the last decade. His most recent books include The Next Documenta Should be Curated by An Artist (Revolver 2004, Frankfurt), Perform, coauthored with Joan Jonas (Thames & Hudson 2005, London). He is currently working on SHOW TIME (Thames & Hudson 2011, London).


Information Sheet Jens Hoffmann.pdf

Nikolaus Hirsch

Celine Condorelli
Celine Condorelli, broadly speaking, works with art and architecture, combining a number of approaches from developing possibilities for ‘supporting’ (the work of others, forms of political imaginary, existing and fictional realities) to broader enquiries into forms of commonality and discursive sites, resulting in projects merging exhibition, politics, fiction, public space and whatever else feels urgent at the time.
She has been interested in the role and nature of what I call ‘support’ through three specific, yet parallel and simultaneous strands:
The first one is thinking the role of support through the performative and the theatrical, as stages and staging devices through projects like 'Revision, part 1 and 2' (Artists Space, NY 2009, and Cell Projects Space, London 2010), Alterity Display (O’Hana Gallery, London, 2004), Theatre Pieces (stage/public plaza at Tate Triennial, London, 2006), and Green Room (White House) (a temporary public square/theatre in 4’33’’, Bregenzer Kunstverein, 2007).
The second one addresses support through structures, with the 10-phase project Support Structure, with artist-curator Gavin Wade (various sites, 2003-2009), resulting in her recently published book Support Structures (Sternberg Press, 2009), which is both a project and the creation of the first bibliography, or a reader, for a type of practice.
Finally, the third movement explores forms of commons and commonality, making a small, specific cut into the large question of how to live autonomously and together by focusing on old and new enclosures, forms of communing and of being in common. This aspect of her practice focuses on property relations and the quotidian, as for example in Life Always Escapes (Generosity is the new political, Wysing Arts, 2009), and the text piece of the same title (e-flux journal, 11/2009).

Information Sheet Celine Condorelli.pdf

Nikolaus Hirsch

Raimundas Malasauskas
Raimundas Malašauskas è curatore e scrittore. Nato a Vilnius nel 1973, dal 1995 al 2006 ha lavorato presso il Contemporary Art Centre (CAC) di Vilnius, dove ha prodotto le prime due stagioni del programma televisivo CAC TV, una sorta di fusione sperimentale fra televisione commerciale e arte contemporanea sancita dallo slogan: “Every program is a pilot, every program is the final episode”. Co-produttore di The So-Called Records, nel 2005 ha co-curato assieme ad Alexis Vaillant e Sofia Hernández Chong Cuy, “BMW. The IX Baltic Triennial of International Art” presso il CAC di Vilnius. Nel biennio 2007-2008 è stato visiting curator presso il California College of the Arts di San Francisco e curator-at-large presso Artists Space di New York. Nel 2007 è stato co-autore del libretto di Cellar Door, un’opera di Loris Gréaud prodotta a Parigi. Nel suo lavoro Malašauskas investiga i campi della cosiddetta eventologia, della tele-action e della con-art. Tra le esposizioni da lui curate: “Out Trip Out West, Pierre Bismuth & Jonathan Monk” (CAC Vilnius, 2001); the “Bi-Fi” series of events (sedi varie New York, 2001-2003); “24/7 Wilno – Nueva York” (CAC Vilnius, 2003); “Elektrodienos: Unidentified Audio Object” (CAC Vilnius, 2004); “PR 04 (A Tribute to the Messenger)”, Porto Rico, 2004; “Sculpture of the Space Age” (David Roberts Art Foundation, Londra, 2009); “Into the Belly of a Dove” (Museo Rufino Tamayo, Città del Messico, 2010); e “Repetition Island” (Centre Georges Pompidou, Parigi, 2010). Tra le interviste si ricordano quelle a George Maciunas (psico-intervista), Seth Siegelaub, Rammelzee, Darius Miksys e Tino Sehgal. Altri suoi progetti recenti, come The Hypnotic Show e The Clifford Irving Show, sono tuttora in corso.


Information Sheet Raimundas Malasauskas.pdf

Nikolaus Hirsch

Chus Martinez
Chus Martínez has a background in philosophy and art history. She is dOCUMENTA (13) Head of Department, and Member of Core Agent Group, as well as Associate Curator at MACBA, Barcelona, where she was Chief Curator from 2008 to 2010. Previously she was Director of the Frankfurter Kunstverein (2005–08) and Artistic Director of Sala Rekalde, Bilbao (2002–05). For the 50th Biennale di Venezia (2005), Martínez curated the National Pavilion of Cyprus, and in 2010 served as a Curatorial Advisor for the 29th Bienal de São Paulo. She lectures regularly and has written numerous catalogue texts and critical essays.



Nikolaus Hirsch

Dirk Snauwaert
Dirk Snauwaert (*Tielt, 1963) is the artistic director of WIELS Contemporary Art Centre in Brussels since 2005. He was formerly joint artistic director of the IAC Institut d’Art Contemporain in Villeurbanne/Lyon, responsible for the programming of exhibitions and the development of the FRAC Rhône-Alpes collection.
From 1996 to 2001, he was director of the Munich Kunstverein. From 1989 to 1995, he was responsible for the programming of contemporary art at the Exhibitions Association of the Palace of Fine Arts in Brussels. He organised and co-ordinated monographic and thematic exhibitions. He lectures and publishes regularly on art and visual culture. He was a member of the “Advisory board of the Flemish Community of Belgium and also responsible for its acquisitions between 2004-2006. Among his other positions, Dirk Snauwaert sat on several juries and committees such as “l’Action Française d’Action Artistique-AFAA in 2001-2002, the DAAD Berliner Künstlerprogram (in 1997-2002), in the international board of the Generali Foundation Vienna in 2010-2012, of the Office for Contemporary Art Oslo, advisory member of the Allianz Cultural Foundation (D), the acquisition committee of FRAC Pays de la Loire (F). For Wiels he recently curated the exhibitons of Anne Mie Van Kerckhoven, Bruno Serralongue, "Expats-Clandestines", Luc Tuymans, Andro Wekua, "Rehabilitation", Francis Alÿs, David Claerbout, and coordinated several others. He also curated the exhibition by Jef Geys for the Belgian pavilion at the 53 Venice Biennial.

Information Sheet Dirk Snawaert.pdf

The Exhibition: debate