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Jahresring #63
SouthEastAsia Spaces of the Curatorial/Räume des Kuratorischen: Jahresring 63
The curatorial challenges of working in Southeast Asia are explored in the new Jahresring journal, an annual series of interdisciplinary, discursive readers. Southeast Asia is experiencing accelerated global visibility and strong nation- and institution-building. Given this dynamic, how do curators engage with the intricacies of each place? How do they respond to the specificities of a location in the context of the international art world? The diversity of voices in this issue mirrors the complexity of the region itself: its various curatorial spaces, infrastructures and political systems. What emerges is a highly diverse art system that shifts away from traditional formats to embrace new or alternative platformsfrom symposia to fieldworkwith the aim of emphasizing curating as a process of critical thinking that goes beyond presentations and representations. Featured contributors include Ute Meta Bauer, Zoe Butt, Kevin Chua, Patrick D. Flores, Gridthiya Gaweewong, Tony Godfrey, Yin Ker, Eileen Legaspi-Ramirez, Seng Yu Jin, Simon Soon, Nora A. Taylor David Teh.
- GenresArt
288 pages, Paperback
Published January 1, 2016
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January 13, 2020
If the "curatorial" owes some of its operative logic to the faculty of reason from the Enlightenment but is also a thinking process that emerged in the era of late capitalism - what about things that lie outside of this framework?
When looking at the region of Southeast Asia: An understanding of the world does not stem from the violent enterprise of mapping. It has less to do with how many disciplinary terrains, knowledge, domains and geographical localities one can traverse and bind together through the stagecraft of the curatorial.
The book kind of just looks at the idea of the curatorial and how it functions in the context of southeast asian art and artists and whether the model of curating works in relation to the politics and 'urgencies' of the region, or if in imposing this institutional model we conform southeast asia to a performative curation?
When looking at the region of Southeast Asia: An understanding of the world does not stem from the violent enterprise of mapping. It has less to do with how many disciplinary terrains, knowledge, domains and geographical localities one can traverse and bind together through the stagecraft of the curatorial.
The book kind of just looks at the idea of the curatorial and how it functions in the context of southeast asian art and artists and whether the model of curating works in relation to the politics and 'urgencies' of the region, or if in imposing this institutional model we conform southeast asia to a performative curation?
Displaying 1 of 1 review