27-28 de Novembro de 2017
Conferência Internacional: Through, From, To Latin America Networks, circulations and artistic transits from the 1960s to the present
Oradores convidados:
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Carla Macchiavello, PhD, Assistant Professor in Art History,
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Cristiana Tejo, Curator and PhD Candidate in Sociology (UFPE), Recife / LisbonCristiana Tejo é curadora independente e doutoranda em Sociologia (UFPE). Organiza juntamente com Kiki Mazzuchelli a Residência belojardim, no Agreste de Pernambuco. Foi co-fundadora do Espaço Fonte – Centro de Investigação em Arte (Recife) e curadora do Projeto Made in Mirrors, que envolveu intercâmbio entre artistas do Brasil, China, Egito e Holanda. Foi coordenadora-geral de Capacitação e Difusão Científico-Cultural da Diretoria de Cultura da Fundação Joaquim Nabuco e co-curadora do 32º Panorama da Arte Brasileira do MAM – SP, com Cauê Alves. Foi Diretora do Museu de Arte Moderna Aloísio Magalhães, curadora de Artes Plásticas da Fundação Joaquim Nabuco (2002-2006), Curadora do Rumos Artes Visuais do Itaú Cultural (2005-2006), Curadora visitante da Torre Malakoff (2003 – 2006) e curadora do 46º Salão de Artes Plásticas de Pernambuco (2004-2005). Foi curadora da Sala Especial de Paulo Bruscky na X Bienal de Havana, co-curou Brazilian Summer Show – Art & the City (Museu Het Domein, Holanda, 2009) com Roel Arkenstein, Futuro do Presente (Itaú Cultural, 2007) com Agnaldo Farias e Art doesn´t deliver us from anything at all (ACC Galerie, Weimar, 2006). Participou de diversas comissões de seleção e de premiação, entre elas: Bonnefanten Contemporary Art Prize 2014 (Maastricht, Holanda), Videobrasil 2013, Solo Projects – Focus Latin America (ARCO Madri, 2013), Rumos Artes Visuais da Argentina (júri internacional, 2011), Salão de Goiás, Salão Arte Pará, do Programa BNB Cultural, Situações Brasília, entre outras. Lecionou História da Arte nas Faculdades Integradas Barros Melo por 8 anos onde também coordenou o Bacharelado em Artes Plásticas (2008-2009). Publicou Paulo Bruscky – Arte em todos os sentidos (2009), Panorama do Pensamento Emergente (2011) e Salto no Escuro (2012). Foi organizadora do livro Paulo Bruscky – Arte e multimeios (2014) e Cinco Dimensões da Curadoria (no prelo). Contribui regularmente com as revistas Select (Brasil) e Terremoto (México). Vive e trabalha entre Recife e Lisboa. |
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Isabel Plante, PhD, Professor of Art History, CONICET-IDAES/UNSAM, Buenos AiresIsabel Plante is a researcher of the National Conseil of Scientific and Technical Reserches (CONICET) at the Institut for High Social Studies, Universidad Nacional de San Martín (IDAES-UNSAM), Argentina. Her doctoral thesis was published in Argentina in 2013 as Argentines of Paris. Art and cultural travels during the sixties. Her PHD dissertation and current investigation focus on international art exchanges, cultural identification and geographical migrations of artists and visual productions during the 1960’ between Paris and South-American metropolis, such us Buenos Aires. |
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Maria Thereza Alves, Artist, Berlim
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23-25 de Novembro de 2017
Congresso Internacional – A Arte do Ornamento: Sentidos, Arquétipos, Formas e Usos
Oradores convidados:
9-10 de Novembro de 2017
Colóquio Internacional – Projectos Editoriais: República e Estado Novo
Oradores convidados:
6 de Novembro de 2017
International Meeting – Art Exhibitions: Archive, History and Research
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Reesa Greenberg (Carleton University, Ottawa; York University, Toronto)Reesa Greenberg is an Ottawa-based art historian who analyzes the roles of history and memory in recent exhibition practices. Her essays include ‘Remembering Exhibitions’: From Point to Line to Web; Archival Remembering Exhibitions; Editing The Image: Two Onsite/Online Exhibitions; MOMA and Modernism: The Frame Game; and The Exhibition as Discursive Event. She co-edited Thinking About Exhibitions, a key publication in opening the fields of curatorial and exhibition studies. Currently, she is Adjunct Professor of Art History at Carleton University, Ottawa and York University, Toronto. She was Visiting Professor in the Curatorial MA program of the California College of the Arts and taught in the first Moscow Curatorial Summer School.Remembering Exhibitions Online: From Inventory, to Augmented, to Interactive Sites – A Discussion of Taxonomy and ImplicationsAbstract: Since 2008 when I began writing about exhibitions documented online, a lot yet little has changed. In this presentation, I want to reconsider the premises, practices and paradoxes of online exhibition documentation. Much of what I will say can be used to build a provisional, if partial, archeological and interpretive framework of attempts by museums to record their temporary exhibitions.Although digital technologies for recording exhibitions and their dissemination are barely twenty years old, there is an urgency to looking back at what has happened in the digital domain in order to consolidate and remember an already fleeting history. It is my hope that a fuller understanding of past iterations, issues, and implications involved in documenting exhibitions online may lead to more strategic and productive approaches as we move forward. |
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Rémi Parcollet (HICSA université Paris 1 Panthéon-Sorbonne)Rémi Parcollet is art historian. He works on the history of exhibitions, using contemporary approaches to visual archives, digital heritage and humanities, and image processing in the history of museums. He was a postdoctoral fellow at the Laboratoire d’Excellence Création, Art et Patrimoines and worked on setting up the exhibition history program at the Centre Pompidou and initiated the catalogue raisonné of the MNAM-CCI exhibitions. Co-curator of the exhibition Soixante Dix Sept Experiment at the Photographic Center of Ile de France (11th March-16th July 2017) as part of the fortieth anniversary of the Centre Pompidou, he co-directs Postdocument and works in affiliation with the Laboratoire Histoire culturelle et sociale de l’art (HICSA), Paris 1. Rémi Parcollet published « (Re)producing the Exhibition, (Re)thinking Art History. On the Visual Archives of Primary Structures » (Revue Critique d’art, no45, june 2016), «The photographic archives of Pompidou Center» (Cahiers du CAP, march 2015).Exhibition view. The primary sources of exhibition historyAbstract: It is useful to bear in mind that the universal fame of several important exhibitions of the 20thcentury essentially stemmed from the photographs which had molded their “becoming-image”.Following the establishment in 2011 of its research program on the history of exhibitions, the Centre Pompidou decided to catalogue all its past exhibitions using the form of the catalogue raisonné as methodological departure point. But how can the genre catalogue raisonné be adapted to exhibition history? What shape should it take?As often recalled in recent publications concerned with exhibition history, exhibition views appear dominant amongst the various documents used to reconstruct the history of an exhibition. De facto, this kind of archival photograph holds a determining place in the project of the catalogue raisonné of exhibitions. Yet it wasn’t before 2010 that the Centre Pompidou began to digitalize its entire collection of exhibition’s view. This process of inventory being as much the cause as it is the consequence of the production of a catalogue raisonné of exhibitions. An interesting comparison can be established between the Centre Pompidou project and the archival project carried out by the MoMA which following similar intentions, yet using different methods.If the photographic reproduction operates a radical decontextualisation of the work of art, favouring cognition over perception, an exhibition view is determined according to time and space. It is, before, during and after the exhibition, both an indicator and a verifier of information. The indications, which it supplies, establish elements for the critical analysis of an exhibition. Recording an exhibition thanks to the medium of photography has always given rise to objects that allow comparisons and verifications.The importance of archiving and documentation of exhibitions is growing. For this reason, it seems important to compare the collections kept in the archives of the Centre Pompidou with other collections of archives. |
26 – 28 de Outubro de 2017
VII Congresso Mediterrâneo de Estética – Estética, Crítica, Curadoria
Oradores convidados:
19 de Outubro de 2017
Workshop para a Pós-Graduação de Mercados da Arte e Colecionismo, “The Art Market Dictionary: a Global Project”
Oradores convidados:
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Johannes Nathan (Chair at The International Art Market Studies Association).Johannes Nathan studied Art History at NYU (BA) and the Courtauld Institute of Art (MA, PhD). He taught art history at the University of Berne until 2001 when he became director of his family’s Galerie Nathan in Zurich, now Nathan Fine Art in Zurich and Potsdam. He has taught – particularly Renaissance art history and the history of the art market – at the universities of Berlin (TU), Cologne, Leipzig, New York (NYU) and Zurich. In 2012 he co-founded the Forum Kunst und Markt at TU Berlin. With De Gruyter Publishers, Berlin, he initiated the Art Market Dictionary for which he serves as Editor-in-Chief. Among his books are Leonardo da Vinci, The Graphic Work (Cologne 2014, with Frank Zöllner) and The Enduring Instant. Time and the Spectator in the Visual Arts (Berlin 2003, co-edited with Antoinette Friedenthal). |
14,15 e 16 de Setembro de 2017
III Workshop Internacional: Mudanças e Continuidades. História Global, Cultura Visual e Itinerâncias.
Oradores convidados:
26 de Maio de 2017
Post-Internet Cities | International Conference
Oradores convidados:
Hani Rashid, with Lise Anne Couture, is the co-founder of Asymptote Architecture, the highly acclaimed New York City based practice. Through its award winning design for buildings, interiors, installations and masterplans, Asymptote has gained an international reputation for design excellence. Current and recent projects include a commission for the new Hermitage Museum of Contemporary Art, residential towers in the cities of Moscow and Miami, the Yas Viceroy Marina Hotel in Abu Dhabi, UAE, an ING Bank Headquarters in Ghent, Belgium, and the ARC, a multi-media exhibition building in Daegu, South Korea.Hani Rashid also has an ongoing distinguished academic career that includes visiting professorships at the Royal Academy of Fine Arts School of Architecture in Copenhagen, SCI-Arc, the Berlage Institute in Amsterdam, and the ETH in Zurich.He and his partner Lise Anne Couture were awarded the prestigious Frederick Kiesler Prize for Architecture and the Arts in recognition of exceptional contributions to the merging of art and architecture. Asymptote was named by TIME magazine as Leaders in Innovation for the 21st Century.More |
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Marisa OlsonMarisa Olson is an artist, writer, and media theorist. Her interdisciplinary work combines performance, video, drawing and installation to address the cultural history of technology, the politics of participation in pop culture and the aesthetics of failure. These works have been exhibited at the Venice Biennale, Centre Pompidou, Tate(s) Modern + Liverpool, New Museum, the Nam June Paik Art Center, British Film Institute, Sundance Film Festival, Performa Biennial; commissioned and collected by the Whitney Museum, Museum of Modern Art, Houston Center for Photography, Experimental Television Center, and PS122; and reviewed in Artforum, Art21, the NY Times, Frieze, Liberation, the Globe & Mail, Folha de Sao Paolo, the Village Voice, and elsewhere.Marisa Olson has written widely on the relationship between art, politics and media technology. In her essay “Lost Not Found: The Circulation of Images in Digital Visual Culture” (2008), she has coined the term Post-Internet Art, which she has addressed in subsequent publications and also in her curatorial work. She has organised exhibitions in leading institutions such as the Guggenheim Museum, SFMOMA, and Rhizome/New Museum, where she was previously editor and curator.More |
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Salvatore Iaconesi & Oriana PersicoSalvatore Iaconesi is an interaction designer, robotics engineer, artist, hacker. TED Fellow 2012, Eisenhower Fellow since 2013 and Yale World Fellow 2014.He currently teaches Interaction Design and cross-media practices at the Faculty of Architecture of the “La Sapienza” University of Rome, at ISIA Design Florence, at the Rome University of Fine Arts and at the IED Design institute.
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Morten SøndergaardMorten Søndergaard (MA & PhD) is Associate Professor and Curator of Interactive Media Art at Aalborg University, Denmark. He is a member of the Media Art Histories Faculty (Krems) and the co-founder and AAU-coordinator of Erasmus Master in Media Arts Cultures (www.mediartscultures.eu). He is the co-founder (with Peter Weibel) of ISACS – International Sound Art Curating Conference Series and (with Laura Beloff) of the upcoming EVA-Copenhagen symposium. He was deputy director and curator at The Museum of Contemporary Art in Roskilde, Denmark 1999-2008. As Media Art Curator, he has operated in mixed and public spaces since 1995. Upcoming curatorial projects includes C / Borg – Parliament of Robots by Ken Rinaldo at the DIAS Gallery, which is situated in a S-train station in Copenhagen. His latest research is published / under publication at MIT Press, Routledge, De Gruyter, Continent.cc, MT Press (Copenhagen University), and Mediekultur.dk (among others).
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09-10 de Março de 2017
International Conference The Museum Reader:vwhat practices should 21st century Museums pursue, how and why?
Oradores convidados:
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Pieternel Vermoortel(FormContent, KASK (Ghent), Goldsmiths, University of London)Pieternel Vermoortel is artistic director of Netwerk Aalst, with Els Silvrants-Barclay. She is curator and writer, and cofounder/director of the curatorial institute FormContent, where the most recent project, “The Subject Interrupted,” looks at the drives and conditions around cultural production. Currently she teaches curating at Curatorial Studies KASK, Ghent, and was a lecturer in Critical Studies at Goldsmiths, University of London. She has also taught at LUCA, in Brussels, and HISK, in Ghent. Vermoortel has written for various catalogues and magazines, such as Art Agenda and Metropolis M, and has edited publications including a.o., Cave#1: Territories (2016, Sternberg Press, met Els Silvrants-Barclay), It’s Moving from I to It (2014), The Responsive Subject (2011), and Out of the Studio (2008). Recent exhibitions she has curated include A Faraway Rendez-vous, at SixtyEight Art Institute in Copenhagen (2016), Practicing the Habits of the Day, at the ICA in Singapore (2016); The Play, with Tim Etchells, at Tate Modern (2015); If I Can’t Dance, in Amsterdam (2015); and The Young People Visiting Our Ruins See Nothing But a Style, at the GAM, in Turin (2010).
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Ferran Barenblit (Museu d’Art Contemporari de Barcelona)Ferran Barenblit (Buenos Aires, 1968) studied Art History at the Universitat de Barcelona (1991) and Museology at New York University (1995). Since 2008 he has been director of CA2M Centro de Arte Dos de Mayo de la Comunidad de Madrid. CA2M opened in Móstoles, in the metropolitan area of Madrid. From 2002 to 2008 Barenblit was director of the Centre d’Art Santa Mònica, a space dedicated by the Generalitat de Catalunya to contemporary art. Barenblit has lectured in universities and museums around the world, including: UC Berkeley; UC Santa Barbara; Universidad de Buenos Aires; Université Paris III – Sorbone Nouvelle; Royal Academy of Fine Arts, Copenhagen.He is a member of: ACCA, Catalan Association of Art Critics (Board: 2000–2); IKT, International Association of Contemporary Art Curators (Board: 2011–14); ADACE, Asociación de Directores de Arte Contemporáneo de España (Board since 2007); CIMAM, International Committee for Museums. More…
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Annika Gunnarsson (Moderna Museet, Stockholm, Sweden)Annika Gunnarsson holds a PhD in Art History and is curator of Prints and Drawings at Moderna Museet since 2001. At the museum she has curated exhibitions, edited catalogues, worked with programming and is currently researching the early history of the museum. Annika Gunnarsson holds an interest in images, visuality, art theory and museum studies.
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20-21/23-24 de Fevereiro de 2017
Workshop Curadoria: História e Desafio na Era dos Museus
Orador convidado