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HAR 915G - BLOCK B SEMINAR: Between Speech and Practice: History and Theory of the Exhibition and The Police Station

J - 14:00-17:00
UQAM, Pavilon Judith Jasmin, RRoom TBA

"Exhibitions have become the medium through which art is generally known. Exhibitions make up the main place of exchange in the political economy of art, the place of construction, maintenance and - sometimes - deconstruction of meaning. Simultaneously a spectacle, a socio-historical event and a structuring device, exhibitions - and more specifically contemporary art exhibitions - establish and manage the cultural meanings of art. " (Reesa Greenberg, Bruce W. Ferguson and Sandy Nairne in Thinking about Exhibitions , London-New York, 1996, p.2)

This seminar, devoted to the theory, practice and policy of the exhibition and curatorial exhibition, will provide an opportunity to study the history and transformations that are currently taking place in art history and museology. This seminar proposes a study of the exhibition as an artistic and social issue in the art of the twentieth and twenty-first centuries, considering the exhibition as an object of common interest to artists, curators and researchers. Since the seventeenth century, the format of the exhibition has encompassed and mediated the conception of art for the public. It is the heterogeneous product of several perspectives of power and vision that reflect cultural discourses and economic interests through works of art. The exhibition is a system of networks, discourses and institutions; It may,

The curatorial turn in contemporary discourses and cultural practices encompasses a field of knowledge that influences the conditions of presentation of art and culture. This development has affected the notion of curatorial by expanding its reach beyond selecting and showing to include also analysis, criticism, theorization, education, as well as editing, staging, And public presentation. Anchored in the globalization of the field of art and the democratization of the "curator" figure, the curatorial office has acquired a specific socio-political relevance within contemporary society. The exhibition's history and discourse developed in parallel with the different forms of artistic practice. Therefore, The exhibition became a space for artistic production, giving rise to a type of artistic practice (institutional criticism) that transformed not only the modes of artistic creation, but also the curatorial and the interpretation of art. As a staging, presentation and space for interaction, the exhibition becomes a place and a medium in which the tensions between institution, curator and artist are actualized.

This seminar will provide a critical reflection on the history of the exhibition and the notion of the curatorial as well as the issues related to globalization, identity politics and new media. Among these objectives will be to analyze the main trends such as research-creation and the way in which event practices occur in the museum context. The aim will be to present an overview of the theoretical currents and the multiplicity of discourses that have taken place since the beginning of the 1990s and to question the various institutional and artistic current policies that continue to shape our understanding of the exhibition as a medium , Production and communication site.


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