course invites curators, artists, activists, educators, cultural workers, and
those who are interested in critically engaging in thinking about
post-representational, affective, and experiential transdisciplinary curatorial
forms: a curation that allows for a shift from an on-looking audience towards
activated and self-empowered protagonists; a holistic and relational – versus
informational and representational – curation, for an emancipatory activation of the curatorial public.
course will introduce and discuss some exemplary fieldwork and philosophical
approaches – for example, Brazilian scholar and curator Suely Rolnik or those
who have been inspired by philosopher Baruch Spinoza – advances that might
encourage the development of and experimentation with embodied critical
thinking for the making of alternative ethical-aesthetic-political curatorial
formats. The theoretical engagements will be mobilised with some simple physical
exercises to affectively activate the course protagonists.
materiality of our human existence – as a spatial agent itself – and as a
multidimensional being with its sentient qualities, is an essential starting
point for experiencing a critical practice. How might we
create alternative curatorial ways to stimulate not only human inter-subjective
but also inter-relational agency and critical consciousness towards our
environment, and towards what might be considered as the “Other”? How might we
take better account of, and create ‘response-ability’ in the ways that we
learn, practise, and live together?
Berit Fischer is a curator, researcher, and writer who has worked internationally
since 1999. She holds a PhD from the Winchester School of Art/Southampton
University, UK. Her curatorial research interests lie in critical spatial
practices, socially and holistically produced spaces, the specification of art
as a producer of new knowledge, as a means to permeate the status quo, the
creation of fields of action, and the development of spaces for critical
engagement, affective encounter, and relational learning.
She has published articles
internationally, e.g. with Afterall or Onomatopee, and has both contributed to and edited or co-edited
books like New Spaces for Negotiating Art (and) Histories in Africa, Hlysnan:
The Notion and Politics of Listening, and Other Possible Worlds –
Proposals on This Side of Utopia.
She has presented tutorials, lectures, and workshops
around the world, e.g. at Making Futures School (raumlabor, UdK Berlin),
Bergen University, ZHdK, Freie Universität Berlin, Nottingham Trent University,
or at Soma in Mexico City. Some of her notable curatorial projects have taken place
at nGbK, Berlin; Radical Intention, Italy; tranzit.sk, Bratislava; Casino
Luxembourg Forum d’Art Contemporain; Brooklyn Waterfront Outdoor Sculpture
Exhibition and Dumbo Arts Festival, New York; Zendai Museum of
Modern Art in Shanghai; and BankART in Yokohama.