Curating : Creating
vol 28 no 4, 2008
The creativity in curating. Are curators really artists in disguise? and how far does the way in which they conceive and execute big shows, in particular biennales, influence the direction of art practice? What makes one curatorial program worthy but dull and another sparkling and engaging? Artists and curators share their expert knowledge on new attitudes and perceptions of visual culture, ingenuity, innovation, global exchange, curating in Asia, place and site, career trajectories from artist to curator to museum director and training options for wannabe curators. The Berlin, Singapore, Taipei, Shanghai, Sydney Biennales and Manifesta are examined. New rules of engagement with the public via private and state sponsored enterprises and visionary futures. Writers include Felicity Fenner, Adam Jasper, Nada Prlja, Reuben Keehan, Alison Carroll, Kevin Wilson and Marcus Westbury. Plus book and exhibition reviews and more. Editor Stephanie Britton.
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Hello Tokyo! GhostingsBec Dean, feature
Trace Elements: spirit and memory in Japanese and Australian photomedia curated by Bec Dean and Iida Shihoko opened at the Tokyo Opera City Gallery in July 2008 and will travel to Performance Space in Sydney in April 2009.
Artists: Philip Brophy, Jane Burton, Alex Davies, Teiji Furuhashi, Seiichi Furuya, Genevieve Grieves, Sophie Kahn, Chie Matsui, Lieko Shiga and Kazuna Taguchi
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Sophie Kahn Head of a Young Woman 2004, bronze from wax stereolithograph and 3d laser scan Licensed by Viscopy, Sydney, 2008.
Shihoko Iida and I met in 2005 while she was on a preliminary visit to Australia for a Japan Foundation project that would later manifest as Rapt, held across Melbourne and Sydney in October 2006. Two years later we were collaborating on collating and sharing research towards an exhibition centred on contemporary expressions of the ghost in photomedia to be held at the highly visible Tokyo Opera City Art Gallery in late 2008.
I had just started as Curator at Australian Centre for Photography and Shihoko had recently curated a major solo exhibition in Japan by the German photographer Wolfgang Tillmans called Freischwimmer, an installation including video that moved freely between photographic abstraction, still life, interiors, aerial photography and close-ups of fabrics and surfaces. It was our shared interest in the extension of photomedia into video and new media that led me to contact her when the potential for a curatorial collaboration arose in 2007.
In Tokyo in March 2007, we discussed the work of Australian and Japanese artists, and for a further eight months by email and phone, finally arriving at five of each. In the meantime I became associate director of Performance Space in Sydney. Australia Japan Foundation support for the project through Asialink with Arts NSW and the Australia Council enabled the Australian contingent of the exhibition to be realised in Tokyo, while Shihoko and I have worked towards securing private benefaction from The Ishibashi Foundation in Japan and The Keir Foundation in Australia for the exhibition to travel to Performance Space.
The opportunity to work with a young curator of Shihoko's calibre, and to undertake the installation of a major exhibition in an institution such as TOCAG is the most important of my career to date, and sets a benchmark for future projects. Trace Elements has reached an audience of over 10,000 visitors so far, and we hope, as curators, that the exhibition has encouraged a deeper contemplation of our memories, histories and the traces of ourselves in the media we leave behind.
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Articles in this issue
- Artrave: Artrave
- Editorial: Editorial
- Feature: Back from the brink: culture in Timor-Leste
- Feature: Beyond the temples: the way of idiosyncracy
- Feature: Curating a psycho-geography Campbelltown Arts Centre and the genius of Lisa Havilah
- Feature: Curating Chinese themes: cheap labour, migration and capital, Shanghai Biennale and Guangzhou Triennial
- Feature: Curating paths, musical chairs
- Feature: Curatorial Asia a twenty year perspective
- Feature: Curators, creators and catalysts
- Feature: Emerging, educating and unruly: Vivonne Thwaites
- Feature: Firing across the gaps
- Feature: Hello Tokyo! Flagging it
- Feature: Hello Tokyo! Ghostings
- Feature: Hello Tokyo! Good to see you again
- Feature: Hello Tokyo! Process is all
- Feature: I've looked at love from both sides now: reflections on freelance / independent / guest curating
- Feature: Manray Hsu taking a political position
- Feature: Places and contexts in two Singapore Biennales: curating courtrooms, containers and camps
- Feature: Right now I am unravelling: notes on the 2008 Next Wave Festival
- Feature: So you want to be a curator?
- Feature: Species enhancement by international gene pool
- Feature: Throwing voices
- Feature: To curate or not to curate, 2008 in Europe: urban BB5 and post-industrial Manifesta 7
- Feature: Video loops and VIP dinners: 2008 Beijing and Hong Kong Art Fairs
- Feature: What would it mean to win? a film by Zanny Begg and Oliver Ressler
- Interview: Catherine David's Transmission
- Review: 25th National and Torres Strait Islander Art Award (NATSIAA)
- Review: Errant Abstractions
- Review: Exit music: a lake and a stand of trees: George Popperwell
- Review: Fremantle Print Award 2008
- Review: It's time: Emily Floyd
- Review: Katherine Moline
- Review: Neo Goth: black in black
- Review: New social commentary 08
- Review: Ornament: Anne MacDonald
- Review: Shards: Judy Watson, Yhonnie Scarce, Nici Cumpston
- Review: Spatsville: Memoirs of a failed painter: Alasdair Macintyre
- Review: Warburtonta-latju Warntu Palyaranytja (We are doing Warntu work in Warburton)
- Review: Without Borders: Outsider Art in an antipodean context