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Curating Timon Beyes Even more than the *artist, the curator appears to be the ideal type of social figure in the creativity complex. There is at least a hint of this thesis in Andreas Reckwitz’s comments on the “postmodern artistic subject” in The Invention of Creativity (2017: 73-78). Ever since the 1970s, Reckwitz observes with referen- ce to the influential exhibition organizer and impresario Harald Szeemann, the boundaries have blurred between artist and curator. The “artist-curator” signals the emergence of “an artist-subject of the second order” (ibid

Care, Repair, Refuse, Resist
Series: Urban Studies

Curating People? Museum Mediated Memories and the Politics of Representation ELIZABETH CARNEGIE INTRODUCTION This article considers a small number of museums within the United Kingdom and elsewhere in Europe, notably Hungary, Poland and Romania, which have been developed to focus on either radical aspects of people’s pasts or have arisen as a direct consequence of political change. Through an examination of these museums, this paper explores the potential for museums to act as spaces in which the “difficult” (Bonell & Simon 2007) aspects of

124 Curating Contemporary Music Festivals proach to curating that cuts across various disciplines and creates new approaches and perspectives on artistic practices.Dance exhibitions bring together elements of different artistic traditions: conventions of exhibition of visual art, modern dance’s emphasis on being “hard to see” i.e. being experiential rather than based on an object/subject division, the media-informed viewing habits of the contemporary spectator, and even the programming requirements of contemporary museums. In doing this, a new form of mediating

3 Performative Curating and Experimental Performance 111 son’s theses on navigating the interdisciplinary arts will in this regard also help with locating important concepts within the various fields, and locate also their historic relationships to critical knowledge creation. What remains to be explored then is how exactly different performing arts have been converging into an inter- mixed model, as well as how the concept of curating has become an important endpoint for organizational practices (such as choreographer, dramaturg, or com- poser) in different ways

A New Perspective on Music's Mediation

6 Conclusion/Curating Music Curating Music A myriad of connections between curators and curatorial practice in various other disciplines and music have been drawn over the course of this book. It has tried to approach curating as a practice of undisciplined knowledge production, a way of escaping from established disciplinary forms and commodifiedmodes of presenta- tion, and the enactment of a movement of thought. Instead of being understood as an exclusively visual arts practice, curating has been understood as a more general way of approaching the creation of

253 Daniela Côrtes Maduro Curating “Shapeshifting Texts” 1 Setting and Concept Between the 3rd and the 5th of November 2016, I was the curator of the exhibi- tion “Shapeshifting Texts: An Exhibition About Electronic and Experimental Literature.” Together with the “International Conference on Digital Media and Textuality” (ICDMT) and an Evening of Performances entitled “Electronic Literature Authors Perform Their Work,” this event was supported by the University of Bremen (Excellence Initiative). The present text is an account of the curation process

2 Curating 61 2.3 Curating Biennales This section will examine the emergence of the professional profile of the biennale curator as they exist today. The goal will be to highlight several seminal moments in its development, in order to show the challenges and debates that define it. The focus in this section is on Documenta in Kassel, because it has been a site for many important developments in biennale curating, but also because it illustrates how many different factors—geopolitics, art history, global vs local—are brought to- gether and negotiated through