In partnership with
Introduction to Curating provides insights into the practical and theoretical aspects of curating, from the ideation of a concept to the creation of an exhibition. Although curatorship is a practice that allows very different approvals, there are several aspects that are to be known independently by the type of exhibition, which envisages to relate without problems to different exhibition contexts.
The course, structured in 4 modules, deals with the main phases of the curatorial work starting from the meaning that this has assumed in the contemporary panorama, up to the more specific aspects of the conception of an exhibition and its realization. It is aimed at aspiring curators but also at those who have already started practicing but need to better structure their skills in relationships with a teacher and a group with which to constructively confront each other.
The aim of the course is to increase the abilities of participants necessary to become competent professionals in a world that is increasingly full of possibilities but also more and more competitive, both in institutional and independent contexts.
Module 1: How to work as curator
•What is the role of the curator (curating exhibitions, mentoring and guiding young artists, writing a critical text, consulting art galleries).
• Different typologies of contemporary curatorship (approaches, field of research, independent or institutional).
•How to present your curatorial work and projects (portfolio and website).
•The portfolio review (how to correctly read an artistic portfolio and how to advice artists in the creation of a good portfolio).
•Creating a networking. How to connect with a good network of artists and galleries or independent spaces and relative audience.
Module 2: Designing a curatorial concept
•The essentials of a curatorial project.
•How to develop a concept (from the idea to finalization).
•Introduction to types of exhibition formats, exhibition spaces and platforms.
•Examples of winning curatorial projects and case studies.
Module 3: The exhibition making – Planning and practical needs
•Contacting artists: open calls, invitations, commissions.
•Lending works from artists and galleries (how to source the works and how to secure loans).
•Working with partners and defining contracts (exhibition spaces, institutions).
•Writing a budget and founding resources (public and private).
•Transportation of artworks.
Module 4: The exhibition making – Exhibition layout and display
•Communication between the artworks and the exhibition space.
•Management of the exhibition (how to manage all the practical aspects necessary for the correct realization of an exhibition)
•Installation of the artworks (working together with technicians and artists)
•Communication in the exhibition space (planning and installation of the texts and guides to the exhibition)
Module 5: Communication (of exhibition and artistic event)
•The Press Kit (how to write and complete it, with images and insights).
•Materials of communication (the coordinated image).
•Online and offline communication (from social media to press).
•The public program (talks, educational programs, guided tours, events).
HOW TO JOIN
This course is organized by the Mexican organization Luz Viajera Art Collective with the partnership of Fusion Art Center, to take part to the seminar we direct you to their website!
TUTOR OF THE SEMINAR
In 2015 she’s co-founder of Fusion Art Center, an organization focused on research and contemporary artistic production of which today she is artistic director and president. Since 2016 she is curator of the Derma collective (https://dermaproject.tumblr.com), through which she works in the field of digital art, both visual and sound, through exhibitions and research.
Since 2018 she is co- founder of Neo, a shared space of artistic and cultural research and production, and her association’s headquarter. For Neo she was responsible for the exhibition program and training meetings dedicated to emerging artists and curators.
During the years she curated exhibitions in Italy, China and Corea and with Fusion Art Center she is also part of networks of international cultural enterprises, collaborating con independent organization in Europe and Latin America (Mexico, Colombia).
Active in the issue of animal rights, for her curating and art are practices capable of generate critical thinking and of tracing new trajectories of action related to the important issues that involve society and its present.
From 2019 she’s part of the radical editorial collective menelique magazine (https://www.menelique.com) where she interview contemporary artist about their practice in relation with political issues.
From 2020 she collaborates as professor of Curatorial Studies and Political Art and Curatorship for Luz Viajera Collective (Mexico) and she’s living and traveling through Latin America, working with artists and local organization in order to develop her research in curatorial and artistic activism.