Thèses : « Curatoren »

1

Larsson, Camilla. « Curatorns ordning : En diskursanalys av curatorns yrkesroll utifrån 15 curatorutbildningar ». Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-18473.

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This study departs from the observation that since the late 1980´s educational programmes for curators have been established and since then expanded greatly. The programmes are part of a process of institutionalization and professionalization of the role of the curator within the international contemporary art field where the role as such has gained much power. Even though many statements have been made about this relatively new phenomenon of curatorial studies, there is a lack of sufficient research. The intention of this study is therefore to examine the educational programmes as such. The selection of 15 programmes has been made with the purpose to include early as well as newly established and to cover a wide geographic area. The starting point has been to ask what kind of knowledge and role of the curator the programmes are given prominence to. Using Michel Foucault´s and Norman Fairclough´s theory and methods on discourses I examine the programmes as a discursive practice. The analysis shows that there is a strong coherence within the field of the programmes and certain ideals, conventions and procedures are shared among them. The programmes are highly dependent on the professional field of curators – individuals as well as institutions are frequently being invited to lecture and support the students. The application procedures make sure that students who are willing to adopt to given ideals and norms, are being accepted. Furthermore the ideal role of the curator has been defined with the following concepts – new institutionalism, an expanded working field and discursive curating. The curator is highlighted as creative, critical and independent. These concepts have been singled out and made explicitly unique for the role of the curator by the programmes although aspects have clearly been taken from the role of the artist and the critics. The result has been a stronger competition between these positions. The programmes are institutions that promote the curator as an important and irreplaceable agent and to claim even a stronger position new assets have been singled out in the form of a theoretical and academic capital. Educational programmes included in the study: École du Magasin, Grenoble, Whitney Independent Study Program, New York, Curating Contemporary Art, Art Royal College of Art, London, De Appel Curatorial Programme, Amsterdam, Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York, MFA Curating, Goldsmiths, London, CuratorLab - Curatorial Program for Professionals in Arts, Crafts and Design, Konstfack, Stockholm, Curating Art - International Master Programme in Curating Art, including Management and Law, Stockholm university, Curatorial practice, California College of the Arts, San Francisco, Post-graduate Programme in Curating, Zürich University of the Arts, PhD-programme Curatorial/Knowledge, Goldsmiths, London, Cultures of the Curatorial, Academy of Visual Arts Leipzig, CuMMA - Curating, Managing and Mediating Art, Aalto University, Helsinki, PhD-programme Curating, Zürich University of the Arts in collaboration with the university of Reading, Praxis Master’s Programme, Finnish Art Academy, Helsinki.

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2

Spiller, Elena <1989&gt. « La responsabilità penale del curatore fallimentare ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/6411.

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L'elaborato tratta il tema della responsabilità penale del curatore fallimentare. Nello specifico vengono esaminati gli articoli 228, 229 e 230 l. fall., e le loro implicazioni di carattere teorico e pratico. Partendo dallo studio dei principali precetti penali su cui poggia la materia fallimentare, è stato possibile giungere ad una completa analisi della norma e della sua applicabilità. Dall'approfondita trattazione della particolare terminologia utilizzata dal legislatore, e delle similitudini riscontrabili mediante il confronto con la disciplina penale, si è giunti alla piena comprensione degli interessi tutelati dalla norma, nonché alla condivisione delle ragioni che hanno fondato la struttura dell'attuale previsione sanzionatoria, imposta nelle diverse tipologie di reato. Inoltre, successivamente all'aver affrontato una funzione spiegazione dello specifico ruolo del curatore, e delle responsabilità derivanti dallo svolgimento delle sue funzioni nel contesto della procedura fallimentare, si è potuto estendere lo studio ad un'osservazione più ampia circa le implicazioni che scaturiscono dalla condotta dei suoi coadiutori. Perseguendo questo approccio si è ottenuto la visione di un quadro normativo completo, capace di non trascurare anche i fattori più importanti che interferiscono con il corretto operato del curatore. Conseguentemente a questa logica, si è ritenuto indispensabile considerare il particolare caso del concorso nel reato, richiamando la norma che ne disciplina la fattispecie. La tesi si completa con lo studio dell'estensione delle disposizioni penali al caso di concordato preventivo e di liquidazione coatta amministrativa.

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Padoan, Anna <1992&gt. « Il programma di liquidazione del curatore fallimentare ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/8745.

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Una delle novità più rilevanti introdotte dalla riforma fallimentare consiste in una razionalizzazione dell’attività liquidatoria, la quale non deve più avvenire tramite operazioni diversificate e non rientranti in una strategia unitaria, ma attraverso il programma di liquidazione. Quest’ultimo costituisce l’atto di pianificazione e di indirizzo in ordine alle modalità e ai termini previsti per la realizzazione dell’attivo. Il programma di liquidazione diviene il fulcro attorno al quale ruota la fase di liquidazione. Dalla riforma attuata nel 2006, si riscontra l’occorrenza di adeguare la disciplina ai rapporti mutuati tra gli organi fallimentari, tanto che si verifica uno slittamento del fulcro dagli organi di natura pubblicistica a quelli di natura privatistica. Lo scopo della tesi consiste nel capire se gli interventi del Legislatore in merito alla liquidazione, specificatamente al programma disposto dall’art. 104 - ter L. Fall., hanno adempiuto alle finalità preposte, consistenti in un maggior coinvolgimento dei creditori, collaborazione sistematica fra gli organi, trasparenza, celerità e conservazione dell’integrità aziendale. Lo studio si svolge partendo dalle informazioni introduttive, relative ai criteri utilizzati durante la fase di redazione e alla funzione dell’istituto, per poi analizzare il contenuto e le fasi di esecuzione, considerando le questioni di interpretazione dottrinali e giurisprudenziali.

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Bertolin, Alessandro <1989&gt. « AZIONI DI RESPONSABILITA' DEL CURATORE AI SENSI DELL'ART. 146 L.F ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/5386.

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Meier, Dominicus M. « Der Curator im kanonischen Prozeßrecht / ». Essen : Ludgerus-Verl, 1998. http://www.gbv.de/dms/spk/sbb/recht/toc/274215608.pdf.

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Marinaki, Irini. « Nicolas Calas : critic and curator ». Thesis, Birkbeck (University of London), 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.600386.

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Boscarato, Alex <1994&gt. « Trattamento fiscale delle operazioni poste in essere dal curatore nel fallimento ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15292.

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La normativa tributaria in ambito fallimentare è da sempre oggetto di discussione a causa della mancanza di una correlazione tra la normativa tributaria stessa e quella fallimentare. Sebbene il Legislatore abbia cercato e cerchi tuttora di fare chiarezza sui nodi più spinosi, rimangono ancora oggi perplessità legate ad alcune tamatiche. In questo eleborato si cerca di illustrare i vari passi compiuti dal Legislatore attraverso le riforme compiute, con riguardo particolare alle operazioni rilevanti ai fini fiscali compiute dal curatore nel fallimento, al fine di creare una certa continuità tra le due normative. Nella prima parte inoltre si descrive quella che è la figura del curatore, illustrando funzioni, poteri e responsabilità ad esso associate.

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D'Ambros, Chiara. « I Curatori, tra Biografia, Formazione e Riconoscimento ». Doctoral thesis, Università degli studi di Padova, 2009. http://hdl.handle.net/11577/3426470.

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The focus of the present research is “healers”, as figures who do healing practices using personal and innate endowment or “gift”. It is a survey based on a qualitative methodology. The sample: 40 interview in depth supplemented with ethnographic observations. G.A.Gilli model has been taken as reference to interpret this phenomenon. Looking to ancient greek society through ancient littereture he points out the existence of “téchne bearer”, where “techne” means original endowment that existed beyond the society. The “techne bearer often find difficulties to be included in the society as he/she doesn’t fit into the social structure and so that is difficult to be controlled. The research also explores the links between healers and popular medicine, and healers and Comparative and Alternative Medicine environment. Some “healer costallations” have been pointed out as healers used different “methodology”; some of them use manipulation tecnique, others use specific rithuals, others use energy. To the subject of energy has been reserved some space to clarify its meaning in this contest. The formative paths that the healers have done, have been explored to better understand how they manifest their endowment and how they develop it. Often the main system doesn’t recognize their formative paths as it is out of the istitutional system. Much space has been given to the subject of “recongnition”. It has been noticed that self recognition is the most important element for healer to manifest their gifts and practice. External recognition has its importance afterwards. It has been observed how these figures are included or excluded and if their practice could be considered professional or not. Also the money matter (means if they charge or not money for what they do) has been observed. This point has revealed to be interesting as there are no conventional rules which legitimate or not their practice. In the end it has been described that healers have different cosmogony which they take as point of reference for their activity. Some of them refer to religious cosmogony, some other to “spiritual” one, some other to a system of meaning that appeals to a “rational point of view” and open to a multidimentional interpretation of reality. The present research doesn’t mean to enter on the efficacy of healr practices of healers but to point out their “presence” in the society, how they live their gift/endowment/techne and their practicing.
Il tema della ricerca è la figura del “curatore” inteso come soggetto che opera pratiche di cura non convenzionali sulla base di doti personali e innate. Si è svolta un’indagine di tipo qualitativo su un campione di quaranta interviste in profondità e integrata in diversi casi da osservazioni etnografiche. Si è indagata la presenza nel contesto sociale di portatori di tali caratteristiche originarie rifacendosi tra l’altro al modello proposto da G.A.Gilli (1988), basato sull’analisi della struttura sociale delle polis greche, secondo cui in ogni società vi sarebbero dei soggetti “portatori di techne”, ossia di doti originarie presocietarie che trovano spesso difficoltà di inclusione societaria in quanto sono difficilmente inseribili nella struttura e controllabili. Si sono indagati i legami che questi soggetti hanno con la medicina popolare, con altri ambiti di cura quale ad esempio quello della cosiddetta medicina non convenzionale. Si sono riscontrare delle “costellazioni” di curatori che sono state mappate alla luce delle caratteristiche delle pratiche da loro utilizzate alcune più legate alla manipolazione, altre alla cura con le erbe e altre ancora all’energia, tema quest’ultimo che è stato oggetto di approfondimento. Per poter comprendere più a fondo la loro origine e come le loro doti si manifestano, vengano scoperte e sviluppate si sono esplorati i percorsi formativi intrapresi da questi soggetti; percorsi spesso sottoposti a critiche/perplessità/scetticismi e mancati riconoscimenti da parte del sistema dominante. Al tema del riconoscimento si è dato largo spazio. Si è osservato che è fondamentale l’autoriconoscimento affinché i curatori manifestino le proprie doti, mentre il riconoscimento esterno diventa rilevante in seconda battuta. Si sono esplorate varie forme di inclusione ed esclusione a cui questi soggetti sono sottoposti, e quindi come la loro pratica venga o meno considerata professionale, o in che senso, eventualmente, potrebbe esserlo. Si è anche analizzata come la questione del denaro è legata a questi soggetti che praticano cure “non convenzionali” data la non chiara esistenza di tariffari o parametri di remunerazione. Si sono esplorate, infine, le cosmogonie evocate dai soggetti intervistati, la cui rilevazione permette di meglio comprendere la loro spinta a fare ciò che fanno e il senso che essi attribuiscono a loro agire. Essi si riferiscono ad ambiti religiosi, spirituali o anche appartenenti a sistemi di senso che riconducono a parametri razionali, che aprono ad una interpretazione della realtà multidimensionale. Con la presente ricerca non si è inteso entrare nel merito dell’efficacia delle cure di questi curatori quanto mettere in evidenza la loro presenza nella società, come essi vivono il loro dono, la loro techne e quindi il loro mestiere.

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Lonardi, Anna <1980&gt. « I curatores riparum et alvei Tiberis : uno studio storiografico, prosopografico ed epigrafico ». Doctoral thesis, Università Ca' Foscari Venezia, 2009. http://hdl.handle.net/10579/382.

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Massini, Chiara <1980&gt. « Il mestiere del curatore. Teorie e pratiche dagli anni Novanta ad oggi ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3687.

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Nel mondo dell'arte contemporanea si delinea sempre più la figura del curatore, legata principalmente al mutamento del ruolo di critico d'arte e del concetto di esposizione. La tesi analizza, attraverso una ricognizione storica dell'ultimo ventennio il percorso che ha determinato questo mutamento. La prima parte della ricerca, effettuata su documenti d'archivio, ricostruisce una serie di casi paradigmatici tramite l'analisi dell'operato di alcuni protagonisti di fama internazionale, da Celant a Obrist, con particolare interesse per la scena italiana. La seconda parte del testo approfondisce le esperienze più recenti in materia di esposizione, riportando alcuni casi studio, corredati da una serie di interviste, a partire dalla 50ma Biennale di Venezia. Si tenta infine di restituire una figura di curatore in evoluzione forse priva di solidi apparati teorici ma più spesso legata ad esperienze eterogenee e alle pratiche individuali dei singoli attori.

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Black, Sarah. « Mother as curator : performance, family and ethics ». Thesis, Middlesex University, 2018. http://eprints.mdx.ac.uk/25913/.

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This thesis attends to the mother-artist developing a performance-based practice with her family in the home. This is a practice-as-research exploration which integrates areas of maternal ethics and the mother-artist, family and narrative enquiry, the home and sited practices. It consists of a written dissertation, three full (larger) scale installations set within the family home, Trace (2013), Reclaiming the Ritual (2014), 31 Days Old (2016), and a series of smaller works Bed Bound (2014) and Children's Practice (2014-17), plus digital documentation. The main argument focuses on the role of the mother-artist who initiates an art making practice with her family and considers the personal, professional and ethical questions that can arise. Furthermore, weaving throughout the thesis is the development of what I call, 'Mother Ethics' - emphasising a sensitive approach to art-making with children and family, and considering practices and implications of exploring the home as a site for the dissemination of an art practice. The methodology is developed from the position of the mother and uses practice-as research creative methodologies alongside narrative enquiry, and memory work. It employs sensitive approaches to documentation, and anecdotal writing modes. This thesis is situated and contextualised within theoretical fields of maternal studies, maternal ethics, narrative studies, and site-specific dance practices. The key arguments have been developed through engaging with Sara Ruddick, Lisa Baraitser, Iris Marion Young, Llangellier and Peterson, Jerome Bruner, and Mike Pearson. For the purpose of situating my own work and drawing upon the practices of others in the related worlds of maternal, family and home, I have drawn upon current practices and discourses in particular Mary Kelly, Lena Simic, Grace Surman, Lenka Clayon, Jo Spence, and The Institute for Art and Practice of Dissent at Home.

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Wilkinson, Judith. « Uncovering the legacy : Samuel Beckett : artist + curator ». Thesis, Goldsmiths College (University of London), 2012. http://research.gold.ac.uk/7408/.

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Desclaux, Vanessa. « Curators : more or less subjects : spectatorship, passivity and fabulation ». Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/19160/.

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My research intends to critically expose the political, economic, and ethical conditions in which curatorial practice is operating in the current context. I attempt to examine the question of authorship within curatorial practice, in order to challenge the distinction between an administrative, scholarly practice carried out in the name of an institution and an authorial and entrepreneurial practice that is exemplary of late capitalism. I thus intend to challenge the figure of the curator that has been disciplined by and is expected to function within current political and economic conditions. I will endeavour to disrupt the stable roles and functions associated with the figure of the curator and instead uncover multiple subject positions, which collapse professional templates and fail traditional oppositions between activity and passivity. I therefore begin with a reflection on the condition of spectatorship inherent to curatorial practice, and propose that the curator is the quintessential spectator. This is outlined in order to dispute the ideological deadlock regarding spectatorship and to address fundamental notions of vision and attention within curatorial practice. I will then propose to re-evaluate the notion of passivity in order to question assumptions regarding power and activity, putting forward examples that show the paradoxical qualities that passivity encompasses in the context of curatorial practice. Spectatorship and passivity fundamentally contribute to reconfiguring the possibility for a different approach to the production of subjectivity within and through curatorial practice. Through the notion of fabulation I finally intend to redefine the production of subjectivity in the context of curatorial practice. Fabulation stages an inquiry into the differentiation between artistic and curatorial practices: not to erase differences or flatten out competencies but to rather affirm a different distribution of positions, and inhabit a multiplicity of figures.

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Fogal, Francesca <1993&gt. « Il curatore e l'Istituzione : sviluppo e contesto di una nuova visione della mostra d'arte contemporanea ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17145.

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La tesi tratta dell'evoluzione e professionalizzazione della figura del curatore, concentrandosi in modo particolare sugli anni Novanta. Iniziando da un breve excursus storico, il lavoro verterà sulle nuove funzioni assunte da tale figura e sulle discussioni e critiche sorte intorno ad essa, per poi ampliare lo sguardo sul contesto e le condizioni in cui tale professione si è sviluppata, e le cause grazie alle quali ha acquisito la sua centralità. Per concludere, si analizzerà brevemente l'operato di alcuni curatori per osservare come vengano sviluppati in casi specifici i punti focali che caratterizzano tale professione.

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Ostling, Susan. « The Defining and Shaping of the Contemporary Art Curator ». Thesis, Griffith University, 2013. http://hdl.handle.net/10072/368133.

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Curators have come to figure quite prominently in the cultural landscape of late, such that the concept of a curator is now applied in a wide variety of contexts from art to shopping. It is said curators are now far more linked to the internet and social networks, than to the interiors of museums; and most accounts see the contemporary art curator as caught in the flux of global cultural economies. Why should this be? It is in this volatile terrain I have situated my research on the contemporary art curator. I ask how has the role of the curator been shaped, defined and constrained by competing discourses? Were there other influences, I ask beyond the global market place that may have contributed to the defining and shaping of the contemporary curator? I undertake this study in two ways. Firstly, I conduct an historical overview to explore whether there were precedents of curatorial practice that might lead to a greater understanding of the contemporary curator. Here, following Foucault, I consider the transformations in dominant discourses that have effected the assembling and interpretation of collections of significant objects. Secondly, using interviews conducted with three ‘independent’ curators—Seth Siegelaub, Juliana Engberg and Charles Esche—I undertake discourse analyses, identifying a number of fields of discourse, which I argue have impacted and shaped their curatorial practices. What has emerged through this study has been recognition of how across time there is a duality of discourses at the core of curatorial activities. And far from undermining or weakening the curatorial practice, I suggest this duality plays a dynamic and regenerative role in forming the relationships produced between place, ideas, objects, artists, viewers and capital.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Steierhoffer, Eszter. « The rise of the curator and architecture on display ». Thesis, Royal College of Art, 2016. http://researchonline.rca.ac.uk/1815/.

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This thesis constitutes a new approach to contemporary exhibition studies, a field of research that has until now dedicated little attention to connections between exhibitions of contemporary art and those of architecture. The late 1970s saw a 'historical turn' in the architectural discourse, which alluded to the rediscovery of history, after its abandonment by all the Modern masters, and developed in close alignment with architecture’s project of autonomy. This thesis proposes a reading of this period in relation to the formative moment for contemporary curatorial practices that brought art and architecture together in unprecedented ways. It takes its starting point from the coexisting and often contradictory spatial representations of art and architecture that occur in exhibitions, which constitute the inherently paradoxical foundations – and legacy – of today’s curatorial discourse. The timeframe of the late 1970s, which is this study’s primary focus, marks the beginning of the institutionalisation of the architecture exhibition: The opening of the Centre Pompidou in Paris (1977), the founding of ICAM in Helsinki (1979), and the first official International Architecture Biennale in Venice (1980), all of which promoted architecture within the museum. This period also saw the idealism of the social, political and artistic revolutions of 1968 finally dissipate, marking the emergence of a new conservatism. The concurrent postmodernisation of the cultural discourse, together with the post- industrial era’s changing economic climate, prompted a need to redefine the purpose and position of the architectural profession. The resulting new architecture not only developed within the space of art, but also substantially reshaped it, provoking numerous artistic and curatorial responses, which continue to this day. In order to explore and elucidate the connections between the fields of architecture, contemporary art and curatorial practices, the chapters consider the often-overlapping notions of architecture as object, concept, process, media and context through period case studies, including examples of the ‘void shows’ and artist museums, Ungers’ building of the DAM, Friedman’s Street Museum, Frankfurt’s Museumsufer, Matta-Clark’s and Kabakov’s respective practices and Portoghesi’s ‘Strada Novissima’ at the first Venice Biennale of Architecture. Surveying the separate models of architectural displays, drawn from different institutional and disciplinary contexts of the late 1970s and early 1980s, this thesis questions how these different exhibition typologies have expanded the definition of architecture. It also investigates the ways in which contemporary curatorial and art practices have been informed and shaped by architecture, and, how these curatorial representations of architecture adhere to the wider cultural, political and economic contexts. Ultimately, the thesis reconsiders the past as a way to grasp the present, and, through the analysis of the socio-political and economic contexts of the case studies, it builds a critique of the globalised hyper-acceleration of contemporary curatorial production.

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Urrutia, Barriga Camila. « Estética relacional : la acción curatorial como obra ». Tesis, Universidad de Chile, 2014. http://repositorio.uchile.cl/handle/2250/139343.

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Magíster en artes, con mención en teoría e historia del arte
Tesis no autorizada por su autora para ser publicada a texto completo en repositorio institucional.
Este documento revisa el texto Estética Relacional de Nicolas Bourriaud, considerado como una curaduría: una selección y exposición de obras, examinando, por una parte, las afirmaciones que propone esa selección para referirse al arte contemporáneo; y, por otra parte, la posibilidad de la acción curatorial para ser definida como obra. Este ejercicio es realizado por medio de la relación de los textos de Bourriaud: Estética Relacional, Formas de vida. El arte moderno y la invención de sí, y Postproducción; así como por medio del diálogo de esos textos con distintos autores que sirven como referencia y contrapunto para realizar este ejercicio. Desde esta relación de textos, se propone a la acción del dandy en convergencia con la acción

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Beignon, Anaëlle. « Participatory Design Fiction Curator – Providing inspiration from Participatory Design fiction Research ». Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23284.

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Designers take inspiration about the future in order to shape values for their design practice, especially whennew technologies are involved. Participatory design fiction is an approach that enables designers to reflectupon futures are created by non-designers. These narratives about technologies that come from nondesignersare valuable for designers in the industry as inspirational material. Nonetheless, the distancebetween the academic research and designers in the industry makes difficult the spreading of design fictionsproduced by non-designers.This thesis project explore the following: How might we design a digital infrastructure that integrates the enduser's imaginaries about new technologies as inspiration and material for reflection in the design industrypractice?As well as: How might we enable the design research community to share results of their participatory designfiction experiments with the design industry in ways that benefit both parts?I will present an investigation in the relations between the academic design researchers and the designpractitioners by the means of co-design workshops, interviews, virtual ethnography and iterative prototyping.The outcome is an infrastructure which takes advantage of the existing practices of the design community onTwitter. By investigating these social media dynamics, I intent to create a bridge between academia anddesign industry for enabling critical inspiration from participatory design fiction outcomes. The final prototypeis a Twitter account run by a bot which enables an autonomous collection of design fictions from nondesignersshared on Twitter by design researchers with designers from the industry.

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McCartney, Laura Lee. « Unpacking Self in Clutter and Cloth : Curator as Artist/Researcher/Teacher ». Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849713/.

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This a/r/tographic dissertation offers opportunities to interrogate curator identity and curator ways of being in both public and private spaces. Instead of an authoritative or prescriptive look at the curatorial, this dissertation as catalogue allows for uncertainty, for messiness, for vulnerable spaces where readers are invited into an exhibition of disorderly living. Stitched throughout the study are stories of mothering and the difficulties that accompanied the extremely early birth of my daughter. Becoming a mother provoked my curating in unexpected ways and allowed me to reconsider the reasons I collect, display, and perform as a curator. It was through the actual curating of familial material artifacts in the exhibition Dress Stories, I was able to map the journey of my curatorial turns. My engagement with clothing in the inquiry was informed by the work of Sandra Weber and Claudia Mitchell, where dress as a methodology allows for spaces to consider autobiography, identity, and practice. It was not until the exhibition was over, I was able to discover new ways to thread caring, collecting, and cataloging ourselves as curators, artists, researchers, teachers, and mothers. It prompts curators and teachers to consider possibilities for failure, releasing excess, and uncaring as a way to care for self, objects, and others.

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Lederer, Robert Clarke. « Rise of the curator : archiving the self in contemporary American fiction ». Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/10667.

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Concurrent with a bloom of interest in the archive within academic discourse, an intense cultural fascination with museums, archives, and memorials to the past has flourished within the United States. The ascendency of digital technologies has contributed to and magnified this “turn” by popularising and habituating the archive as a personal memory tool, a key mechanism through which the self is negotiated and fashioned. This dissertation identifies a sustained exploration of the personal archive and its place in contemporary life by American novelists in the twenty-first century. Drawing on theories of the archive and the collection, this dissertation analyses the parameters of the curated self through close-readings of recent novels by five US authors. The first two chapters read Paul Auster’s Sunset Park through trauma theory and Siri Hustvedt’s What I Loved through psychoanalysis, noting that in each the system of archiving generates moments of catharsis. The two chapters argue that, for the subject shattered by trauma, archiving activates and fulfils psychoanalytic processes that facilitate the self’s reintegration and prompts a discursive revelation about the painful past. The texts, thus, discover in the archive strategies for achieving, however provisionally, a kind of stability amongst unexpected change. The next two chapters reveal the complicity of archival formations with threats posed in the digital age and articulate alternative forms of self-curation that counteract these pernicious forces. To ward off information overload, E.L. Doctorow’s Homer and Langley advocates the ethical flexibility of “blind” narration that, wending through time, accommodates a broad range of perspectives by refusing to fantasise about its own ultimate and total claim to accuracy. Jennifer Egan’s A Visit from the Goon Squad, meanwhile, diagnoses the cultural anxiety over increasingly invasive surveillance measures. While the novel situates the digital archive, or database, at the heart of this new dataveillance, it recommends investing the self in material collections, where personal meaning is rendered in the inscrutable patois of objects that disintegrate over time. For Egan, the material archive thereby skirts the assumed readability and fixity of data on which this surveillance thrives. The conclusion analyses Dana Spiotta’s Stone Arabia, observing within it and the other novels a consistent concern with archival destruction, erosion, and stagnation. Together, the texts suggest that the personal archive is persistently stalked by disintegration and failure. Yet, within this contemporary moment in which curation has become a widespread means of self-fashioning, they also show how these hazards can be creatively circumvented or actively courted, can threaten the subject or be harnessed by it.

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Chye, Carissa Ern Ai. « Curating the Curator : The (Self-)Construction of Frank O’Hara as Myth ». Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/20459.

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My thesis seeks to examine what I identify as the ‘Frank O’Hara phenomenon,’ the way in which Frank O’Hara – not only his poetry, but his image, his body and his biography – has been seized upon by the culture of both his own milieu and today’s popular culture. I am interested in the way O’Hara, poet and curator at the Museum of Modern Art in New York, has himself been curated, commodified and consumed. Within this framework, I attend to O’Hara as a bio-icon, borrowing from Bishnupriya Ghosh’s coinage of the term in her book Global Icons. In examining how O’Hara has become a widely-circulating icon of exceptional symbolic density, the term ‘bio-icon’ is particularly germane. It encapsulates both the bio element (the ‘life-story’ of O’Hara, a poet characterised by an aesthetic of flux, movement, spontaneity and flamboyant flâneurism), and the icon element (the cultural ‘framing’ of O’Hara as an artefact, transforming him into a familiar sign laden with symbolic density). My investigation into the material narratives surrounding O’Hara is grounded by the underlying theme of myth, which I argue is a social narrative act, highly mutable and subject to reappropriation; but importantly for O’Hara, also a strategy for self-construction. Chapter One sets out the historiographical problem that my thesis seeks to address: the insistent tangling of biography, constructed myth and poetry that often characterises any account of O’Hara’s literary merit and his legacy. The chapter introduces the mechanics of mythologisation, setting up the theoretical and historical frameworks that govern my examination of O’Hara as a bio-icon. In the next three chapters, I examine three crucial strands of the O’Hara mythology, arguing that each is constructed around a motif or trope upon which the mythologising of O’Hara depends: the telephone, the city of New York, and death of the poet. Each of these three mythemes garners its affective power through the combination of a photographic or artistic image that echoes the motifs in the poet’s own work and is reiterated in the stories told about him. Yet, these very tropes and techniques which O’Hara uses to sustain his image and narrative operate brilliantly, at the same time, as an undercurrent that perturbs the glossy surface of ‘Frank O’Hara’ as he is most well-known. Thus, O’Hara’s poetry ultimately works to unravel the threads of his own reputation, and it is this subversive dissonance that imbues his poetry with its unique resonance. The process of mythopoiesis itself reveals O’Hara’s poetic interventions to the inadequacies of his cultural and historical moment, in which he was embedded and to which he responded.

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Scarpa, Elena <1987&gt. « Il curatore fallimentare ed il programma di liquidazione. Alla luce delle modifiche introdotte dalla riforma della Legge Fallimentare ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2012. http://hdl.handle.net/10579/2159.

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La tesi mette in luce quelle che sono state le modifiche più rilevanti introdotte dalla riforma della Legge Fallimentare (D.Lgs. 5/2006 e successivo decreto correttivo D.Lgs. 169/2007) analizzando in particolare la nuova figura del curatore fallimentare il cui ruolo appare ora fortemente valorizzato ed ampliato. Dopo una prima parte dell'elaborato incentrata sulle caratteristiche strutturali della procedura fallimentare in generale, alla luce delle modifiche intervenute in seguito alla riforma, si analizzano i cambiamenti che hanno investito gli organi della procedura e, in particolare, oggetto del mio lavoro è il curatore fallimentare, soprattutto con riferimento ad uno dei nuovi compiti ad egli assegnati più rilevanti che si sostanzia nella predisposizione del programma di liquidazione, al quale è dedicata una parte rilevante del mio elaborato. La riforma, con la quale il legislatore ha voluto propendere per una "privatizzazione" della procedura volta al miglior possibile soddisfacimento dei creditori dell'imprenditore fallito, ha spostato il centro propulsore della procedura dalla figura del giudice delegato al curatore, sotto il controllo del comitato dei creditori, i cui pareri ed autorizzazioni diventano per lui vincolanti. Sebbene, infatti, si sia assistito ad un rafforzamento dell'autonomia decisionale e gestionale del curatore fallimentare, non più soggetto, come in passato, al potere direttivo del giudice delegato, egli deve comunque sottostare al vincolo rappresentato dal perseguimento dell'interesse dei creditori. Sono questi i principi ispiratori perseguiti dal legislatore della riforma i quali, sulla base di quanto emerge nello svolgimento dell' elaborato,trovano la loro maggiore realizzazione in quello che costituisce nella Legge riformata una delle novità di maggior rilievo,ossia il programma di liquidazione. La finalità di un tale atto di programmazione si sostanzia nell'inquadrare le scelte della curatela, circa le modalità e i termini di liquidazione dell'attivo, nell'ambito di un generale programma liquidatorio volto a massimizzare il ricavato per i creditori e perseguire lo scopo di trasparenza delle attività di liquidazione e di celerità della procedura fallimentare.

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Sacramento, Nuno. « Shadow curating : a critical portfolio ». Thesis, University of Dundee, 2006. https://discovery.dundee.ac.uk/en/studentTheses/932929b8-ec03-4d73-8851-855281f17aff.

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"Muitos, como dizia Artaud, referindo-se aos críticos, "gostariam que a nossa aprendizagem fosse feita entre quarto paredes, fechada no laboratórios", mas nos fazemos cena aberta, cara a cara com o publico. "Many", as Artsud used to say, referring to the critics, "would like our learning to take place within four walls, enclosed in laboratories", but we rather do it openly, face to face with the public" (Itaqui, 2005). "Fields are greener in their description than in their actual greenness. Flowers, if described with phrases that define them in the air of the imagination, will have colours with a durability not found in cellular life" (Zenith, 2001). This thesis proposes Critical Portfolio as a new format for methodological exchange between curators of contemporary visual arts. The research took place between the years of 2001 and 2006 and was based on the curotion of exhibitions with strong visible idiosyncratic approaches to selection and display (these becoming the research questions). It wasfollowed by the documentation and critical reflection of their associated methodologiesand final outputs, and resulted in a Critical Portfolio with clear links threaded between thevarious sections. The research is an enquiry into the nature of process and impacts upon themethodological visibility of emerging fields of curatorial practice and research.This charting of curatorial activity is divided in two parts:Projects included (with relation to the research questions) and projects excluded (with no clear relation to the research questions). Part 1- The projects included (4th year Expo, B-Sides - The Sculpure Show, Art Cup and A-Tipis) have token place in various European institutions and propose specific approaches to selection and display.Part 2- Projects excluded (Ver?o, Her?is e ViI es, Gran Pacman etc) do not show a clear relation to methods of selection and display. Each individual project in Part 1 is organized according to a common structure consisting of Project Image, Exhibition Pro-Forma, Concept Development, Portfolio Images,Correspondence between Curator and Artists, and Process Documentation. This structure, which takes a different configuration in each of the projects, allows for a clear and objective search for specific elements and contributes to new possibilities for comparison. The relation between the projects and the curatorial methods of selection and displaydenote critical preoccupations which become synthesized in the Curatorial Programms. This thesis identifies a "gap" in the structure of curatorial handbooks and proposes an approach that will not only close it, but bring more depth to an arising discussion around curatorial methodologies. Imagining this Critical Portfolio turns into a chapter of a curatorial handbook (synthesis of a curator's practice), the handbook is thus turned into a library/archive hosting each individual curator's documented methodology (Capital Culturalas repository of multiple curatorial practices is described in the Conclusion).

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Ekman, Jan. « Gränser och passager : En analys av de curatoriska och konstnärliga subfälten ». Thesis, Södertörns högskola, Institutionen för kultur och kommunikation, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-15375.

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I have, with a point of departure in two case studies; the artist, curator and scientist Andreas Gedin and Maria Lind, curator and director of Tensta konsthall, contextualized with a couple of respondents; the freelance curator, writer and editor Power Ekroth and the freelance curator and artist Carl Michael von Hausswolff, conducted a field analysis on curatorial and artistic practices. I have applied key concepts in order to conduct the analysis. Furthermore, the case studies and the respondents have been placed in a contemporary artworld. These components have been related to a contemporary historical segment of the artworld. This in turn, has been related to older, international cicumstances of change and various conditions in the two subfields. I have suggested certain a proximity in the artistic and curatorial practices. I have also suggested three types of conduct or signature features linked to the curatorial practices. One result implied in the responses in the interviews is that the formal requirements to enter the field are low on part of the artist as compared to that of the curator. This is only a weak indication due to the small sample. This distribution seems plausible in that, amongst other things, the connection on the curatorial part to the institution as well as a greater proximity to centres of power requires a larger accumulation of educational capital. The movements that at times occur between the subfields could simply be a consequence due to the frail demarcation of the fields. The dynamics due to the accumulated capital appears to be the foremost distinctive factor that influence the possibility of movement across the demarcations. The artist appears to have the most to gain from the weak demarcations due to the fact that venturing in to curatorial territory provides a greater access to the possibilities of defining the field. Another plausible explanation to the at times frequent passing over the borders is the economical cicumstances in the cultural sector.
VG

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Gaskill, K. « In search of the Social : toward an understanding of the Social Curator ». Thesis, University of Huddersfield, 2010. http://eprints.hud.ac.uk/id/eprint/10902/.

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Since the 1960s contemporary art has seen a paradigm shift occur that has rejected the individual perspectives of modernity and begun to consider the value of connective and participatory aesthetics. New process-led and technologically-based practices have shifted the emphasis away from the art object and onto the art process, rendering the approach to making art a much more connected and relational one. In parallel, the curatorial role has radically shifted since it was first popularised in the 1970s. With less emphasis on the archival and more on the mediation and dissemination of practices, the role has risen to the forefront of the contemporary art arena, yet the actual methods of curation have not evolved in relation to the practices they curate, revealing an acute lack of curatorial convention for exhibiting and disseminating process-led practices. Employing the term Social Practice to actively define this ever-evolving body of process-led works, this research is situated at the juncture between the social outputs of reciprocal artworks and the curator’s role in exhibiting them. In establishing curation as a practice and situating it at a well-founded and clear point of perspective, this thesis argues that a clearer understanding of curatorial practice will in turn formulate an active and more integrated way of working. Focussed on the curation of media and performative practices specifically, and through four practical case studies: Becoming Electric, Fast and Slow Networks, Scatter Projects and Turnstile, in curatorial and exhibition practice, a dynamic form of curatorial practice is made manifest. This Social Curation seeks to contextualise fully the potential of exhibitions as structures of communication and exchange, maximising social interaction and engagement across curatorial approach, process and outcome. This thesis engages performative and participative approaches in its development of a research bricolage, revealing through practice how curation can function in an open and relational way. It contributes to methodical innovation through its use of a real-life initiative to test and ground the research strategies, and to the fields of artistic and curatorial research through original and responsive strategies towards evolving exhibition formats. Overall it has sought and revealed the means to both situate and question new ways of thinking and methods of working within the dynamic of the everyday.

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O'Neill, Rebecca. « The rise of the citizen curator : participation as curation on the web ». Thesis, University of Hull, 2017. http://hydra.hull.ac.uk/resources/hull:16449.

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From jazz clubs to cheese plates, the term curation has become a signifier of the growing need to organise and prioritise the seemingly endless possibilities of the digital sphere. The issue addressed here is in the associated meanings of the word curation and what it means to be a curator by examining the experience of the curatorial within a discrete context: the Irish curatorial landscape. The word curation comes from the Latin curare, to care for, and has long been associated with the professional duties of those selected as custodians for objects and knowledge deemed to be important to communities, nations, countries or even the world. However, as objects move from being purely physical to the digital, and knowledge changes from being transmitted through similarly physical media to digital formats that can be set free on the Web, what it means to curate has also changed. Curators are no longer necessarily identified as employed within museums or galleries; the word is now also applied to those who engage with and aid in the management and presentation of digital assets online. Curators have emerged in the online space much like their forerunners, bloggers or citizen journalists. We are now seeing the rise of citizen curators on the Web, which has not created these individually motivated curators, but has made their curatorial activities visible. Citizen journalists no longer need to have a printing press or publishing house to communicate with their audience; similarly, citizen curators do not need a private cabinet of curiosities or a job in a museum to allow them to curate or exhibit to an audience. The aims of this research are threefold: to examine the current terminology related to curation by those who identify as curators or engage in curation in Ireland; to define what it means to be a curator or a citizen curator within the Irish context; and to investigate the changing nature of exhibition spaces contained in the Irish context in light of the Web and digital spaces. The study will take the form of an autoethnography, exploiting my unique position within the museum and open knowledge community in Ireland to examine current understandings of curation and the phenomenon of the citizen curator. The focus will be on my work within Wikimedia Community Ireland (WCI), a branch of the Wikimedia Foundation which promotes the use of Wikipedia in Ireland in education, culture, and open knowledge. As an autoethnographer, I can act as an intermediary, part way between those working in cultural organisations and the public involved in knowledge building projects. The study will look at how those engaged in curation articulate the work they do by means of interviews and participant observation. These sources will allow for the development of a spectrum of curatorial practice. The spectrum will arise from the participants’ (both citizen curators and those working in Irish cultural institutions) own understanding and definitions of curation and what it means to curate. In placing these definitions of curation within a spectrum that takes in broader understandings of curatorial practice, the newer forms of digital curation, and a picture of how the citizen curator relates to these methods, will emerge. The disruptive effect which the digital, and in particular the concept of the Long Tail, has brought to bear upon understanding of the assembling, storing, and using of collections will be examined. It will answer many of the issues surrounding the discipline-specific definitions of curation and the curator while informing their relationship with each other. By drawing out curation into a spectrum, what unfolds is the movement of curation from a traditional and closed system of learnt practices, to one which is formed around more open and accessible conventions of curation. In identifying the citizen curator, their role in the larger curatorial debate can be acknowledged and better incorporated into the multitude of online curated projects. This hinges on the emergence of the Do It With Others ethos which pervades both online and offline creative communities, and it redefines curation from a solitary practice, to one which is demarcated by its participatory nature.

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Marsden, Rachel E. M. « The transcultural curator : translating networked curatorial practices in the Chinese context since 1980 ». Thesis, Birmingham City University, 2017. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.743084.

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Initiated from discussions of key curators and exhibitions at the end of the Cultural Revolution, this thesis explores cultural translation through networked curatorial practices in the Chinese context since 1980. In response to increasing local (Chinese) to global (international) exchange, termed as ‘glocal’, I examine different curatorial practices and strategies used to translate exhibitions of avant-garde and contemporary Chinese art towards the development and definition of the role of the transcultural curator. A framework for translation is developed from Homi K. Bhabha’s three-tiered, postcolonial methodology of ‘Third Space’ in parallel with Ray Oldenburg’s theory of third place, whilst rooted in the development of social and cultural networks within Fei Xiaotong’s concept of Chineseness. From these perspectives, it is argued that guanxi self-reflexively provides a basis through which networked curatorial practices can be understood. As a non-Chinese curator and researcher, this thesis is crucially informed by a practice-led component to the research methodology. Responding to China’s unique moment of “museumification”, I establish The Temporary to actively and explicitly reflect on my curatorial practice in relation to research findings. This platform functions as a site of “research curating” (based on the construction of networks of practice) and “curating research” (mapping the action archive), to test and evaluate curatorial strategies, whilst revealing a new internal logic of cultural translation in the Chinese context. This nexus of research explored through theory, concept and practice aims to create a unique set of definitions and arguments to define the role of the transcultural curator. In turn, it presents a series of considerations to be implemented when curating exhibitions of contemporary Chinese art in an international context whilst contributing to the ongoing debate in the field.

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Oprea, Corina. « The end of the curator : on curatorial acts as collective production of knowledge ». Thesis, Loughborough University, 2017. https://dspace.lboro.ac.uk/2134/25605.

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'The End of The Curator: On Curatorial Acts as Collective Production of Knowledge' explores the convoluted liaison between knowledge production, collectivity and curating, through practices that have been neglected by mainstream curatorial platforms and art history. Bearing in mind the extensive usage of the notion knowledge production, my practice based research is guided by the question what forms of collective knowledge can curatorial practice produce?

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Hofmann, Andreas C. « Staat und Stadt in der Spätantike ». Thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-132059.

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Das Essay untersucht anhand der einschlägigen Forschungsdiskussion die Frage, inwiefern die beiden städtischen bzw. kaiserlichen Institutionen der curatores civitatis und defensores civitatis als Zeichen für einen spätantiken Zwangsstaat gewertet werden können oder vielmehr Elemente städtischer Autonomie undmit solchen kaiserlicher Fürsorge vereinten.

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Feather, Jessica. « The formation of a modern taste in watercolour : critics, curators, and collectors c. 1890-1912 ». Thesis, University of Reading, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.722604.

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Moramarco, Domenico <1984&gt. « Da artista a curatore : la mostra Slip of the tongue curata da Danh Vo a Punta della Dogana-Fondazione François Pinault ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/8731.

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Danh Vo, artista danese di origine vietnamita, residente tra Berlino e Città del Messico, nato il 1975 a Bà Ria, è senza ombra di dubbio l’«artista del momento», entrato ormai a far parte “di diritto” nel sistema dell’arte contemporanea composto da artisti-divinità osannati da galleristi e collezionisti e corteggiati da tutte le più importanti istituzioni museali del mondo. Nato nel 1975 in Vietnam, a soli quattro anni è costretto a lasciare la sua terra, a causa della guerra civile, ed emigrare in Europa con tutta la sua famiglia a bordo di un’imbarcazione di fortuna.La sua produzione artistica ha innescato una considerevole attenzione a scala internazionale, con mostre individuali presso le Stedelijk Museum di Amsterdam (2008), la Kunsthalle Basel (2009), l’Art Institute di Chicago (2012), il Museo d’arte moderna della città di Parigi (2013), il Museion di Bolzano con la mostra “Fabulous Muscles” (2013), la partecipazione nello stesso anno, alla 55° Esposizione Internazionale d’Arte, presso l’Arsenale de la Biennale di Venezia intitolata “Il Palazzo Enciclopedico”, l’installazione “Autoerotic Asphyxiation” in occasione della mostra “The Illusion of Light” presso Palazzo Grassi-Fondazione François Pinault. In occasione della vittoria dello Hugo Boss Prize nel 2012, il curatore associato del Guggenheim Museum di New York, Katherine Brinson, ha definito la ricerca artistica di Danh Vo, come un lavoro che “illumina i fili intrecciati dell’esperienza privata e della storia collettiva che forma il nostro senso del sé. Emergendo da un processo di ricerca, incontri casuali e delicate trattative personali, le sue installazioni scoprono le connotazioni latenti e le memorie incorporate in forme familiari”. Il sistema dell’arte potrebbe essere rappresentato come una realtà “rigida” in cui gli attori (gli artisti, i curatori, i critici, i committenti tra cui i collezionisti, le istituzioni; i media, ecc.) giocano delle parti ben definite e difficilmente gli uni possono sostituire gli altri o intercambiarsi, anche se, come i fatti lo evidenziano, spesso gli uni si sostituiscono agli altri, da ciò nascono nuove figure come il critico-curatore, l’artista-curatore, il gallerista-artista, il critico-artista, i quali si impegnano in progetti che diventano vere e proprie sfide. Il curatore quindi, nonostante la sua figura sia in una crisi irreversibile e molti sono a dubitare ancora della sua utilità soprattutto vista la grave situazione economica di crisi finanziaria in cui versano quasi tutte le istituzioni culturali pubbliche, è colui che sceglie gli artisti e decide gli artisti da “includere” nel mondo dell’arte contemporanea e chi invece “lasciare fuori”. Cosa accade quando è l’artista che assume questo ruolo, cosa accade quando l’artista diventa curatore di una mostra? La risposta a questa domanda è la tematica principale di questo lavoro, attraverso un’attenta e approfondita indagine della mostra Slip of the tongue, co-curata da Danh Vo e Caroline Burgeois, presentata a Punta della Dogana di Venezia dal 12 aprile 2015 fino al 10 gennaio 2016. In questa occasione Danh Vo è stato il curatore della mostra scegliendo gli artisti e le opere da esporre. Il presente lavoro è suddiviso in quattro capitoli, il primo è intitolato “Da artisti a curatori: un breve excursus delle mostre curate dagli artisti”; il secondo capitolo è intitolato “La ricerca artistica di Danh Vo: il frammento tra storie di antichità, collezionismo, conflitti e guerre di religione”; il terzo capitolo è intitolato “La donna artista: storie di identità e di dissidio interiore”; il quarto capitolo è intitolato “L’identità dell’artista: tra genere, alterità e diversità”.

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Andersson, Stefan, et Daniel Cullberg. « Jag Twittrar för Er : Nytänkande och ambassadörskap i medielandskapet ». Thesis, Karlstads universitet, Avdelningen för medie- och kommunikationsvetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-28176.

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Syfte: Projektet har som syfte att ta reda på hur fenomenet Rotationcuration har förändrat arbetet med Sverige som varumärke. Frågeställningar: Den övergripande frågeställningen som uppsatsen utgår ifrån är: Hur har rotationcuration förändrat arbetet med varumärket Sverige för VisitSweden? För att besvara huvudfrågeställningen på ett enklare sätt används ett flertal underfrågor vilket följer: Vilka strategier använder VisitSweden (VisitSweden.) sig av för att marknadsföra Sverige på Twitter? Vilken syn har VisitSweden. på Sociala medier? Hur ser varumärkesbyggandet ut på twitterkanalen @sweden när det kommer till varumärket Sverige? Hur användandet av kuratorer demokratiserat arbetet med projektet Curators of Sweden? Teori: De teorier som uppsatsen huvudsakligen utgår ifrån är Nations branding, Public diplomacy och Medialisering med tyngden på Public diplomacy. Förutom dessa har även teorier om Public relations och Publika sfären använts i viss mån. Metod: Uppsatsen är en fallstudie av Curators of Sweden. Inom ramen för fallstudien har vi bland annat granskat twitterkanalen @swedens nyhetsflöde, dokumentet Sverigebilden har undersökts och en intervju gjorts med VisitSwedens head of Social media. Resultat: Undersökningen visar på ett nyanserat sätt hur man genom en twitterkanal kan marknadsföra ett land som varumärke och hur man använder sig av ambasadörer för att lyckas. VisitSweden visar på hur man genom förberedelse och kontroll kan få all Public relations att bli bra Public relations. Man har genom att vara tidig in i mediet på ett inovativt sätt kunna bryta mark och skapa intresse, men har är kanske inte lika öppna som man kan tro vid första anblick trots användandet av kuratorer.
Purpose: The projects purpose it to find out if the mediation has changed the work with Sweden as a brand. Issues: The main question this paper is based on is: How has the modern medialization changed VisitSweden's work with Sweden's brand? To answer the main question in a simpler way we will be using several sub queries as follows: What strategies does VisitSweden use to brand Sweden on Twitter? What are VisitSweden’s views on Social Medias? What does the image building look like on the Twitter channel @sweden when it comes to the brand Sweden? How has the use of curators democratized the work on the project Curators of Sweden? Theory: The theories in the essay are based on Nation branding, Public Diplomacy and Medialization with the weight on Public Diplomacy. Besides these theories the essay includes the theories of Public Relations and Public sphere that will be used to some extent. Method: The paper has investigated the Twitter channel @sweden's news flow through a quantitative and qualitative content analysis. It will also analyse the document Sverigebilden using a qualitative content analysis and document analysis, in the end, a qualitative interview with VisitSweden's Head of Social Media. Results: The survey reveals a nuanced way to which a Twitter channel can promote a country as a brand and how to utilise spokespersons to make it happen. VisitSweden shows how, through preparation and monitoring, all Public Relations can become good Public Relations. By being an early adopter of the medium, VisitSweden have been able to create interest through innovation and breaking new ground. It has since implemented a well controlled project that supports the brand through the use of core values that have been set in advance.

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Ramnerö, David. « Semi-automatic Training Data Generation for Cell Segmentation Network Using an Intermediary Curator Net ». Thesis, Uppsala universitet, Bildanalys och människa-datorinteraktion, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-332724.

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In this work we create an image analysis pipeline to segment cells from microscopy image data. A portion of the segmented images are manually curated and this curated data is used to train a Curator network to filter the whole dataset. The curated data is used to train a separate segmentation network to improve the cell segmentation. This technique can be easily applied to different types of microscopy object segmentation.

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Chubb, Shirley Jane. « Intervention, location and cultural positioning : working as a contemporary artist curator in British museums ». Thesis, University of Brighton, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.479071.

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Dodoo, Charles, et Charles Dodoo. « The Artist-run Gallery : Examining the Artist-Curator's Perspective in Curating Exhibitions in University and College Galleries ». Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/624566.

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Through this research study I aimed to critically examine the perspectives and experiences of five artist-curators who curate exhibitions at university and college galleries in southwestern US cities. Specifically, I explored how their arts background and their dual roles of artist and curator influenced both their curation and artmaking practices. Two research methods were employed to collect data: case study and arts-based research. These methods resulted in data collected in oral, written and visual documentation formats. As a participant in this study, my individual art and curation practices were documented in part through arts-based research. The findings indicated that (a) all five artist-curators use their curation practice as a teaching tool and that their individual artistic perspectives are reflected in their curation practice; (b) all of the artist-curators use the gallery as an educational tool in conjunction with the mission of their respective institutions; (c) the artist-curators are cognizant of the complex interrelationships that affect their dual roles as artist-curators and educators; (d) reflection on professional curatorial practice plays a significant role in creating and curating artwork as well as in the education process. These findings are consonant with Dewey’s theory of experience and, in particular, continuity of experience where artist-curators reflect on past curation experience to gain a better understanding of their current curation practices, which they then "transfer" to viewers through their acts of creating artwork and curating exhibitions. Additionally, I found (e) a correlation exists between the artist-curators' curation and artmaking practices that suggests that the artists reflected upon their artmaking when curating and vice-versa, which to some extent benefitted both practices; and (f) artists bring fresh perspectives to gallery work. The findings from this study may serve as a springboard for thoughtful conversations concerning the diverse experiences of artist-curators and their perspectives when they curate in university/college galleries. For those individuals interested in pursuing a career in curation, this study will illuminate the experiences of the artist-curator and show how a background in curation not only influences one’s artmaking, but is a valuable tool for educating the community and raising artistic awareness.

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Day, Meredith. « The New York City Photo League : determining influence through depth interviews with scholars, historians and curators / ». free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1422920.

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Groff, Fábio de Carvalho. « Contribuição ao estudo da curadoria de bens na execução : o Curator Bonorum da Bonorum Venditio ». Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/2/2131/tde-13122010-160122/.

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Dentre os personagens históricos ligados à execução, o curator bonorum é talvez o mais desconhecido, ou o menos estudado. Mas esse aparente \"desinteresse\" acerca da figura é incompatível com sua importância. Diversos são os textos doutrinários que apontam o curator como o antecessor histórico do síndico da falência, no direito anterior, e, nos dias atuais, do administrador judicial. No presente trabalho, apresenta-se a trajetória do curator bonorum e a influência que a curadoria teve no desenvolvimento dos meios de execução. Abordam-se, nesse sentido, a visão peculiar do romano sobre seu patrimônio, a importância da formação dos fundos de propriedade e os antecedentes da execução patrimonial. Demonstra-se também que o procedimento da bonorum venditio, costumeiramente ligado ao período clássico do direito romano, não foi exatamente substituído pela bonorum distractio, pois esta fazia, de certa forma, parte daquela. Com isso se procura comprovar que a atuação do curator, especialmente a que tinha por fim evitar a ruína do devedor, modificou os rumos da execução e do concurso de credores, inclusive de como se os conhecem ainda hoje. Em proposição aparentemente inédita, demonstrar-se-á que a mudança de enfoque dos modelos executivos posteriores às implicações de cunho fisico contra a pessoa, pelos quais se deixou de buscar a totalidade do patrimônio e se passou a preferir a alienação apenas de quanto fosse necessário ao pagamento do débito, está intrinsecamente ligada à atuação do curador do patrimônio. o trabalho se divide em três partes: na primeira, analisa-se o momento histórico da suposta origem do curator bonorum e os primórdios da execução patrimonial; na segunda, o âmbito de atuação e as características do curador; por fim, na terceira e última parte, estuda-se a evolução da figura até o âmbito do Direito Justinianeu. Apresenta-se, também, em apêndice, singela contribuição ao direito moderno.
Among the historical figures associated with bankruptcy, the curator bonorum is perhaps the most unknown, or the least studied. But this apparent indifference about the figure is not compatible with its importance, for there are several doctrinal texts that indicate the curator as the historical predecessor of the trustee in bankruptcy. In this paper, the trajectory of the curator bonorum and the influence that its actions had on the development of means of foreclosure are presented. It addresses, in this sense, the peculiar vision of the Roman about his estate, the importance of property funds, and the background of bankruptcy proceedings. It is also demonstrated that the bonorum venditio procedure, usually connected to the classical period of Roman law, was not exactly replaced by bonorum distractio, as this was, somehow, part of that. The paper also seeks to show that the performance of the curator, especially the one that was to prevent the ruin of the debtor, changed the course of bankruptcy proceedings and concurrent creditors, including how they are known nowadays. In an apparently unprecedented proposition a change of focus from the executive models will be shown, for which the fact that they no longer get the entire assets of the debtor, and happened to prefer a sale of just what was needed so the debt could be paid, is intrinsically linked to the work of the curator bonorum. The paper is divided in three parts: in the first the historical moment of the supposed origin of the curator bonorum and the beginnings of foreclosure are analyzed; in the second, the scope of acting and features of the curator. Finally in the third and final part, the evolution of the figure to the right under Justinian is studied. In Appendix, a simple contribution to modern law is presented.

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Schuppert, Mirjami. « Archive play : on the role of the curator in mediating artistic interventions into photographic archives ». Thesis, Ulster University, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.701057.

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Without mediation archives are chaotic, and overwhelming. Archives need to be interpreted in order to be understood. However, the interpretations often conform to dominant cultural norms, and produce hegemonic readings. The aim of this PhD with practice was to establish methods whereby the contents of photographic archives can be made alive in the present and the future, and investigate the role the curator has in such an endeavour. This addresses the selective nature of the use of archives by initiating a collaborative practice with artists. In doing so, it explores how critical curatorial practice can contest the hegemony of the archive. The thesis analyses the practice element of the research project, which consists of commissioning artists to produce new works as a response to a photographic archive as an alternative means of interrogating photographic archives. The objective of the written element is to contextualise my practice and analyse the practice based research process. This was done by deploying the concept of hegemony as developed by Ernesto Laclau and Chantal Mouffe as the underpinning of the argument. This argument was further supported by considering the curator as an organic intellectual after Oliver Marchart. The practice was reflected against a postmodern archive theory and particularly Jacques Derrida's conceptualisation of the archive. The thesis draws a picture of the archive as an open work, after Umberto Echo. Eventually, the term longue duree [Braudel], is used to investigate the longue duration of the research and exhibition process, which leads into building an argument that in the commissioning process that curator eventually has to let go. The practice element of the thesis entailed developing a curatorial practice. Here, I commissioned artists Hertta Kiiski and Niina Vatanen to produce new works as a response to the archive at the Finnish Museum of Photography. The works have been exhibited at the Finnish Museum of Photography (Helsinki) Golden Thread Gallery (Belfast) and published in a book format as Archive Play, (Kehrer Verlag).

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Pegno, Marianna. « Narratives of Elsewhere and In-Between| Refugee Audiences, Edu-Curators, and the Boundary Event in Art Museums ». Thesis, The University of Arizona, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10681309.

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This dissertation explores narratives that emerge from a community-museum collaboration while working with refugees in relation to Trinh T. Minh-ha’s (2011) concept of the boundary event. Within this study the boundary event is explored as moments of overlap where identity, experiences, knowledge, and processes are continuously being negotiated; by embracing or leaning into these moments, community-museum programs can develop multivocal narratives—where no single voice is heard as distinctly clear or separate. These co-created museum narratives stand in contrast to educational and engagement strategies that aim to instill knowledge and elevate community with the museum as the expert. In this dissertation 16 participant voices– of 15 refugees and one museum educator– mingle, coalesce, and complicate museum narratives. These narratives are participant-created (data presentation) as well as researcher-constructed (analysis and interpretation). Using the methodological lens of narrative inquiry and decolonization I investigated data collected from over a two-year period (summer 2013-summer 2015) including: content and wall labels collected from two exhibitions, one marks the beginning of the study in 2013 and the second in 2015 concludes the study; gallery activities collected over the course of the two-year study; and educator field notes from the 28 individual sessions. Ultimately, I argue that multivocal narratives, and embracing moments defined as the boundary event, complicate traditional hierarchy and expected stories of refugees and new migrants illustrating how difference can positively disrupt linear, static, and authoritative institutional narratives.

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Pegno, Marianna, et Marianna Pegno. « Narratives of Elsewhere and In-Between : Refugee Audiences, Edu-Curators, and the Boundary Event in Art Museums ». Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/626323.

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This dissertation explores narratives that emerge from a community-museum collaboration while working with refugees in relation to Trinh T. Minh-ha’s (2011) concept of the boundary event. Within this study the boundary event is explored as moments of overlap where identity, experiences, knowledge, and processes are continuously being negotiated; by embracing or leaning into these moments, community-museum programs can develop multivocal narratives—where no single voice is heard as distinctly clear or separate. These co-created museum narratives stand in contrast to educational and engagement strategies that aim to instill knowledge and elevate community with the museum as the expert. In this dissertation 16 participant voices– of 15 refugees and one museum educator– mingle, coalesce, and complicate museum narratives. These narratives are participant-created (data presentation) as well as researcher-constructed (analysis and interpretation). Using the methodological lens of narrative inquiry and decolonization I investigated data collected from over a two-year period (summer 2013-summer 2015) including: content and wall labels collected from two exhibitions, one marks the beginning of the study in 2013 and the second in 2015 concludes the study; gallery activities collected over the course of the two-year study; and educator field notes from the 28 individual sessions. Ultimately, I argue that multivocal narratives, and embracing moments defined as the boundary event, complicate traditional hierarchy and expected stories of refugees and new migrants illustrating how difference can positively disrupt linear, static, and authoritative institutional narratives.

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Pearson, Catherine. « Curators, Culture and Conflict : The Effects of the Second World War on Museums in Britain, 1926-1965 ». Thesis, University College London (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.498462.

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Norton-Westbrook, Halona. « Between the 'collection museum' and the university : the rise of the connoisseur-scholar and the evolution of art museum curatorial practice 1900-1940 ». Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/between-the-collection-museum-and-the-universitythe-rise-of-the-connoisseurscholar-and-the-evolution-of-art-museum-curatorial-practice-19001940(b1c01103-496f-44f6-a1a1-24c556c8a04c).html.

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This thesis investigates the evolution of curatorial practice in Britain and the United States in the first four decades of the twentieth century through an analysis of the formative years of two museums, the Wallace and Frick Collections, and of two academic programmes, the Fogg Art Museum Course at Harvard University and the Courtauld Institute of Art at the University of London. Through these case studies, this study charts the emergence and development of a specialised curatorial knowledge base that was influenced by traditions of connoisseurship and criticism and shaped by discussions surrounding art history’s disciplinary parameters taking place in the museum, the press, the art market and the university. This investigation makes visible the processes through which art museum curators, keepers and directors collaborated in the creation and standardisation of their own expertise and contends that this quest was fundamentally intertwined with struggles for authority, agency and professional recognition. The manifestation of this expertise resulted in a renegotiation of institutional power dynamics and gave rise to a new type of art museum leader: the connoisseur-scholar, who performed an important function in the art museum’s transition from a space dominated by gentlemanly amateurs to one in which academically trained art historians increasingly assumed positions of authority. Asserting that the formation of this knowledge base cannot be separated from the academic institutionalisation of art history and curatorial training, this study demonstrates that individuals operating in the spheres of the art museum and the university were engaged in a dialogue through which the core values of these respective endeavours were realised. Detailing these processes and relationships and locating them within the context of a shift towards aesthetic idealism, this thesis provides insight into the historical origins of modern-day curatorial practice in Britain and the United States.

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Whitley, Zoe. « Against a sharp white background : dialogic and exhibitionary practices of Black contemporary artists and curators in art museums ». Thesis, University of Central Lancashire, 2018. http://clok.uclan.ac.uk/23580/.

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This research seeks to better understand how Black artists experience the mainstream art museum. The thesis makes an original contribution to scholarship on curating contemporary art through qualitative analysis of subjective approaches to art museum space. It makes evident responses to institutionalised systems of address. Foundational in establishing this action research methodology (Lewin 1946; Carr & Kemmis 1986) are the dialogic frameworks provided by the theories of Mikhail Bahktin (1975), Edouard Glissant (1997), and chiefly the writing of Zora Neale Hurston (1929). It concludes that art museums can become sites of dialogic exchange (Bennett, 2006) for those who have been traditionally excluded from such spaces, though the means may be other than those formally sanctioned by the institution. Examining racial difference in museological and curatorial spheres potentially allows for multiple dialogues, referred to by Bakhtin as ‘polyphony.’ Interviews with fourteen international artists and curators suggest that critical debate around the racialisation of museum space has progressed relatively little since the 1990s, with identity politics and institutional critique having fallen out of favour in contemporary museum discourse (Bishop 2012, Haq 2014). Indeed, recent academic research into race and the art museum tends to focus on the past (Cooks 2011, Cahan 2016) or artists’ continued lack of visibility (Chambers 2015). While museum-centred research interrogates the relationship between audience and museum space (McClellan 2003; Karp et al. 2006; Bourriaud 1998; Kester 2011), little consideration has been dedicated to Black contemporary artists’ physical presence in art museums. As a critical paratext to curatorial projectsThe Shadows Took Shape and In Black and White which I co-authored, this study examines Black artists’ roles as uniquely informed generators of address (speakers) and respondents within the art museum. Given the insular and highly specialised body of curatorial writing (Hoffmann 2013; Lind 2010; Obrist 2008; Martinon & Rogoff 2015), it is therefore proposed that studying modes of Black curatorial and artistic address can ultimately yield new translations for contemporary museum-going publics.

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Pryde-Jarman, D. « Curating the artist-run space : exploring strategies for a critical curatorial practice ». Thesis, Coventry University, 2013. http://curve.coventry.ac.uk/open/items/ec4c19c4-55de-475d-a95f-0a310c037ced/1.

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The once distinct roles of artist and curator have blurred dramatically in recent decades owing to a blending process in both directions, which has led to a turn towards the concept of the curator as producer and author, and the development of the hybridised figure of the ‘artist-curator’. Within my practice-based curatorial research at Meter Room and Grey Area, the 'artist-run space', as both form and content of space, is used as a critical framework for artist-curatorship. Artist-run spaces play a significant role in the cultural ecology of the UK, and this project explores the power relations involved in the production, distribution, and consumption of work within the field, in terms of both a cause and effect of a contested relationship with institutions and commercial galleries. Artist-run spaces are initiated for a number of reasons, but this project specifically focuses upon those spaces that identify with terms such as ‘independent’, 'alternative', ‘not-for-profit’, ‘DIY’, ‘self-organised’, and ‘critically engaged’. Using strategies for the development of a critical practice, such as Chantal Mouffe’s theories on ‘counter-hegemony’ and ‘agonistic space’ (2007), and Gerald Raunig's concept of 'instituent practice' (2009), this project explores how curatorial practices within artist-curator-run spaces might offer different ways of working, and be used to contest hegemonic structures within the field. I explore the role of critique within curatorial practice, specifically in relation to the struggle for autonomy, the production of subjectivity, and strategies for negating or resisting cooption by the New Institutions of post-Fordist neoliberalism. Three curatorial strategies were developed from experimental projects at both spaces, and then explored at Meter Room over a 2-year period. These strategies sought to occupy institutional structures in new ways: through the re-functioning of 'void' space, blending studio and gallery functions within a Curatorial Studio, developing a paracuratorial practice referred to as Caretaking, and re-approaching the concept of a collection-based institution through processes of layering works and their vestiges within an Artist-run Collection. The practice-based research culminated in a 5-month durational project in collaboration with five other artist-run spaces based in the West Midlands region, which explored a strategy for the creation of a new speculative artist-run institution as a dialogical process of instituting values through a critical curatorial practice.

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Robles, Sepúlveda Constanza. « La curatoría de Dore Ashton para el Museo de la Solidaridad Salvador Allende : política y abstracción entre 1971 y 1973 ». Tesis, Universidad de Chile, 2015. http://repositorio.uchile.cl/handle/2250/142996.

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Magíster en artes, mención teoría e historia del arte
La presente investigación explora la formación del Museo de la Solidaridad Salvador Allende (MSSA) durante el gobierno de la Unidad Popular (1970-1973), como una de las iniciativas que surgieron en la época para fomentar la cultura y el apoyo de otros países al pueblo de Chile y el socialismo del Presidente Salvador Allende Gossens (1908- 1973). Esto ocurre en un difícil momento político para Chile, en el cual los partidos opositores a Salvador Allende, con el respaldo de Estados Unidos, y particularmente de la CIA durante el gobierno de Richard Nixon (quien fue Presidente entre 1969-1974), buscan erradicar la presencia del socialismo en América Latina y sabotear la posibilidad de pensar un gobierno socialista democráticamente electo. En este contexto, y como veremos más adelante, el MSSA vive su primer periodo de gestación conocido como “Solidaridad” (1971- 1973), en que se obtienen las primeras obras que componen el museo.

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SERRA, MAILY. « Studio dell’evoluzione del popolamento rurale nelle curatorie di Trexenta e Siurgus in età medievale e postmedievale : abbandoni e continuità di vita ». Doctoral thesis, Università degli Studi di Cagliari, 2015. http://hdl.handle.net/11584/266827.

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The aim of this research is to investigate medieval and post-medieval settlements in a central area of Sardinia (Italy). The Middle Ages were the principal formative period for many current rural settlements and yet too little effort has so far been made to analyse and understand the sources, structures, and archaeology of these places and to see them in their landscape context. Core also is the aim to analyse how people lived in these rural areas in period AD 1200-1700 and how they used and perceived the landscape as worked and lived space. People have modified and managed landscapes over millennia, and the land was, arguably, a mirror of these societies. Using landscape archaeology and historical research in union is vital to study medieval and post-medieval settlements whether in a Sardinian or, much more widely, a European or Mediterranean context. This study aims to use a specific case study to help open windows on the rural landscape and population of medieval and post-medieval Sardinia.The study zone is a rural area of Sardinia that during the Middle Ages was divided into two different regions, the so-called curatoria of Siurgus, once situated on north-western frontier between the Kingdoms of Calari and Arborea. Cartographic Data we collected are composed by geological map scale 1:100000, IGM scale 1:25000, CTR scale 1:10000, cadastral maps planned in 19th century scales 1:5000 and 1:2000, UTE planned in 19th century with the same scale and ancient maps without scale definition. Combining by GIS all these cartographic data, we found elements which are very useful to reconstruct settlement morphology, land system and land use, parishes, boundaries, ancient routeways, trackways, and environmental resources. To make this research we used also orthophotos included in Sardinia official website www.sardegnageoportale.it. They have been taken in 1954, 1977, 2000, 2003, 2006. We use also ancient aerial photographs granted by Aerofototeca Nazionale Italiana which have been taken in 1952 and 1954. We began our study collecting and analysing documentary sources, both published and unpublished which we found in archives. Published documents have been completely reviewed to make sure to use all information they offer about villages, landscape, society, economy and religion. Literary evidence and oral sources complete the framework of information. All these elements have been examined combining all information we have with the results of fieldwork. Extensive areas have been analysed with the method of transepts, while more little zones have been surveyed with grids. All evidences we found have been recorded and put in a digital archive, while distribution maps of sherds has been made by GIS. Digital archive and GIS allow us to show an integrate analyses of settlements and landscape through different kinds of maps.

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Miller, Chasity Janet. « From the Seat of Authority : A Case Study in Exhibition Development ». VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1034.

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During the Spring 2006 semester, Virginia Commonwealth University students enrolled in the graduate Museum Studies course on exhibition development collaboratively curated an exhibition entitled From the Seat of Authority, which opened at the Anderson Gallery in June 2006. This thesis project documents the exhibition and offers an account of the deliberative and creative development process in which student-curators engaged. It is different from other case studies that focus on the technical aspects of curating an exhibition.Major components of the development process include articulating a theme, selecting artworks, writing interpretive text, and designing display techniques. This thesis project aims to characterize the development of these components in relationship to the overall creative processes. It is important to note that the previously mentioned four components were not developed independently of one another, as the exhibit development process was non-linear and organic.

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Warholm, Sara Christine. « Critic, negotiator and gatekeeper. : An analasis of the role and influence of the curator within the contemporary art field ». Thesis, Linköping University, Culture, Society and Media Production, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-19423.

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The study examines the role of the art-curator with the focus on how it have influencedand may influence the art-scene and the concept of art. The study is based onmaterial extracted from texts involving the art-debates around the role of the curator,published in media and in literature. The study looks at the subject throughthe perspective of authorship and risk-theories in social sciences, and with a crossdisciplinarypoint of view, which takes into consideration how the debate regardingthe art-curator relates to the contemporary media landscape and the overall field ofcultural production. The study shows examples on how the role of the curator havebeen and currently is debated and defined. Through examples it shows that thecurators role have been compared to other characters within and without the fieldof cultural production. The comparisons include, among other things, the role ofthe critic and the music-DJ, but also the role of the guard-keeper and the diplomat.The most problematic comparison is where it is compared to the contemporary conceptualartist. The study shows that the role of the curator is becoming graduallycloser to the role of other producers in the cultural and medial field. This alsomeans that art is increasingly considered to be a cultural and medial product, incontrast to the classical romantic perception of art.

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Roma, Serrano Valentín. « Crosswords, problems and expectations of the curator of contemporary art exhibitions : a personal experience from the project Economy : Picasso ». Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/384638/.

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The present investigation project is an attempt to try to deepen in the vicissitudes, in the curatorial decisions and in the ways to dialogue in an exhibition carried out by Valentín Roma, with the purpose to explore critically which are the roles, the working lines and the responsibilities of a curator of contemporary art. Because its complexity and its longitude in the time, the show chosen as a study case, that was entitled Economy: Picasso and which different phases were held in the Museu Picasso of Barcelona between May 2011 and February 2013, offers an authentic panoptic of each and every one of the problems (design, managing, production, and mediation) that affect the curatorship, for what it constitutes, as well, a perfect example where we can observe the dynamics of the cultural policies and its difficulties to fit in from of the institutional frameworks until the ideological usages of the artists, audiences and curators. In order to contextualize this study we have elaborated a short chronological assay about the recent history of the curatorial practices since the seventies to our days. From another hand, and to help defining Economy: Picasso, we performed four interviews with the different agents involved in the project. Besides realising a very exhaustive analysis, this investigation work aspires to establish a certain pattern of analysis about the contemporary art exhibitions that could be extensible to other exhibition cases and to other curators.

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Halfpapp, Andi. « Pars pro toto : Experimental exhibition design and curatorial paradigms ». Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/87097/1/Andi_Halfpapp_Thesis.pdf.

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'Pars pro toto: Experimental Exhibition Design and Curatorial Paradigms' is situated within the ongoing debate over the conflation of art and curating, and the subsequent tension between artistic autonomy and curatorial intervention. This practice-led research project acclimates these polarities using a collaborative and discursive curatorial methodology in the creation of two exhibitions. Both exhibitions, one digital and one primarily physical, investigated how the temporary exhibition can operate as a site for provocation, how the suggested methodology facilitates the relationship between artist and curator within this paradigm, and outlines factors that assist in expanding the definition of the contemporary curatorial role.

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Thèses sur le sujet « Curatoren »

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