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

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.

In the way of museums, certain things have been collected and assembled for a display, a truth, in the form of a private room in which resides the dream world of the curator. Then, as the visual expression of this inner space deepens, they are carefully taken apart, always with respect for the original. Yet the work is not shaped by the hand of a conservator destined to abandon the imagination in favour of a trail of physical evidence. Nor does it reflect the conventional rationalist sensibilities of a museum worker who, by suppressing a poetic understanding of the world is confined by "cold language" (Frame 1992 p.45) and remains caught inextricably in the web of colonial thinking.Here the imagination is truth (Einzig 1996) and an understanding of the nature of this inner space the key to the locked door. The Anthropologist and the Archaeologist, indeed a whole host of disciplinary specialists may come knocking, but it is the artist that gains access to the curatorial spirit. Compelled as much by a love of the museum profession as a crisis of European consciousness (Spivak in Harasym 1990), objects are assembled for an inner journey to a place where shadow and sunlight chase each other across the landscape (McQueen 2000). This is the dialectic space of both curator and artist, of the rational and the irrational, of inside and outside, and of disciplinary devotion and betrayal.

In the way of museums, certain things have been collected and assembled for a display, a truth, in the form of a private room in which resides the dream world of the curator. Then, as the visual expression of this inner space deepens, they are carefully taken apart, always with respect for the original. Yet the work is not shaped by the hand of a conservator destined to abandon the imagination in favour of a trail of physical evidence. Nor does it reflect the conventional rationalist sensibilities of a museum worker who, by suppressing a poetic understanding of the world is confined by "cold language" (Frame 1992 p.45) and remains caught inextricably in the web of colonial thinking.Here the imagination is truth (Einzig 1996) and an understanding of the nature of this inner space the key to the locked door. The Anthropologist and the Archaeologist, indeed a whole host of disciplinary specialists may come knocking, but it is the artist that gains access to the curatorial spirit. Compelled as much by a love of the museum profession as a crisis of European consciousness (Spivak in Harasym 1990), objects are assembled for an inner journey to a place where shadow and sunlight chase each other across the landscape (McQueen 2000). This is the dialectic space of both curator and artist, of the rational and the irrational, of inside and outside, and of disciplinary devotion and betrayal.

abstract: This research paper examines the close relationships between the visual arts and music and the implications of curatorial practice upon the work of conductors. While some conductors consider suitability the prime (or only) factor in determining which music to perform, curators use many more criteria. Five elements of exhibition design are particularly germane to musicians including setting, subject matter, visual weight, compositional direction, and narrative. Each of these five elements is discussed in terms of its impact on concert design with a goal of providing additional criteria to the conductor when planning concerts. Three concert experiences, designed with these principles in mind, are presented as examples. Upon consideration of the elements of exhibition design separately and corporately, one arrives at a new appreciation of the concert as a unified experience--capable of being much more than the sum of its parts. The aim of effective concert design is to eliminate unintentional communication--to present music in the most complimentary manner possible. To this end, this study has implications for conductors at all levels. / Dissertation/Thesis / D.M.A. Music 2012

O presente trabalho pretende apresentar um estudo dos meios processuais criados pelo pretor no direito romano, que tiveram a finalidade de proteger o nascituro desde a sua concepção. As teses, artigos e pesquisas mais recentes realizadas sobre a condição jurídica do nascituro em Roma (CATALANO, MADEIRA, BACCARI, SANNA, FONTANA, TERRENI, FERRETTI) consolidaram a denominada teoria da realidade que confirma a sua existência in rerum natura e sua autonomia desde a concepção. Na primeira parte do trabalho, faz-se uma breve análise das principais obras que trataram da questão da existência do nascituro e as suas consequências jurídicas. Faz-se a análise terminológica dos conceitos de nasciturus, postumus e venter para o auxílio da compreensão e como forma de constatação de que, no direito romano, o concebido foi considerado persona e homo, equiparado juridicamente aos já nascidos. Na segunda parte, por meio da análise das fontes jurídicas presentes no Corpus Iuris Civilis, apresentam-se os principais meios processuais e institutos criados pelo pretor (missio in possessionem ventris nomine, bonorum possessio ventris nomine, curator ventris, inspectio ventris, custodia partus) para a proteção e resguardo dos direitos do nascituro, especialmente com relação a alimentos e direitos sucessórios. Na terceira parte, apresentam-se os pontos comuns entre os institutos romanos estudados e a legislação brasileira contemporânea, especialmente sobre a atual condição jurídica do nascituro, as funções do curador ao nascituro previsto no artigo 1779 do Código Civil Brasileiro de 2002 e da necessidade de uma atuação maior do Ministério Público e da Defensoria Pública na proteção dos direitos difusos do nascituro, quer esteja no ventre materno, quer esteja in vitro. / Ce travail vise à presenter une étude des moyens procéssuels créés par le preteur dans le droit romain et qui ont eu le but de protéger lenfant à naître dès sa conception.Les thèses, articles et recherches plus récentes sur le statut juridique de lenfant à naître à Rome (CATALANO, MADEIRA, BACCARI, SANNA, FONTANA, TERRENI, FERRETTI), ont consolidé la soi-disant théorie de la réalité qui confirme son existence in rerum natura et sa autonomie, dès la conception. Dans la première partie du travail, on fait une breve analyse des ouvres principales qui ont abordé la question de lexistence de lenfant à naître et ses conséquences juridiques. On fait lanalyse terminologique des concepts de nasciturus, postumus et venter, pour faciliter la compréhension et comme un moyen de constater que, dans le droit romain, le conçu a été considéré comme persona et homo, équivalent juridiquement a ceux dejà nés. Dans la deuxième partie, par lanalyse des sources juridiques présentes dans le Corpus Iuris Civilis, se présentent les principaux moyens procéssuels et les institutions créés par le préteur (missio in possessionem ventris nomine, bonorum possessio ventris nomine, curator ventris, inspectio ventris, custodia partus), pour la protection et la sauvegarde des droits de lenfant à naître, notamment en matière des aliments et droits de succession. Dans la troisième partie, se présentent les points communs entre les instituts romains étudiés et la législation brésilienne, spécialement sur le statut juridique actuel de lenfant à naître, les fonctions du curateur au ventre prèvu à larticle 1779 du Code Civil Brésilien de 2002 et se defend la necessitè dun plus grand rôle du Ministério Público et de la Defensoria Pública dans la protection des droits diffus de lenfant à naître, soit dans le ventre, soit in vitro.

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.

This paper explores how Taiwanese curators represent ¡¥new immigrant women¡¦ in their curatorial speech as they encounter the trends of new immigrants as part of multiculturalism in Taiwan. In-depth interview and analysis of exhibitions are applied to unveil the gender, race and class meanings behind the curators¡¦ planning of exhibition on this immigrant group. From interview data and the analysis of two exhibitions, we find that the gendered and racialized imaginations of this female immigrant group embedded in Taiwan¡¦s patriarchy society frame curators¡¦ exhibition practices. However, the power relationships between the curators and the gazed Other are not static, and the anxiety of how to locate the Other in Taiwan society by the colonizing agents makes it more imminent to keep the female immigrants in the private sphere.

Universiẗat, Diss--Münster.

My research explores the concept of visual art as a form of critical inquiry and the gallery as a site for critical dialogue and social change. I argue that art galleries can be spaces of change and can be used to mount a critique of contemporary society’s dominant narrative of neoliberalism that is being incorporated into our public and private lives. Art galleries are public spheres for civil society that offer citizens opportunities to engage in debate on contemporary issues, where we can expose ourselves to new ideas, stimulate our minds, and explore other ways of knowing and becoming agents of change. My investigation takes the form of researching, developing, and presenting an exhibition of selected photographs as part of the exhibition, Open Conversations. This exhibition explored the art practice of Canadian photographers Carole Condé and Karl Beveridge, who have developed an artistic process that involves direct collaboration in the production of art employing a participatory, socially engaged framework. I claim the role of “insurgent curator” (a person who challenges the current state of affairs) through my attempt to locate my inquiry within my current praxis as curator, that is, within a critical form of creative inquiry. As an insurgent curator, I attempt to insert alternative histories and perspectives in a public art gallery as a means of offering different ways of knowing contemporary society. The concept of critical inquiry and the use of dialogical aesthetics underlie my concept of insurgent curatorial practice. I propose that the use of dialogue has important implications in helping to situate art galleries as public spaces that invite participation, dialogue, and community, and thereby have a profound impact on visitors’ meaning making. Through the use of critical creative inquiry, I ask how this research can generate individual transformation and help create progressive forms of social action. / Graduate / scottmarsden@haidagwaii.ca