WORLD OF ART
\nSchool for Curators and Critics of Contemporary Art
\nSeason 13
\n2nd Year (September 2010\u2013May 2011)<\/p>\n
Workshop on writing about contemporary art<\/p>\n
January 28-29, 2011<\/strong><\/p>\n Introductory lecture<\/strong><\/p>\n The writer\u2019s own voice \u2013 the text contributed to a catalogue as performative writing<\/strong> Subgenres of the catalogue text <\/strong> Preparation for a close reading workshop <\/strong> Close reading workshop<\/strong> Suggested theoretical texts:<\/strong><\/p>\n Timetable<\/strong><\/p>\n Friday, 28. 1. 2011<\/strong>
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\nThe text contributed to a catalogue is an example of interdisciplinary and performative writing. This genre is very important as every exhibition revolves around a particular concept, which the contributed article must elucidate. However, a well-grounded essay must also meet other objectives. It must clearly present relevant information, which, in order to be collected and selected, must often be based on extensive research. Still, a contribution to a catalogue is a text, which means that every author must find one\u2019s own voice in writing it.
\nTherefore, writing a text for a catalogue is realized as a performative combination of radically different views: extrapolation of the concept, collecting and analyzing relevant information (about works or themes connected to the exhibition) and the personal quest for one\u2019s own, unique voice (of the writer\/curator).
\nDespite being open to experimentation, this genre also has its specific rules which must be followed to justify its existence.
\nTheoretical concepts, literature and certain creative writing strategies can help the writer find an appropriate way of writing for every exhibition and catalogue text. However, a catalogue text is a unique genre, which is neither theoretical nor literary. It is also goes far beyond merely describing or summarizing art concepts or terminology from outside but it rather assumes a process of “being with” and “writing with” the art on which is written. <\/p>\n
\nEstablished exhibition models (solo, monographic, retrospective, thematic, overview or international biennial) and those recently introduced (on-line, collaborative, participatory) demand re-examination of the genre.
\nThe main issue in this part of the workshop will focus on how to adapt and change one\u2019s writing strategies, form, vocabulary and similar elements in writing different texts, and how this effects one\u2019s \u2018own voice\u2019. <\/p>\n
\nThis short session will enable the better organization of the reading of various examples of texts and forming groups of participants on the basis of the similar themes or genres of selected texts. <\/p>\n
\nIssues discussed generally and theoretically in the morning will be applied to concrete examples of the selected texts. In advance to the workshop each participant should have had selected one catalogue text and a particular passage from that text. During the close reading session the discussion will focus on looking at the qualities and omissions in the selected texts and on the justification of the individual choices. <\/p>\n\n
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\n10.00-11.30: Introductory lecture
\n12.00-13.30: Subgenres of the catalogue text
\n13.30-15.00: Break
\n15.00-15.30: Preparation for a close reading workshop
\n15.30-17.30: Close reading workshop
\n18.00-19.00: Questions and answers about assignment <\/p>\n