{"id":3600,"date":"2015-09-25T11:01:21","date_gmt":"2015-09-25T09:01:21","guid":{"rendered":"http:\/\/www.worldofart.org\/current\/?page_id=3600"},"modified":"2016-09-21T10:42:03","modified_gmt":"2016-09-21T08:42:03","slug":"from-elsewhere-2-curatorial-practices-and-artistic-positions","status":"publish","type":"page","link":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/15th-season-2014-2016\/curating-in-depth\/from-elsewhere-2-curatorial-practices-and-artistic-positions","title":{"rendered":"From Elsewhere 2: Curatorial Practices and Artistic Positions"},"content":{"rendered":"<p><strong><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/15th-season-2014-2016\/curating-in-depth\">\u00ab Curating\u2013In\u2013Depth<\/a><\/strong><\/p>\n<p><strong>From Elsewhere 2: Curatorial Practices and Artistic Positions<\/strong><br \/>\nLectures<br \/>\n<strong>12th May 2015<\/strong>, SCCA Project Room, Metelkova 6, Ljubljana, Slovenia<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/04\/from-elsewhere2.jpg\" alt=\"From Elswhere 2\" \/><\/p>\n<p><strong><em>From Elsewhere 2<\/em><\/strong> is the second edition of our get acquainted with the state of curatorial practices and artistic positions beyond the European area. <a href=\"http:\/\/www.scca-ljubljana.si\/report-en_08_02.htm\">First we learned about Armenia, Kazakhstan, Egypt and Turkey<\/a>. This time we went even further. The participants of the <em>Curating-In-Depth<\/em> project from the Philippines, Singapore and Myanmar will prepare the presentations of their curatorial practices and artistic positions. The discussion and the screening of the selected Filipino video works and short films will follow.<\/p>\n<p><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/06\/plakat-asef-eng.pdf\" target=\"_blank\">Invitation card<\/a> (pdf)<\/p>\n<hr \/>\n<p><strong>PROGRAMME<\/strong><\/p>\n<p>6 pm:<strong> Anupama Sekhar<\/strong>\u00a0(the Director of the Culture Department of ASEF, Singapore): presentation of the foundation, opportunities and open calls for international cultural cooperation between Europe and Asia.<\/p>\n<p><strong>Presentations:<\/strong><\/p>\n<p>6.15 pm:<strong> Siddharta Perez<\/strong>\u00a0(Philippines):\u00a0<em><strong>Prompts: Curatorial strategies in facilitating and sustaining knowledge resources<\/strong><\/em><\/p>\n<p>6.35 pm: <strong>Antares Gomez Bartholome<\/strong>\u00a0(Philippines):\u00a0<em><strong>Curation as Cultural Work<\/strong><\/em><\/p>\n<p>7 pm: <strong>Isabel Ching<\/strong>\u00a0(Singapore):\u00a0<em><strong>Frames of Conceptualism from Southeast Asia<\/strong><\/em><\/p>\n<p>7.20 pm: <strong>Moe Satt<\/strong>\u00a0(Myanmar):\u00a0<em><strong>Short Introduction of Myanmar Performance Art<\/strong><\/em><\/p>\n<p><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/04\/Abstracts_Presentation_Southeast-Asia+BIOS.pdf\" target=\"_blank\"><strong>ABSTRACTS<\/strong> <\/a> (pdf)<\/p>\n<p>8.10\u20138.30 pm: Break<\/p>\n<p><strong>Video Screening<\/strong><br \/>\n8.30 pm:<strong> Shireen Seno<\/strong> (Philippines): <strong><em>The Kalampag Tracking Agency<\/em><\/strong><\/p>\n<hr \/>\n<p><strong>VIDEOS OF PRESENTATIONS<\/strong><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/128875770?byline=0&amp;portrait=0\" frameborder=\"0\" width=\"620\" height=\"349\"><\/iframe><\/p>\n<p><strong>Siddharta Perez: <em>Prompts: Curatorial Strategies in Facilitating and Sustaining Knowledge Resources<\/em><\/strong><\/p>\n<p>The presentation looks into process-based strategies in exhibition-making as a way of dealing with lack of infrastructure support in knowledge production in the Philippines. Case studies will include how curatorial modes of exhibition accommodate activating the audience\u2019s accountability to also contribute, how we negotiate with different sites of power represented by stakeholders of an exhibition and other modes of extending the life of an exhibition.<\/p>\n<p>&#8212;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/aktualno\/wp-content\/uploads\/2015\/09\/Isabel_Ching.jpg\" alt=\"Isabel Ching\" width=\"620\" height=\"349\" class=\"alignnone size-full wp-image-9028\" \/><\/p>\n<p><strong>Isabel Ching: <em>Frames of Conceptualism from Southeast Asia<\/em><\/strong><\/p>\n<p>While considered as an important vector leading to the plurality of artistic practices globally, \u201cconceptualism\u201d could appear to have only registered frail trails in Southeast Asia. How do we understand, discuss and frame the conceptualisms of specific localities in the region? Looking at a case study each from Myanmar, the Philippines and Singapore, we try to speculate about the fraught, sometimes contested, meanings of conceptualism(s) in history and the efforts made today to reclaim or reanimate their legacies.<\/p>\n<p>&#8212;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-3415\" title=\"Antares Gomez Bartholome: Curation as Cultural Work\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/06\/antares.jpg\" alt=\"\" width=\"620\" height=\"345\" srcset=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/06\/antares.jpg 620w, https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/06\/antares-300x166.jpg 300w\" sizes=\"auto, (max-width: 620px) 100vw, 620px\" \/><\/p>\n<p><strong>Antares Gomez Bartholome: <em>Curation as Cultural Work<\/em><\/strong><\/p>\n<p>The presentation explores the relationship of curatorial work and political struggle within the context of the Philippines. It briefly tracks the development of art practices and discourses alongside the National Democratic movement in the Philippines from the 1970s onward, and explores how curatorial practice figures in, and is perhaps challenged and refigured by, the varied approaches to artistic production, presentation, and distribution involved in the broader frame of cultural work undertaken by the National Democratic movement in the present.<\/p>\n<p>&#8212;<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/128882948?byline=0&amp;portrait=0\" frameborder=\"0\" width=\"620\" height=\"349\"><\/iframe><\/p>\n<p><strong>Moe Satt: <em>Short Introduction of Myanmar Performance Art<\/em><\/strong><\/p>\n<p>Overviews the history of Myanmar performance art that started in the mid-90s, identifying who they were and what kind of issues they dealt with. The presentation also locates differences and parallelism between the first and second generation of performance artists. Likewise what is the contexts of indoor performances as contrasted from the gallery sites and other outdoor\/ more public venues.<\/p>\n<p>&#8212;<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/130523920?byline=0&amp;portrait=0\" frameborder=\"0\" width=\"620\" height=\"349\"><\/iframe><\/p>\n<p><strong>Anupama Sekhar: <em>Presentation of the foundation ASEF; opportunities and open calls for international cultural cooperation<\/em><\/strong><\/p>\n<p>Presentation of the foundation ASEF by Ms Anupama Sekhar, the <a href=\"http:\/\/www.asef.org\/index.php\/projects?id=2077:ms-anupama-sekhar\">Director of the Culture Department<\/a> of ASEF, Singapore. Sekhar is actively engaged in facilitating cultural exchange and collaboration among artists and arts organisations in 53 countries in Asia and Europe and has therefore presented the opportunities and open calls for international cultural cooperation between Europe and Asia.<\/p>\n<p>&#8212;<br \/>\n<a name=\"the-kalampag-tracking-agency\"><\/a><br \/>\n<iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/131066952?byline=0&amp;portrait=0\" frameborder=\"0\" width=\"620\" height=\"424\"><\/iframe><\/p>\n<p><strong>Shireen Seno: <em>The Kalampag Tracking Agency<\/em><\/strong> (curated selection)<br \/>\nVideo screening with comments by the curator<\/p>\n<p>Screening of 13 selected Filipino video works and short films with comments by the curator. The selection showcases the works from 1985 until nowadays and demonstrates different aesthetics and usage of visual language by showing the issues of contemporary society in the Philippines.<\/p>\n<p><strong><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/aktualno\/wp-content\/uploads\/2015\/04\/The-Kalampag-Tracking-Agency.pdf\" target=\"_blank\">PROGRAMME<\/a><\/strong> (pdf)<br \/>\n<strong><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/04\/The-Kalampag-Tracking-Agency-curatorial-notes2.pdf\" target=\"_blank\">The Kalampag Tracking Agency \u2013 Curatorial notes<\/a><\/strong> (pdf)<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.scca-ljubljana.si\/foto450\/KTA.jpg\" alt=\"The Kalampag Tracking Agency\" width=\"450\" height=\"302\" \/><\/p>\n<hr \/>\n<p><strong>PHOTOS FROM THE EVENT<\/strong><\/p>\n<p><a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/05\/014.jpg\" rel=\"lightbox[3600]\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-thumbnail wp-image-3132\" title=\"Curatorial Practices and Artistic Positions\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/05\/014-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" \/><\/a> <a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/05\/024.jpg\" rel=\"lightbox[3600]\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-thumbnail wp-image-3133\" title=\"Anupama Sekhar, the Director of the Culture Department of ASEF, presents the foundation, opportunities and open calls for international cultural cooperation between Europe and Asia\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/05\/024-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" \/><\/a> <a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/05\/034.jpg\" rel=\"lightbox[3600]\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-thumbnail wp-image-3134\" title=\"Anupama Sekhar, the Director of the Culture Department of ASEF, presents the foundation, opportunities and open calls for international cultural cooperation between Europe and Asia\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/05\/034-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" \/><\/a> <a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/05\/044.jpg\" rel=\"lightbox[3600]\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-thumbnail wp-image-3135\" title=\"Curatorial Practices and Artistic Positions\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/05\/044-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" \/><\/a> <a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/05\/054.jpg\" rel=\"lightbox[3600]\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-thumbnail wp-image-3136\" title=\"Siddharta Perez: Prompts: Curatorial strategies in facilitating and sustaining knowledge resources, lecture\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/05\/054-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" \/><\/a> <a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/05\/065.jpg\" rel=\"lightbox[3600]\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-thumbnail wp-image-3137\" title=\"Siddharta Perez: Prompts: Curatorial strategies in facilitating and sustaining knowledge resources, lecture\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/05\/065-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" \/><\/a> <a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/05\/074.jpg\" rel=\"lightbox[3600]\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-thumbnail wp-image-3138\" title=\"Antares Gomez Bartholome: Curation as Cultural Work, lecture\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/05\/074-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" \/><\/a> <a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/05\/084.jpg\" rel=\"lightbox[3600]\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-thumbnail wp-image-3139\" title=\"Antares Gomez Bartholome: Curation as Cultural Work, lecture\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/05\/084-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" \/><\/a> <a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/05\/093.jpg\" rel=\"lightbox[3600]\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-thumbnail wp-image-3140\" title=\"Curatorial Practices and Artistic Positions\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/05\/093-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" \/><\/a> <a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/05\/103.jpg\" rel=\"lightbox[3600]\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-thumbnail wp-image-3141\" title=\"Curatorial Practices and Artistic Positions\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/05\/103-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" \/><\/a> <a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/05\/113.jpg\" rel=\"lightbox[3600]\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-thumbnail wp-image-3142\" title=\"Isabel Ching: Frames of Conceptualism from Southeast Asia, lecture\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/05\/113-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" \/><\/a> <a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/05\/123.jpg\" rel=\"lightbox[3600]\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-thumbnail wp-image-3143\" title=\"Moe Satt: Short Introduction of Myanmar Performance Art, lecture\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/05\/123-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" \/><\/a> <a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/05\/132.jpg\" rel=\"lightbox[3600]\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-thumbnail wp-image-3144\" title=\"Curatorial Practices and Artistic Positions\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/05\/132-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" \/><\/a> <a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/05\/142.jpg\" rel=\"lightbox[3600]\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-thumbnail wp-image-3145\" title=\"Curatorial Practices and Artistic Positions\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/05\/142-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" \/><\/a> <a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/05\/152.jpg\" rel=\"lightbox[3600]\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-thumbnail wp-image-3146\" title=\"Shireen Seno: The Kalampag Tracking Agency (curated selection), video screening with curator\u2019s comments\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/05\/152-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" \/><\/a> <a href=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/05\/162.jpg\" rel=\"lightbox[3600]\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-thumbnail wp-image-3147\" title=\"Shireen Seno: The Kalampag Tracking Agency (curated selection), video screening with curator\u2019s comments\" src=\"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-content\/uploads\/2015\/05\/162-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" \/><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u00ab Curating\u2013In\u2013Depth From Elsewhere 2: Curatorial Practices and Artistic Positions Lectures 12th May 2015, SCCA Project Room, Metelkova 6, Ljubljana, Slovenia From Elsewhere 2 is the second edition of our get acquainted with the state of curatorial practices and artistic positions beyond the European area. First we learned about Armenia, Kazakhstan, Egypt and Turkey. This [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":2663,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-3600","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/pages\/3600","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/comments?post=3600"}],"version-history":[{"count":14,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/pages\/3600\/revisions"}],"predecessor-version":[{"id":3988,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/pages\/3600\/revisions\/3988"}],"up":[{"embeddable":true,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/pages\/2663"}],"wp:attachment":[{"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/media?parent=3600"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/categories?post=3600"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/wp-json\/wp\/v2\/tags?post=3600"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}