{"id":32,"date":"2007-03-14T11:04:32","date_gmt":"2007-03-14T09:04:32","guid":{"rendered":"http:\/\/www.worldofart.org\/current\/archives\/32"},"modified":"2018-07-26T10:28:46","modified_gmt":"2018-07-26T08:28:46","slug":"workshop-no-5-suzana-milevska-catalogue-text-workshop","status":"publish","type":"post","link":"https:\/\/www.worldofart.org\/arhiv.worldofart.org\/current\/archives\/32","title":{"rendered":"Workshop No. 5 – Suzana Milevska: Catalogue text workshop"},"content":{"rendered":"

WORLD OF ART
\nLaboratorium of Curatorial Practices
\nSeason 10: 2006\/07<\/p>\n

Seminar \u2013 Workshop No.5<\/strong><\/p>\n

April 13th and 14th<\/strong>
\nProject room SCCA, Metelkova 6, Ljubljana<\/p>\n

Deadline for submitting applications: April 6, 2007<\/strong><\/p>\n

\n

Public lecture: Curator as a Translator<\/a>
\nApril 12th at 8 pm <\/strong>
\nProject room SCCA, Metelkova 6, Ljubljana<\/p>\n

\n

13.04. (Friday)<\/strong><\/p>\n

10.00 -11.30 Introductory lecture
\nA Voice of One\u2019s Own: catalogue text as an example of performative writing
\n<\/strong>
\nCatalogue text is a piece of interdisciplinary and performative writing. Most importantly each exhibition has a certain concept that needs to be clarified with the catalogue essay. However, there are other requirements that a thorough catalogue essay needs to fulfil. On the one hand, many relevant data need to be clearly presented throughout the text so often takes a long research to collect and select the necessary information. On the other hand, the catalogue text is a text<\/em> after all so each writer has to find his\/her own voice through the process of writing.<\/p>\n

Therefore the writing of the catalogue text happens by a performative entanglement of these three radically different aspects: the extrapolation of the concept, collecting and analysis of necessary information (about the works, or issues related to the exhibition) and the personal quest for one\u2019s own unique voice (of the writer\/curator).<\/p>\n

Theoretical concepts, literature and certain creative writing methods can help the writer in finding the appropriate writing approach for each exhibition and catalogue text. However, I want to argue that the catalogue text is a unique genre that is neither only theoretical text, nor just another literature genre. It is also far from pure description or retrieval of the artistic concepts and expressions. Therefore even though it is open to experiments and variability there are certain specific rules of this genre and only by following these rules it can justify its existence.<\/p>\n

12.00-13.30
\nSub-genres of Catalogue Texts<\/strong>
\nThe already existing different exhibition models (individual, monographic, retrospective, thematic, historicised, or biennial international exhibitions), as well as the recent development of different exhibition models (on-line, collaborative, participatory, etc.) require re-thinking of the genre itself.<\/p>\n

The main questions of this session are how should one adapt and change the writing methods, forms, vocabulary, etc., when writing different texts and how this affects “one\u2019s own voice.”<\/em><\/p>\n

13.30 \u2013 15.00
\nBreak <\/strong><\/p>\n

15.00 – 15.30
\nPreparation of the close reading workshop<\/strong>
\nOrganisation of the order of reading of different textual samples, forming groups of participants according to the chosen texts, etc.<\/p>\n

15.30 \u2013 17.30
\nClose reading workshop <\/strong>
\nThe questions that in the previous session had been tackled generally and theoretically during this session will be exemplified on some samples of the proposed texts. The texts for the session of close reading will be available to the participants in advance and they are asked to choose one text each for the close reading session.<\/p>\n

Samples of catalogue texts available for reading and selection:<\/p>\n