Curation as Mediation Between Art and Knowledge Production
How to define the role of theatre and performance curator in global capitalism, which has brought about radical changes in cultural production? The chapter focuses on the curator profile that emerged in the performance world in the 1990s and whose endeavours to invent new modes of collaboration and presentation of artworks are decisively marked by transdisciplinary, transnational, transcultural and trans-institutional hybridization. Curation is defined as mediation or, more precisely, by means of the critique of this concept as developed by Boris Buden. The mediatory function of theatre and performance curators is dealt with from the perspective of the exchange between the spheres of art and knowledge production. The chapter focuses on the ways in which theatre and performance curators participate in the processes of creation, research and evaluation of the performing arts.
- Ammann, Jean-C. (2004). ‘Vade Mecum for Curators’ in C. Tannert & U. Tischler (eds.) Men in Black. Handbook of Curatorial Practice. Berlin: Künstlerhaus Bethanien, Frankfurt am Main: Revolver, Archiv für aktuelle Kunst, pp. 87–88.Google Scholar
- Bonte, T. (2010). ‘Themes & Topics’ in “Curators” Glossary: A Subjective Short Guide through the Terminology of Curating.’ Curating Performing Arts, Frakcija, No. 55, pp. 114.Google Scholar
- Buden, B. (2012). ‘Towards the Heterosphere: Curator as Translator’ in M. Lind (ed.) Performing the Curatorial: Within and Beyond Art. Tensta konsthall, ArtMonitor/University of Gothenburg: Sternberg Press, pp. 23–44.Google Scholar
- IFTR Warwick. (2014). Conference, 28 July–1 August. https://www.iftr.org/news/2014/january/final-call-for-papers-iftr-warwick-2014. Accessed 31 August 2016.
- Malzacher, F. (2010). ‘A Cause and a Result. About a Job with an Unclear Profile, Aim and Future.’ Frakcija; Performing Arts Journal, No. 55, pp. 10–21.Google Scholar
- Malzacher, F., T. Tupajić & P. Zanki (2010). ‘This Curator-Producer-Dramaturge-Whatever Figure: A Conversation with Gabriele Brandstetter, Hannah Hurtzig, Virve Sutinen & Hilde Teuchies.’ Frakcija, No. 55, pp. 22–27.Google Scholar
- O’Neill, P. (2007). ‘The Curatorial Turn. From Practice to Discourse’ in J. Rugg & M. Sedgwick (eds.) Issues in Curating Contemporary Art and Performance. Bristol, Chicago: Intellect Books, pp.13–28.Google Scholar
- Patsalidis, S. (2011). ‘Who’s There? Theatre Festivals in Search of a Postmodern Audience.’ Theater, Vol. 41, No.1, pp. 86–92.Google Scholar
- Sakai, N. (2014). ‘The Figure of Translation: Translation as a Filter?’ in J. C.H. Liu & N. Vaughan-Williams (eds.) European-East Asian Borders in Translation. London, New York: Routledge, pp. 12–37.Google Scholar
- Sellar, T. (2014a). ‘The Curatorial Turn.’ Performance Curators, Theater, Vol. 44, No. 2, Thematic issue, pp. 5–29.Google Scholar
- Sellar, T. (2014b). ‘A Change Has Totally Taken Place’, [Interview with Matthias Lilienthal] Performance Curators, Theater, Vol. 44, No. 2, Thematic issue, pp. 73–79.Google Scholar
- Truth Is Concrete. (2012). Festival – A Project by Steirischer Herbst, 21–29 September, http://www.truthisconcrete.org/about/. Accessed 31 August 2016.
- von Hartz, M. (2010). ‘Politics’ in “Curators” Glossary: A Subjective Short Guide through the Terminology of Curating.’ Curating Performing Arts, thematic issue of Frakcija, No. 55, p. 111.Google Scholar