Class Introduction to Curating

In this optional theoretical-practical course, lectures will be held, and students will present case studies (flipped classroom) that they consider useful for their artistic journey, developing creative, critical, and (in)dependent thinking in artistic practice. These activities are complemented by visits to institutions where the curator's work is evident. The presentations and visits maintain an open dialogue, generating debate, questioning, and student participation.  To understand curating as mediation, students are challenged to plan a hypothetical curatorial project, assuming the role of curator.

Not applicable

1. The role of the curator from the perspective of the history of contemporary art from the 1980s to today. 2. Interrelationships between artistic and curatorial practices: the 'artist as curator' and 'the curator as artist'. 3. The new importance of the artist-curator for the development of art as a practice of action in social and urban space. Analysis of curatorial projects. 4. Visits to art institutions in Lisbon: art (and architecture) museums, art galleries, other cultural institutions. Meetings organized with various curators, those responsible for producing the exhibition, those responsible for public and institutional relations, cultural advisors who present their areas of activity and their current projects.

This course features lectures, and students present case studies (in a flipped classroom) that contribute to their artistic journey, fostering creative, critical, and (in)dependent thinking in artistic practice. These activities are complemented by visits to institutions where the curator's work is evident. During the presentations and visits, the dialogue is open, generating debate, questioning, and student participation. To understand curating as mediation, students are challenged to convey cultural content to a broad audience through the conception of a hypothetical curatorial project. Taking on the role of curator, when presenting this project, they must demonstrate their ability to communicate complex ideas in an engaging and socially relevant way, according to the needs and interests of a hypothetical population or for an audience determined, for example, by the location of the project or the theme it addresses.

OBRIST, H. U. (2011). Everything you ever wanted to know about curating. Sternberg Press, Berlin. BALZER, B. (2014). Curationism. How Curating Took Over the Art World and Everything Else. Toronto: Coach House Books. McCARTHY, C.; SCHORCH, P. (Eds.) (2018). Curatopia. Museums and the Future of Curatorship. Manchester University Press. MARTINON, J-P. (2013). The Curatorial. A Philosophy of Curating. Bloomsbury Publishing.