On the occasion of her solo show at the Daiwa Anglo Japanese Foundation, London
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On the occasion of her solo show at the Daiwa Anglo Japanese Foundation, London
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In collaboration with artist Nikolaus Gansterer, commissioned by Arts Cabinet
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Talk 7 of ‘The Producers Part II: New Positions on Curating’ devised by Uta Kögelsberger of Newcastle University and Chris McCormack of Art Monthly, features Sarah McCrory, director of Goldsmiths CCA, and Fatos Ustek, director of DRAF with the generous support and input of staff at the Hatton Gallery, from the School of Arts and Cultures, Newcastle University and from Art Monthly.
Watch the conversation here.
Exhibition-making can take place at myriad different tempos and contexts. Larger-scale museum exhibitions can take years to research and realise whilst other approaches to curating thrive on faster turnaround and a more ‘magazine’ format. Biennials by their very nature take place over a cycle of two years, whilst Skulptur Projekte Münster has a ten year cycle. Some exhibitions are put together at phenomenal pace – sometimes through necessity, for instance if a show suddenly falls through or an opportunity opens. How does the duration and gestation of a project affect its realisation?