Università IUAV di Venezia
On Curatorial Space / Intensive Laboratory
Taking advantage of Venice’s rich curatorial offering during the 55th Venice Biennale, the summer intensive curatorial course of the Visual Knowledge Intensive Laboratory set out to explore the notion of curatorial space as physical, geo-political and social space.
During the first week, Curators with Attitudes—The creation of curatorial space, discussions and exposés centered around the theoretical premises and exhibitionary strategies of such exhibitions as The Encyclopedic Palace at the Arsenale and the Central Pavilion curated by Massimiliano Gioni as well as the Argentinian Pavilion with Alfredo Jaar’s Venezia Venezia and Kamikaze Loggia the Georgian Pavilion curated by Joanna Warsza as part of the 55th Venice Biennale, When Attitudes Become Forms Bern 1969/Venice 2013 curated by Germano Celant at Ca’ Corner della Regina, Fondazione Prada and Rudolf Stingel curated by the artist at Palazzo Grassi.
As part of the second week devoted to Biennial Networks—The reproduction of geopolitical space? the course followed Jonas Stall’s Ideological Guide and spent the weekend in Ljubljana under the auspices of Nataša Petrešin-Bachelez, curator of Resilience, the 7th Triennial of Contemporary Art in Slovenia held at +MSUM / Museum of Contemporary Art Metelkova and other venues.
During the last week devoted to Art Performances and/as Civic Rituals—the (re-) creation of social space, students were encouraged to attend and contrast curatorial (re-)creations of social spaces as part of La Biennale’s Living in the World’s Dance Biennial curated by Virgilio Sieni throughout the city, Tancons and CAKE AWAY’s Corteo de Casteo’s public program and the city’s own activist-driven social spaces such as demonstrations against cruise ships led by the No Grandi Navi movement.
Finally, while the previous year’s Laboratory experimented with collaborative pedagogy, that year’s Laboratory enjoyed the benefits of co-teaching as many off-site visits and some classroom discussions were led in tandem with Stefano Arienti’s Visual Arts Laboratory and the deft interventions of assistant professor Stefania Rispoli.