This course introduces critical implications of curating new media art. Curating is not only an organizational task but also a means in the production of knowledge. It is a research practice, which deals with questions about how art, artists, artworks and art institutions are described, recognized and legitimized today. How do curators engage with the production of artworks? What are the changing conceptions of time and space in curating new media art? How do curators design the experience and interaction process with various users/viewers? How can we distinguish political and social interventions within curatorial practices? Focusing on these questions by presenting case studies, the course also aims to introduce “paratactical curating” from a queer-feminist perspective.

Recommended Reading

Cook, Sarah, Beryl Graham and Sarah Martin (eds) (2002). Curating New Media. Gateshead: Baltic Centre for Contemporary Art.
Krysa, Joasia (ed.) (2006). Curating Immateriality: The work of the curator in the age of network systems. Data Browser 03. London: Autonomedia.
Cook, Sarah, Beryl Graham (2010). Rethinking Curating: Art After New Media, Cambridge, Massachusetts; London, England: The MIT Press
Yetiskin, Ebru Belgin (2014). Paratactic Media Emerging Forms of Resistance in Artistic Practice. Anglistica AION : An Interdisciplinary Journal, Ian Chambers and Tiziana Terranova (eds.), 18(2), 107-125.

See also

OnCurating, Issue 4, “The political potential of curatial practice”
Curatorial Resource for Upstart Media Bliss (CRUMB) CRUMB Links and Bibliographies