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Oncurating Project Space

Oncurating.org e.V. organisiert den Projektraum in Sihlquai 55 in Zürich.
Oncurating.org e.V. runs a project space at Sihlquai 55, Zurich.

OnCurating Project Space ist an Kunst als Praxis und Kritik interessiert, weniger am Kunstobjekt. Als Praxis und Kritik überträgt Kunst Wissen aus verschiedensten Disziplinen in den Raum der Kunst, um so die Gesellschaft, Politik, Leben und Privates zu hinterfragen. Im OnCurating Project Space stehen „Rasse“, Klasse, Geschlechterpolitiken im Fokus, und damit verbunden Migrationsbewegungen, Post-Demokratie, infrastrukturelle Veränderungen, der digitale Raum und seine Rückwirkung in die Gesellschaft. Der neue Raum in Zürich will eine Plattform für neue Formate zwischen Curating, zeitgenössischer Kunst, Aktivismus, Theorie, Performance, Musik eröffnen. Wir verstehen visuelle Kulturen als Ensemble von Prozessen der Bildung des sozialen Raums einer Gesellschaft. Zeitgenössische Kunst, Curating und Kulturanalyse werden hier idealerweise als Theorie einer Praxis und Praxis einer Theorie verstanden. Als herausgehobenen Meta-Diskurs sehen wir dabei das Kuratieren, das neue, freiere Arten von Bedeutungsproduktion ermöglicht, aber auch einer stetigen kritischen Reflexion bedarf. Getragen wird der Raum vom eingetragenen Verein OnCurating.org., von HochschullehrerInnen, FilmerInnen und KuratorInnen mit dem erklärten Ziel, eine ausseruniversitäre Praxis zu ermöglichen, einen Transitraum, der durch Zusammenarbeit mit lokalen, nationalen und internationalen Projekten und PartnerInnen ein erweitertes Netzwerk entstehen lässt. Gleichzeitig schafft die Nähe zu Zürcher KünstlerInnen im Ateliergebäude der Visarte eine wichtige Verankerung in der Zürcher Kunstszene. Analog zum shared space in Netz, den OnCurating als diskursiven gemeinschaftlichen Raum mit verschiedenen AkteurInnen bereitstellt, sieht sich auch OnCurating Project Space als Möglichkeitsraum, der für Kooperationen offen ist und dem gleichzeitig eine kuratorische Haltung zugrunde liegt.

The aim of the new space in Zurich is to provide a platform for new formats in a realm embracing contemporary art, activism, theory, performance, music and curating. We conceive of visual culture as an ensemble of processes in the formation of a society’s social space. As a form of praxis and criticism alike, art provokes thought about society, politics, life and the private sphere by bringing together knowledge from a wide range of disciplines.
The focusses of the OnCurating Project Space are “race”, class, gender politics and, in connection with those themes, migratory movements, post-democracy and infrastructural changes, but also the digital realm and how it impacts society. Ideally, contemporary art, curating and cultural analysis are understood here as a theory of praxis and a praxis of theory. In this context we regard curating as a meta discourse that permits new and freer forms of meaning production while at the same time offering impulses for ongoing critical reflection. With the declared aim of providing a transit space where cooperation with local, national and international projects and partners gives rise to an ever broader network, the new venue is backed by the registered association OnCurating.org as well as artists, filmmakers and curators.At the same time, the proximity to the artists in the Visarte studio building represents a vital link to the Zurich art scene. In analogy to the shared space OnCurating provides on the web for discourse among widely different players, the OnCurating Project Space is intended as a space of possibility that takes a fundamental curatorial stance as a point of departure for cooperation of many different kinds.

Funded by / Gefördert durch




De-Colonizing Art Institutions

The globally active art world nowadays cultivates an exchange that transcends the boundaries between cultures and continents through so-called global museums or globally operating art biennials and festivals, at least for a certain audience able to travel around the globe. Yet, this should not blind us to the fact that in the end a certain perspective of the Western history of art and culture claims primacy over global contemporary art and especially its market. Museums and art institutions all over the world therefore tend to have a uniform appearance. In format and content alike, they cater to and follow “Western” examples.

The question thus arises of how art institutions and museums could work differently by not taking a supposed, globally prevalent “guiding” culture as their orientation but instead continuing to search for new formats. How can an art institution be conceived? What might a de-colonized institution challenge?  

Art institutions, fairs and museums in “Western” countries are likewise being called upon to reconsider their ways of addressing their public, and not solely because in the face of the diverse migration movements, cultural processes are in a constant state of change, as G. Spivak pointedly observed. Culture as such is something that exists in a constant movement, in the merging different formats, contents, messages and heritages.
Gayatri Chakravorty Spivak: “What people call transculture is culture as it happens. Culture alive is its own counter-example. Transculturation is not something special and different. It is a moment in a taxonomy of the normality of what is called culture. To assign oneself the special task of cultural translation or plotting cultural translation has therefore to be put within a political context.”


Our inaugural project and the next On-Curating issue will discuss “De-Colonizing Art Institutions”. This will coincide with a summer academy hosted at Zurich University of the Arts (ZHdK), and a symposium at Kunstmuseum Basel.

In order to generate further discussion we asked artists and researchers wordwide for proposals, images and concepts regarding De-Colonizing Art Institutions. The material is exhibited and will be discussed in workshops within the project space across June 2017.

Our aim is to illustrate a multiplicity of approaches, voices and interpretations regarding De-Colonizing Art Institutions. In principal the project is ongoing, as the publication may be accessed worldwide and others can curate his or her own exhibition, workshop or discussion group.

The publication contains alongside the 34 contributions articles by Sabih Ahmed (Asia Art Archive), Jeebesh Bagchi (Raqs Media Collective), Binna Choi (Casco), Eyal Danon (Holon Digital Art Archive), Catherine David (Centre Pompidou), Kadiatou Diallo (SPARCK), Khwezi Gule (Soweto Museums Johannesburg), Rohit Jain (ISEK, Uni Zürich), Shwetal A. Patel (Kochi-Muziris Biennale), Dorothee Richter (Postgraduate Programme in Curating, ZHdK), Peter Weibel, (ZKM, Centre for Art and Media).

It will launch in Oncurating issue 34 and be available to freely download worldwide or ordered as printed matter.

Curatorial team:
Giovanna Bragaglia, Emilie Bruner, Ronald Kolb, Miwa Negoro, Swati Prasad, Dorothee Richter, Silvia Savoldi, Regula Spirig, Laura Thompson   



Contributions by

Maria Thereza Alves
Song-Ming Ang
Priscila Arantes
Stefan Baltensperger + David Siepert
Fabiana de Barros
Mabe Bethônico
Flavio Cury
Jimmie Durham
Gabriel Flückiger and Vera Leisibach
Hikaru Fujii
Szuper Gallery
Patrick Hamilton
Taloi Havini and Gabriella Hirst
Ana Hupe
Balz Isler
Daniel Jablonski
San Keller
Astrid S. Klein
Michael Leung / Kai Fong Pai Dong
Marinka Limat
Nkule Mabaso
Filippo Minelli
Lisl Ponger
Raghavendra Rao K.V.
Roee Rosen
Sally Schonfeldt
Katrin Stroebel and Simo Laouli
Túlio Tavares
Navid Tschopp
Lucie Tuma
Maíra Vaz Valente
Katie West
Claire Wintle
Casa da Xiclet
Casa da Xiclet (portuguese)
Zou Zhao

Kooperation mit / cooperation with
PhD in Practice in Curating, University of Reading

 

Kooperation mit / cooperation with
PhD in Practice in Curating, University of Reading