Call for proposals 3: Working digitally in the arts field
What role does the curator* hold in transforming environments whose trajectories are all intertwined with processes of globalisation? How are ephemeral experiences curated, archived and re-evoked across space, time and digital access, consumption and saturation? How can curatorship subvert the algorithms placed upon us and how can safety, solidarity and an ecology of sharing be upheld throughout?
The envisioned Curators* Lab (CL) serves as a collaborative space aiming to redefine curatorship while re-articulating the entire vocabulary and artistic capital. CL offers accessible, educational intensives in various artistic, practical and safe environments. Programs are designed for decolonial, queer*feminist, migrant and class-critical contexts and their urgencies. Participatory modules combine readings, field trips, seminars, workshops, interventions and portfolio curation guided by mentors. CL is redefining the ideas of curating and the curatorial beyond the showcasing format, exploring radical approaches to engagement, challenges to decolonial dreaming while practicing hands-on learning. This rethinking of curatorial development requires a collaborative, commoning and open-access approach across many of the social, economic and geographic boundaries we inhabit and transcend. We aim for a Pan-European network of diasporic solidarity through curatorial activism and want to further nourish this concept through partnerships.
The digital too often occurs to appear in an afterthought of artistic and curatorial practice. As such we may at times overlook how crucial our choices in choosing the right approach to digital curation actually are. Marginalised folks, especially refugees and migrants, Black, Indigenous and People of Colour, Trans* and non-binary folks, Muslims, Jews, disabled and neurodivergent folks suffer at the hands of neutral-appearing algorithms, data trading and surveillance that comes attached to many digital tools defining the status quo of digital savvyness. Together with a grassroots migrant-led artistic and cultural partner in Brussels we want to not only raise digital literacy but establish networks of solidary curatorial activism across countries and our diasporic communities. As such we want to free curatorial approaches from the dangers commonly accessible digital tools may pose while enriching our practices with the powers that safe digital tools would offer. Ideally a methodically tested approach would emerge from our working group
Louna bent Abdelmoula Sbou, email@example.com
Gian Cruz (b. 1987, Manila, Philippines) is an emerging multidisciplinary Filipino artist ]whose artistic practice is heavily rooted in photography integrated with his institutional work and background in art theory and criticism. For the 2019-2020 cycle; he became the first Southeast Asian participant in completing the Independent Studies Programme at MACBA.
Digital image making, capturing, image-based surveillance, panoptics, techniques of observation, image manipulation (purposeful and through faulty algorithms, etc.) produce a wide visual field that inserts itself before our eyeballs to such a significant degree that such imagery determines an aesthetic that is new. In fact, it’s so new that we should call it ‘new’ and catalog its characteristics.